Before you watch the Super Bowl tonight, you could, should you be so inclined, head over to YouTube and watch a preview of an ad Kia will be airing during the game. The spot features the Victoria's Secret model Adriana Lima wearing very little and doing even less: She spends the entirety of the ad, hilariously and (one presumes) at least partially satirically, swaying, saying nothing, and waving a checkered racing flag. Very, very slowly.
Super Bowl commercials (the experience of, the economics of, etc.) used to be pretty straightforward: Advertisers would gladly pay tons of money for a slot during the game's broadcast because an ad aired during the game's broadcast was an amazingly efficient way of getting a message out to tons of people. That's still the case -- a 30-second space is going, this year, for $3.5 million, up from $3 million last year -- but the mechanics of the messaging are changing, and rapidly. Super Bowl ads are no longer simply ads, in the Traditional Teevee sense; they're campaigns that play out, strategically, over time. Instead of functioning as commercial broadcasts unto themselves, they're acting more and more like episodic touchpoints for an expansive cultural conversation.
In part, that's about marketers racing each other for relevance in an environment where marketing messages no longer need to be confined to TV. But it's a bigger story, too -- of communications, overall, breaking free of the boxes that used to contain them. One function of the media, traditionally, has been the regulation not just of information, and not just of entertainment, but of time itself. Our broadcast networks, in particular, have segmented time into neat little boxes -- 30 seconds here, 30 minutes there -- and populated them with sounds and images that entertain and (occasionally) edify us. They have plotted our days into grids, scheduling our experience and helping us to forget that, in fact, there's very little that's natural about a time slot.
Super Bowl ads have been pretty much the Platonic culmination of the gridded media system. They have operated on the assumption that a Big Event itself (the experience of, the economics of) is significant not just because of its content, but because of the community it convenes (111 million people!). The Super Bowl is time rendered collective and contained -- so of course marketers want to buy themselves a chunk of it. When better to make your pitch to the world than during the period when the maximum amount of eyes are focused on, effectively, the same screen?
YouTube, and social networks in general, encourage precisely the opposite marketing model. Rather than containing consumer attention, they disperse it. They take the typical 30-second ad spot and condense it to five seconds ... or expand it to five hours. Or both. Or neither. It doesn't matter, because digital spaces remove time as both a constraint and a value in commercial production, allowing for marketing that insinuates itself on its intended audiences much more slowly, and much more manipulatively, and potentially much more effectively, than its analog counterparts.
You'd think all that would be bad news for broadcast networks, with marketers trading YouTube for boob tube and abandoning the pricey Super Bowl altogether. Why buy the milk, and all that. But: Not only are marketers continuing to pay for something they could ostensibly get for free; they're paying more for it than they ever have before. They're still finding value -- millions of dollars worth of it -- in the connective consciousness that the Super Bowl represents.
And that's because, in a world of atomized attention, anything that can aggregate us is becoming more valuable than it's ever been before. Ads aired during the Super Bowl aren't just ads; they're Super Bowl ads. That branding will give them a spot -- and a continued life -- in Monday's write-ups of Sunday's best Super Bowl spots, and in all those "Super Bowl Ads: 2012" collections that will function as archives for future generations. Their context will make them more than what they are. And that will make them, implicitly, more engaging than they might be otherwise. Super Bowl ads, as my colleague Jordan Weissmann has pointed out, have been found to be 58 percent more memorable than regular ads. And while that's partly, sure, because those ads generally represent the best stuff that J. Walter and friends have to offer, it's also because the ads, aired when they are, adopt the warmth of assumed connection that convened attention can confer. I am watching Matthew Broderick as 110,999,999 other people do. There is something epic -- and rare -- about that.
So Super Bowl ads are increasingly valuable because the kind of mass-conscious event they're part of is increasingly rare. Mass-ness itself is increasingly rare. Overall, in the U.S., TV viewership is declining. Audiences are fragmenting. The Gladwellian connectors that used to bring us together -- Lucy, J.R., Oscar -- are departing, leaving individual impulse as the driver of our time. This is wonderful, and liberating, but introduces its own set of quandaries. TV Guide, after all, wasn't just a guide book; it was a framework. It was a power structure. It assembled us, effortlessly, within its neat little boxes. By limiting our experience, it also connected our experience.
No longer. Increasingly, we're looking to social networks rather than TV networks for our entertainment, for our information, for our sense of the world. And those social networks are fluid and box-less and limitless in a way that traditional media never could be. What happens to events themselves -- those shared moments of cultural connection -- in a world where time is unconstrained? Is a Super Bowl ad really a Super Bowl ad when I can watch it long before kickoff?
