So there's a reading gadget and a reading gadget with Angry Birds Star Wars. Which do you pick? Well, you, cultured person that you are, would select the dedicated e-reader, of course, just like you would rather watch Frontline instead of Honey Boo Boo, or pick up Vanity Fair instead of Us Weekly on the checkout line. Or at least that's what the ideal version of yourself would do. But as Amazon and Barnes & Noble are quickly discovering this year, the highbrow ideal all too often gives way to the mass-market realities. Sales of the Kindle and especially the Nook fell this holiday season, despite lower prices than more fully functioning tablets, which are distinctly on the rise. And market researchers estimate that these divergent paths will continue — The Wall Street Journal reports that e-readers sales will be cut in half, from 14.9 million per year to just 7.8 million, by 2015. But the death of the e-reader has less to do with the iPad than what's inside of it: from tablets to TV shows and everything in between, the most high-minded of ideas for cultural consumption always seem to devolve toward mindless entertainment.
Take Bravo, the once completely enlightened — and completely failing — network that, like Arts & Entertainment and The Learning Channel before they became A&E and TLC, once devoted itself to being a slightly less boring knockoff of PBS. In 1985, five years after its founding, The New York Times's Steve Schneider described Bravo's success, measured then by its 350,000 subscribers, as follows:
What has kept things afloat for the past five years has been an evolving mix of cultural programming. Nowadays, a spokesman said, approximately 70 percent of the premium service's schedule is devoted to films, nearly all of which are either from abroad, from the fringes of American production or from times past. The remainder of the schedule is given over to the performing arts -jazz concerts, ballet, opera, modern dance and the like. From Woody Allen films to documentaries about Latin America to performances by the Pina Bausch dance troupe, the offerings range from the challenging to the downright esoteric.
All that changed when NBC bought Bravo in 2002 and gave it a makeover almost completely motivated by ratings. It started with Queer Eye for the Straight Guy, which in its first year delivered 3.3 million viewers per episode. Then came the much acclaimed era of Top Chef and Project Runway, which are still considered highbrow in their own way, but only in the context of their fellow reality shows like The Real Housewives. And let's face it: Bravo is pretty much all Housewives all the time. Well, that and a show about Silicon Valley that features no computer programming at all.