In Defense of the Canon

In Defense of the Canon

Pretty much the only time you’ll hear someone mention the canon in the year of our Lord 2019 is to explain why it’s bullshit: the canon is a bunch of stuff made by old or dead white dudes that a bunch of other old or dead white dudes decided was important, and everything outside of the canon is deemed, by implication, not important or worthwhile or particularly good. The canon is the epitome of cultural elitism; any English undergrad can tell you all about it.

The idea of a canon comes from the Bible, with the books deemed good, important and true being preserved and assembled as part of the Biblical canon, and other writings – like the gospel where the cross is a character that talks, or ones about Jesus as a kid – getting left on the cutting room floor. The idea of a literary canon is a kind of outgrowth from this: collecting the good and important works of literature – Homer, Dante, Chaucer, Shakespeare – as the ones worthy of study, the ones any educated person should be expected to have read. The literary canon is the stuff you’re supposed to read in school or college, but probably didn’t. There are tons of very legitimate criticisms of what makes up the literary canon: it tends to be disproportionately male – Jane Austen, the Bronte sisters, and Virginia Woolf would be the big exceptions when it comes to novelists – and almost exclusively white, and the people who decide what gets deemed canonical (academics and critics) have similar demographic problems. But the big difference between the Biblical canon and the literary canon is that there is no official list of classic books, with everything else likely to be lost or destroyed. The literary canon is necessarily in flux. When Herman Melville died, he was an obscure writer living in poverty, but a few decades later some hip literary types in New York realised no, wait, Moby-Dick is really good, actually, and now here we are.

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Actually, TV Was Always Good (and You Can Too!)

Actually, TV Was Always Good (and You Can Too!)

The way people tend to talk about television has a pronounced recency bias: it’s all about watching the new big thing, even if the new big thing quickly turns out to be an empty suit. More television is more widely available than ever now, thanks to the internet, but the overwhelming pressure to keep up-to-date can discourage you from seeking long-finished stuff out.

There’s always been good TV. The idea of “prestige television” has obscured that a bit, but it’s obviously true, and the only reason anyone says otherwise is because the endless glut of Peak TV has created a profound historical illiteracy, especially among young people. We’ve only scratched the surface ourselves, but as long as we’re trying, the least we can do is signpost some shows for anyone else interested in older television. Here are ten shows, covering every decade from the 60s to the 00s, that are just as worthy of your time as whatever Netflix show your friend says you have to watch.

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To Love Pure and Chaste From Afar: Queer Coding in The Mary Tyler Moore Show

To Love Pure and Chaste From Afar: Queer Coding in The Mary Tyler Moore Show

“Queer coding” is one of the more interesting ideas in media analysis to be almost exclusively applied to the same thinkpiece about Disney villains over and over. It’s not a well-defined term but I’d describe it something like this: characters and relationships in art are queer-coded when they have traits that read as queer to at least some of the audience, but are not explicitly so. It’s slippery and subjective and can easily get muddled up with other ideas. It’s sometimes used interchangeably with ideas like queer subtext (when queer themes run under the surface of a piece of art otherwise not overtly queer) or queerbaiting (when writers tease that characters are queer and may form relationships to pander to LGBT fans, but never follow through). Queer subtext has a long history in literary studies, e.g. The Great Gatsby as a story of Nick Carraway’s unrequited love for Jay Gatsby, while queerbaiting is a very recent term, originating in fandom and mostly used in reference to serial formats, e.g. TV shows like Supernatural (with baited characters Dean and Castiel) or film series like Pitch Perfect (with baited characters Beca and Chloe).