When the government shuts down, the politicians pipe up.
No sooner had a midnight deadline passed without congressional action on a must-pass spending bill than lawmakers launched their time-honored competition over who gets the blame for their collective failure. The Senate floor became a staging ground for dueling speeches early Saturday morning, and lawmakers of both parties—as well as the White House and political-activist groups—flooded the inboxes of reporters with prewritten statements castigating one side or the other.
Led by President Trump, Republicans accused Senate Democrats of holding hostage the entire government and health insurance for millions of children over their demands for an immigration bill. “This is the behavior of obstructionist losers, not legislators,” the White House said in a statement issued moments before the clock struck midnight. In a series of Saturday-morning tweets, Trump said Democrats had given him “a nice present” for the first anniversary of his inauguration. The White House vowed that no immigration talks would occur while the government is closed, and administration officials sought to minimize public anger by allowing agencies to use leftover funds and by keeping national parks and public lands partially accessible during the shutdown—in effect, by not shutting down the government as fully as the Obama administration did in 2013.
John Hughes’s coming-of-age classic feels dated in retrospect, but the film paved the way for more character-focused teen stories.
When John Singleton—the groundbreaking filmmaker behind movies like Boyz n the Hood, and the first African American to get a Best Director Oscar nomination—first saw The Breakfast Club in 1985, he was reviewing it for his high-school newspaper. “The various characters were teenage archetypes, but they were rooted in genuine human problems,” he later said. “I didn’t feel alienated by the fact that they were all white kids. They were just teens finding their way into adulthood—like I was.”
Six years later, Singleton made Boyz n the Hood, a teen drama about growing up in South Central Los Angeles; he cites the Breakfast Club writer-director John Hughes as a major influence. “He gave me a template,” Singleton has said, according to David Kamp’s essay in the new Criterion Collection release of the movie, which came out this month. Watching Hughes’s foundational tale of adolescent angst more than 30 years on, it’s easy to be put off by the homogeneity and privilege of its main characters: five suburban white kids in Chicago who spend the entire film fretting over their social status, overbearing parents, and existential fears. But The Breakfast Club undeniably laid the foundation for a whole new kind of teen drama—one motivated less by plot, and more by mood.
The website made a name for itself by going after Aziz Ansari, and now it’s hurting the momentum of #MeToo.
Fifteen years ago, Hollywood’s glittering superstars—among them Meryl Streep— were on their feet cheering for Roman Polanski, the convicted child rapist and fugitive from justice, when he won the 2003 Academy Award for Best Director. But famous sex criminals of the motion picture and television arts have lately fallen out of fashion, as the industry attempts not just to police itself but—where would we be without them?—to instruct all of us on how to lead our lives.
The Golden Globes ceremony had the angry, unofficial theme of “Time’s Up,” which quickly and predictably became unmoored from its original meaning, as excited winners tried to align their entertaining movies and TV shows with the message. By the time Laura Dern—a quiver in her voice—connected the nighttime soap opera Big Little Lies to America’s need to institute “restorative justice,” it seemed we’d set a course for the moon but ended up on Jupiter: close, but still 300 million miles away. And then Oprah Winfrey climbed the stairs to the stage, and I knew she wouldn’t just bat clean-up; she’d bring home the pennant.
Allegations against the comedian are proof that women are angry, temporarily powerful—and very, very dangerous.
Sexual mores in the West have changed so rapidly over the past 100 years that by the time you reach 50, intimate accounts of commonplace sexual events of the young seem like science fiction: You understand the vocabulary and the sentence structure, but all of the events take place in outer space. You’re just too old.
This was my experience reading the account of one young woman’s alleged sexual encounter with Aziz Ansari, published by the website Babe this weekend. The world in which it constituted an episode of sexual assault was so far from my own two experiences of near date rape (which took place, respectively, during the Carter and Reagan administrations, roughly between the kidnapping of the Iran hostages and the start of the Falklands War) that I just couldn’t pick up the tune. But, like the recent New Yorker story “Cat Person”—about a soulless and disappointing hookup between two people who mostly knew each other through texts—the account has proved deeply resonant and meaningful to a great number of young women, who have responded in large numbers on social media, saying that it is frighteningly and infuriatingly similar to crushing experiences of their own. It is therefore worth reading and, in its way, is an important contribution to the present conversation.
Stories of gray areas are exactly what more men need to hear.
