Consumed the week of 4 November, 2019

My favourite long read of the week was probably After the Fall of the Glossy Magazine, What’s Left of Condé Nast?, just because it’s a proper nerdy deep dive into how journalism is working (or at least trying to work) in the Internet age.

Don’t Play the Goose Game from The Atlantic is about the Untitled Goose Game (which I haven’t actually played) but it’s also about what constitutes game play and how that, more often than not, is about some kind of ‘work’ (or ‘playbor’) and how the new breed of ‘walking simulators’ try and avoid that playbor trap. And it’s also about memes and web culture more broadly:

But as images both real and fake have proliferated, their volume has become oppressive. The hundreds your Instagram or Facebook friends post daily. The thousands on Pinterest that show up, welcome or not, with every Google search. Specific images become replaced by caricatures of images: a sun-drenched vacation beach, or an artfully arranged omakase course, or a child now older come a new autumn. It’s no wonder that the droll, more biting memes rise above the fray. Perhaps the best definition of a meme is just an image that, against the odds, actually gets seen—before mercifully vanishing.

The other week I went along to the BFI on the Southbank to watch a preview of the new BBC adapatation of War of the Worlds, starring Eleanor Tomplinson and Rafe Spall (and Robert Carlyle). It’s proper Sunday evening entertainment and I’ll definitely watch the rest of it when it airs.

That’s it for this week, been a quiet one. I’ll leave you with my playlist of the music (both new and old) that’s caught my attention over the past few months:

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