Queer coding is different: it doesn’t need to hold up to scrutiny like an argument for subtext does, and it doesn’t have to be deliberate on the part of the artist like an accusation of queerbaiting does. It gets at something narrower and subtly distinct – queer coding often describes stereotypical traits (e.g. limp wrists) but it can also refer to ineffable qualities that aren’t burdened with connotations of queerness in larger society. Taking it back to Disney villains for a second, sometimes I totally see where people are coming from when they read them as queer. Jafar from Aladdin is unmarried, wears winged eyeliner and has a lisp, I get it. But then someone says Hades is like a sassy gay guy and it just doesn’t connect at all. We’re into something altogether more subtle and subjective, because there are lots of “sassy” or “snarky” character archetypes – black women and Jews spring to mind – and characters can even be those things without fitting into or referencing archetypes. That can just be their personality. Yet, even without anything in the story that implies it’s the case, there’s something that makes Hades read queer to some people and not to others. (He reads Jewish to me, for the record.) And while a lot of queer coding can be explained as a kind of glint of recognition in the eye of an LGBT audience, that’s not exclusively the case. Characters and relationships can come off as queer to straight people too.

I’ve been thinking about queer coding a lot ever since I watched The Mary Tyler Moore Show.

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The One Where Pop Culture Disintegrates

The One Where Pop Culture Disintegrates

Why do people still love Friends so much?

To be clear, I love Friends. I’ve seen every episode of Friends multiple times. It was a good show, and often a great one. It was such a massive juggernaut hit at the time that it’s inevitable that it would have some staying power – I can’t imagine a world where Friends was forgotten, consigned to the ash heap of history. Anything that big hangs around for a while. Culture doesn’t have a reset button, you just turn it at right angles and draw over what’s already there.

But Friends isn’t just hanging around in the background. It’s still hugely, actively popular. BuzzFeed’s clickbait pop culture listicle/quiz department pumps out posts about Friends on at least a biweekly basis. People get engaged on the Central Perk couch on tours of the Warner Brothers lot. The whole series was recently added to Netflix in Ireland and the UK, and – even though the show finished fourteen years ago, even though it’s been in reruns constantly, unavoidably since then – it was treated as a legitimately big deal.

And that’s weird. It is so far outside of the norm of televisual afterlife that “it’s a good show” doesn’t go a tenth of the way to explaining it.

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Duct Tape on Armchairs: Frasier and the Working-Class Sitcom

Duct Tape on Armchairs: Frasier and the Working-Class Sitcom

It’s the golden age of TV.

455 scripted television shows aired in America in 2016 – that’s compared to 192 in 2006. There’s been years of back and forth about whether current TV is the best thing ever – quite possibly the central cultural output of our time – or actually not very good at all, because so-called prestige TV is so often shallow self-serious bullshit. The obvious fact that TV has always been good, and that the “golden age of TV” corresponds only to the rise of paid subscription services (HBO, Netflix, Amazon) and cinematography that made TV look like movies, might be mentioned, but is never of concern. We’ll talk about the fracturing of the television audience – how three of the last five TV seasons had football at the highest rating, because sport is the only thing diverse audiences watch live anymore – but we’ll pretend that it fractures more or less at random, and its only implications are for advertisers.

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Five Years in Hell: a Reflection on the Superhero TV Boom

Five Years in Hell: a Reflection on the Superhero TV Boom

We’re five years into the boom in superhero television kicked off by the surprise success of The CW’s Arrow, and business is so good we’ve somehow strong-armed Noah Hawley into making a show based on a minor X-Men property. But at what cost? Arrow has just come full circle by concluding the story of Oliver’s time in exile and bringing us right back to the opening moments of the show, and the genesis of television’s superhero boom.

Now seems an appropriate time to examine and evaluate the landscape of the genre over the past five years and consider what the future may hold.

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Whatever Happened to Life in Four Cameras?

Whatever Happened to Life in Four Cameras?

For over fifty years, since it was pioneered by I Love Lucy, the multi-camera format – three walls, four cameras, taped before a live studio audience – was the beating heart of television comedy. Today, if anyone took a poll of critics, the likelihood of any multi-camera sitcom that debuted after the millennium ranking among the greatest comedies of the century so far would be close to zero.

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