The story of Aziz Ansari and “Grace” is playing out as a sort of Rorschach test.
One night in the lives of two young people with vintage cameras is crystallizing debate over an entire movement. Depending on how readers were primed to see the ink blot, it can be taken as evidence that the ongoing cultural audit is exactly on track—getting more granular in challenging unhealthy sex-related power dynamics—or that it has gone off the rails, and innocent men are now suffering, and we are collectively on the brink of a sex panic.
Since the story’s publication on Saturday (on the website Babe, without comment from Ansari, and attributed to a single anonymous source), some readers have seen justice in Ansari’s humiliation. Some said they would no longer support his work. They saw in this story yet another case of a man who persisted despite literal and implied cues that sex was not what a woman wanted.Some saw further proof that the problems are systemic, permeating even “normal” encounters.
An infamous gap in Interstate 95 will finally be closed this summer.
PENNINGTON, N.J.—The past few years have been thick with promises of shiny new infrastructure and the revival of American greatness.
Funny, then, that so little has been made of a quiet victory for U.S. infrastructure due later this year. By September 2018, one of the country’s most famous civil-engineering projects will finally complete construction, six decades after work on it began.
Interstate 95, the country’s most used highway, will finally run as one continuous road between Miami and Maine by the late summer. The interstate’s infamous “gap” on the Pennsylvania and New Jersey border will be closed, turning I-95 into an unbroken river of concrete more than 1,900 miles long. In so doing, it will also mark a larger milestone, say transportation officials—the completion of the original United States interstate system.
How men and women digest differently, diet changes our skin, and gluten remains mysterious: A forward-thinking gastroenterologist on eating one's way to "gutbliss"
Robynne Chutkan, MD, is an integrative gastroenterologist and founder of the Digestive Center for Women, just outside of Washington, D.C. She trained at Columbia University and is on faculty at Georgetown, but her approach to practicing medicine and understanding disease is more holistic than many specialists with academic backgrounds. She has also appeared on The Dr. Oz Show (of which I’ve been openly skeptical in the past, because of Oz’s tendency to divorce his recommendations from evidence).
The national-security adviser is one of the biggest hawks in the Trump administration.
In the increasingly urgent, dramatic debate about the North Korean nuclear threat, National Security Adviser H.R. McMaster stands out in the Trump administration as the strongest advocate of a hawkish position. But where do H.R. McMaster’s views on North Korea really come from? Why, to pose a question The Atlantic’s Uri Friedman recently did, is he so worried about North Korea? Notwithstanding the suggestion, in Friedman’s piece and elsewhere, that McMaster’s views represent some kind of heresy of nuclear deterrence, his worries must be seen in light of how he views Kim’s motives. Indeed, those motives mean the possibility of military action against North Korea could be understood not as a “good thing,” but as the “least bad.”
In transcending left-right divides, the French president may be creating a monster of a different sort.
Foreigners are fascinated by French President Emmanuel Macron. And why shouldn’t they be? He’s the youngest-ever president of the French Republic, elected with no party and no previous electoral experience, a virtual nobody just two years before he leaped to the forefront of the French political scene. Of course people are curious.
But there’s another reason my non-French friends bombard me with questions about my president. Like myself, most of them have advanced degrees and upper-middle-class backgrounds. This sort of socioeconomic status correlatesstrongly with affection for Macron.
His views mirror those held by most of this “elite” class. He thinks the left-right divide should be transcended. He doesn’t care about outworn ideologies, but about solutions that work, wherever they come from. He thinks startups are cool and the economy should be generally entrepreneurship-friendly, but he also wants some sort of welfare state. He’s got no problem whatsoever with gay marriage. He believes immigration is desirable for both economic and moral reasons.
A tanker that sank off the Chinese coast was carrying “condensate,” a mix of molecules with radically different properties than crude.
Over the last two weeks, the maritime world has watched with horror as a tragedy has unfolded in the East China Sea. A massive Iranian tanker, the Sanchi, collided with a Chinese freighter carrying grain. Damaged and adrift, the tanker caught on fire, burned for more than a week, and sank. All 32 crew members are presumed dead.
Meanwhile, Chinese authorities and environmental groups have been trying to understandthe environmental threat posed by the million barrels of hydrocarbons that the tanker was carrying. Because the Sanchi was not carrying crude oil, but rather condensate, a liquid by-product of natural gas and some kinds of oil production. According to Alex Hunt, a technical manager at the London-based International Tanker Owners Pollution Federation, which assists with oil spills across the world, there has never been a condensate spill like this.