I Like to Watch: Arguing My Way Through the TV Revolution [Audiobook]English | June 25, 2019 | ASIN: B07PNCMGF4 | [email protected] kbps | 13h 42m | 377 MB
Author and Narrator: Emily Nussbaum
From The New Yorker’s fiercely original, Pulitzer Prize-winning culture critic, a provocative collection of new and previously published essays arguing that we are what we watch.
"Emily Nussbaum is the perfect critic – smart, engaging, funny, generous, and insightful." (David Grann, author of Killers of the Flower Moon)
From her creation of the "Approval Matrix" in New York magazine in 2004 to her Pulitzer Prize-winning columns for The New Yorker, Emily Nussbaum has argued for a new way of looking at TV. In this collection, including two never-before-published essays, Nussbaum writes about her passion for television, beginning with Buffy the Vampire Slayer, the show that set her on a fresh intellectual path. She explores the rise of the female screwup, how fans warp the shows they love, the messy power of sexual violence on TV, and the year that jokes helped elect a reality television president.
There are three big profiles of television showrunners – Kenya Barris, Jenji Kohan, and Ryan Murphy – as well as examinations of the legacies of Norman Lear and Joan Rivers. The audiobook also includes a major new essay written during the year of #MeToo, wrestling with the question of what to do when the artist you love is a monster.
More than a collection of reviews, the audiobook makes a case for toppling the status anxiety that has long haunted the "idiot box", even as it transformed. Through it all, Nussbaum recounts her fervent search, over 15 years, for a new kind of criticism, one that resists the false hierarchy that elevates one kind of culture (violent, dramatic, gritty) over another (joyful, funny, stylized). I Like to Watch traces her own struggle to punch through stifling notions of "prestige television", searching for a more expansive, more embracing vision of artistic ambition – one that acknowledges many types of beauty and complexity and opens to more varied voices. It’s an audiobook that celebrates television as television, even as each year warps the definition of just what that might mean.