The Daily Stat, hbr.org
Research participants who were asked to give an impromptu three-minute talk scored higher on persuasiveness and confidence if they first said to themselves “I am excited,” in comparison with those who said “I am anxious” or explicitly tried…
The Stir Kinetic Desk is a great-looking, but expensive standing desk.
TV’s been having a moment for a while now. From prestige dramas like Breaking Bad to genre-defying experiments like Orange Is the New Black, there’s a whole lot happening on the small screen â and …
According to a new study, the hallowed practice of bedtime reading is falling by the wayside — and that some quarter of a million children in the UK do not own a single book. This is a terrible sh…
An intimate interview with Janis Joplin just four days before her untimely death: http://youtu.be/VdF4b1_LQnQ
“Flying might not be all plain sailing, but the fun of it is worth the price.”
― Amelia Earhart, Fun Of It
The reality-television genre that began with An American Family has transformed America and its pop culture in ways even Mead never could have anticipated. Reality TV has become one of the dominant entertainment mediums of the day, an unstoppable juggernaut that shows no sign of slowing down. The second half of Mead’s proclamation is even more prescient. When the cameras of reality television have finished the long, intense, often invasive and exploitative process of “interpreting,” what they produce frequently bears only a vague resemblance to everyday life as lived by human beings on planet Earth. It more closely resembles the crazed melodramas of nighttime soap operas.
Reality television didn’t really exist when Real Life was made, and didn’t properly begin until the 1992 launch of the tellingly named The Real World. The film predicts how the genre’s cameras aren’t sociological lenses that convey important objective truths about society (the “real life of others” Mead discusses), so much as funhouse mirrors that twist and distort images until they become unrecognizable.