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I like to think of it as consequence culture, where when you make a mistake-and we all do, by the way-there should be consequences. Cancel culture is this boogeyman that people have come up with to explain away bad behavior and when their faves experience consequences. Nowadays there’s something called canceled culture. I get really frustrated when people are like, “Oh, it’s the culture wars.” What precisely does that mean? “Cancel culture is this boogeyman that people have come up with to explain away bad behavior and when their faves experienced consequences.” I think it’s the kind of thing that people say when they’re too lazy to engage with the world as it is, and they want to dismiss the very material realities of most people’s lives. Does it mean anything to you? And if it does, how do you think it’s changed over the years? So there’s this term that I honestly hate: “culture wars.” It’s a term that’s been bandied about for decades.
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A lot of what we see on our televisions and in movie theaters has been shaped by the political climate. How do you approach blending cultural criticism and politics? Do they automatically go together, or are they different? We’ve seen some really great conversations about film and television and literature in recent years. When it’s done well and you have a diversity of perspectives-not just in terms of demography, but in terms of intellectual thinking and ideas and aesthetic-it makes for a really rich conversation. I think that’s what makes it such a rich field. Cultural criticism that I might write is going to be vastly different from the cultural criticism that a white guy is going to write, or that an Asian woman is going to write. We tend to do it based on who we are, and what we prefer and our identity. I think it was really paid cable premium cable that made it possible, and it is cultural criticism that sustained it and gave it the gravitas that it now has.Ĭultural criticism is the way we contextualize the media that we consume. I think that our television tastes have evolved and matured, and writers have been given more leeway. Roxane Gay: I don’t know that cultural criticism made it happen. How would you describe that revolution and the role of cultural criticism in making it happen? I speak as a big TV buff, and there’s been no better time to watch TV. Jamilah King: I wanted to start by asking you about something that you said in the course: that cultural criticism brought about the revolution we’re experiencing in entertainment right now. Listen to the latest episode of the Mother Jones Podcast: Subscribe using Apple Podcasts, Spotify, Stitcher, or your favorite podcast app.
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She joined Jamilah King for a conversation in late February. For the full experience, listen to their interview on the Mother Jones Podcast or read the transcript below, which has been lightly edited and condensed.
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Gay answers these questions and more in her sharp and accessible series on MasterClass called Writing for Social Change. How does she do it? How has she cultivated her voice over the years? How does she write things that make a difference? And, oh yes, she also has a podcast and is running a monthly online book club.
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Add to all this, a book of writing advice coming out in November called How to Be Heard, and a screenplay for Hunger and a YA novel that are works in progress. She has a New York Times advice column on work, money, and careers. Her works include a best-selling collections of essays ( Bad Feminist), a blockbuster memoir ( Hunger), the Black Panther comics, and countless essays of cultural criticism. Roxane Gay is one of the most prolific and versatile writers of our generation.
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