One, the new hip Condé Nast: How Bon Appétit Accidentally Made YouTube’s Most Beloved Stars
Two, the Condé Nast of the pre-digital age: Chaos at Condé Nast
It’s fascinating to read them together. Clearly a lot has changed since the turn of the century. While Bon Appétit is clearly on to something, it’s like a fluke that doesn’t translate across the rest of the organization. And regardless of how well they do — and I hope they do well — the golden pre-digital age is gone and not coming back.
Good weekend reading. That you likely are reading on a phone or tablet.
It’s the 25th anniversary of “Friends”, and a number of reviews I read talk about it looking backwards.This piece, though, does something better: it looks at where the series came up from. Key quote to me was this:
Chandler, who is so indifferent about what he does that he is unable to pay his job even the small courtesy of hating it—Chandler, besuited and bedraggled, whose work in computer-something-or-other summons the amorphous anxieties of the coming digital age. … It is through Chandler, in the end, that Reality Bites finds its way into Friends’ otherwise chipper cosmology. His work is simply there, looming, draining, tautological. His laconic resentments of it invoke the precise strain of Gen Xed ennui the novelist Douglas Coupland had described earlier in the decade: the mistrust of institutions, the mistrust of professions, the mistrust of meaning itself.
You can see in the quote the tie to Douglas Coupland’s book Generation X and the film Reality Bites. These are the roots of “Friends”. ‘Friends’ at 25: The Prescience of Chandler Bing’s Job – The Atlantic. That generation after the boomers needed a show, and many of them found it in “Friends”. Now people look back at it and many mock a show about six well dressed people living in an amazing apartment in NYC. But “Friends” then tried to make sense of becoming an adult, or “adulting”, to use a word that came along later. The fact that people have such fondness for it makes me think it resonated with them and it represents part of their lives.
I always liked “Friends”, but for a different reason. I am a fan of screwball comedy, and that series often went there. Seinfeld did absurdist comedy well, but I loved that this series did a comedic style I loved so much. Watch some episodes of “Friends” and then watch a classic screwball comedy like “Bringing Up Baby” or “His Girl Friday” and you will see the similarities.
All comedy series go pear shaped after a time, and the things that made it originally great fades. For a time “Friends” was one of the best comedies on TV, and it was great then because of the form of comedy it aspired to and because of the way it represented the time it was rooted in.
Bon Appétit has a rich list of articles and photos paying homage to red sauce restaurants in America. You likely know this type of joint. It has:
The oversize portions. The red-and-white-checked tablecloths. A carafe of the house red. Old-school Italian-American restaurants, a.k.a. red sauce joints, are the kind of institutions you’ll find, with very few deviations, in just about any city in America. But as we discovered upon reaching out to dozens of writers, chefs, and celebrities, these restaurants are about a lot more than a plate of penne alla vodka. Whether or not you’re Italian, red sauce likely means something to you—about family, or home, or history, or politics, or class, or citizenship, or selfhood, or otherness, or all the above, or a million other things. And that’s what this package is all about. Welcome to Red Sauce America.
For a feast of this type of dining, see here: Welcome to Red Sauce America – Bon Appétit.
A visit to this page is a must for Blade Runner fans: Blade Runner Souvenir Magazine: A Fascinating Blast from the Past from the Heart of Ridley Scott’s Masterpiece • Cinephilia & Beyond.
The Official Collector’s Edition Blade Runner Souvenir Magazine is a wonderful source of information, abounding in great photos and articles; a genuine treat both for hardcore fans of the film and all the newbies who just got introduced to the world of Rick Deckard. There are a lot of fascinating stuff here, but we’re especially excited about the interviews with Philip K. Dick, Ridley Scott, Harrison Ford and Douglas Trumbull. We’re incredibly thankful to webmaster Netrunner from brmovie.com, who put a lot of effort into digitalizing the magazine and even contacted Mr. Friedman to get his blessing for the endeavor. While Netrunner shaped the material by separating photos from the accompanying text, we chose to offer you a .cbr file of greater resolution and quality, so you can browse the content more easily. If we may, we’d like to suggest using a little program called ComicRack for checking out this priceless blast from the past. Enjoy the read!
According to this, art can make us more confident by providing us with stories and representations of people with characteristics we share that overcome similar obstacles that we run up against. After all….
Confidence isn’t the belief that we won’t meet obstacles. It is the recognition that difficulties are an inescapable part of all worthwhile contributions. We need to ensure we have to hand plenty of narratives that normalise the role of pain, anxiety and disappointment in even the best and most successful lives.
The image is an extended version of the work highlighted in the article. Like the Stations of the Cross and other works, they illustrate the difficulties of a way of life, and by making us aware of them, allow us to best prepare to meet them and overcome them.
This piece, Opinion | Still Haunted by Grocery Shopping in the 1980s – The New York Times, by a Brazilian economist highlights the emotional scars that economic hardship has on a person. Key quote for me was this:
Research has found that children living in poverty are at increased risk of difficulties with self-regulation and executive function, such as inattention, impulsivity, defiance and poor peer relationships. It takes generations until society fully heals from periods of deep instability. A study in the early 2010s showed that Germans were more worried about inflation than about developing a life-threatening disease such as cancer; hyperinflation in the country ended almost 100 years ago.
Not only does it touch people individually, but you could make the case that it gets embedded into the culture. Germans are still worrying about inflation! Indeed, I remember my mom telling me how the Great Depression affected her mother to the point that she adopted behaviors she could never shake, not matter how much she had in the future.
Economics can seem dry, especially when people focus on numbers. But those numbers paper over how people are really affected. What is the emotional impact of high (or low) unemployment? What do we see happening in the culture when housing becomes unaffordable or work impossible to get. The numbers are an essential part of the story but they are also just the start of the story.