The essays are long and unhurried, and the fare will be familiar to anyone who spends a lot of time online. Many of them involve Twitter discourses of the past few years. Martin Scorsese’s views on Marvel movies make an appearance, as do the online sagas of the writers Lauren Hough, Kathleen Hale and Elizabeth Gilbert, each of whom raised the hackles of the online reviewing community with a variety of consequences.
The first essay, “Embarrassment, Panic, Opprobrium, Job Loss, Etc.,” traces gossip through the 21st century, from the rise and fall of the website Gawker to #MeToo and whisper networks, and the notorious anonymously sourced list of “bad media men” that shook up the magazine world in 2017. These episodes are fluidly stitched together with added context from history and literature, which is the structure of most of the essays in the book. At its best, it feels like your smart friend explaining to you something you missed on the internet, why it’s important and what it means. Occasionally, it feels like your friend overexplaining these things.
Oyler is a sharp and confident critic, and some interpretations in the book are outstanding. For instance, her reading of the film “Tár,” in an essay called “The Power of Vulnerability,” suggests it is not about cancel culture, as many critics wrote when it first came out, but about what would happen if a woman acted like a man. She writes: “We see Tár from rise to downfall, playing the man the entire time. We see her being called maestro. … Most important, we see her in this astounding, unrealistic career, which, in reality, a woman like her would never achieve. Not only because she is a woman, but because she is a woman who acts like a man: cocky, selfish, self-important, rude, on closer inspection a total fraud.” This is an invigorating way to think about the film, and one that sidesteps trite notions of cancellation.
Likewise, in an essay about the forever war of irony versus sincerity, sparked by David Foster Wallace’s 1993 essay “E. Unibus Pluram” and rehashed every few years online, she proposes that the binary itself is fake. “These oppositions are, have always been, reductive, false: A complex work will almost always have both irony and sincerity, and it is possible to express sincere — or authentic, or true — feelings through irony, a rhetorical device that is useful when you want to represent the tension between two conflicting ideas at the same time.”
