Sublime

But it needs to include something that taps into what matters about the world now. There has to be something at stake that involves modernity.

he brought not just his showbiz sensibilities but his reality TV instincts into the Oval Office: a savant’s understanding of Americans’ hunger for “reality” over reality, for the outrageous, for the cruelty of Simon Cowell and the brazen individualism of “I’m not here to make friends.”

“And yet, the ‘creative’ half of the title suggests an impulse rather than Enlightenment perspicuity motivates the writer and shapes the writing.”

The essential thing I’d failed to understand about TNO before working there was that, even though there were flubbed lines and late camera cuts and sketches that bombed, the live part wasn’t the show’s weakness; it was its strength. And really, so was the way all the preparation had to be crammed into a week. These were the things that made us inve

unlike Hollywood, YouTube provided data. YouTubers could see in real time what viewers watched, how long they lingered, what made them click.

But that’s the point: the audience sees Hannah’s breasts as the world sees Hannah’s breasts: imperfect, inappropriate, unsexy. But Hannah, especially Hannah-on-coke, doesn’t see her body the way the world does: to her, the mesh shirt and her loose breasts are deliciously sexy; her look could not be more perfect; she conceives of herself as an immac

beyond the fact that Netflix was paying a high fee to license them.

This in turn influences how people at home come to evaluate magic. In a way, these are the same problems magic encountered in the past—the dumbing down of a much larger artistic vision for television’s tried-and-true model.

Grammar, he saw, was agreement, community, consensus.