Being ever-conscious of the literature I read in front of others (and who doesn’t enjoy - just a little - the smugness of sitting in a coffee-shop flaunting an 1,100 page book by Thomas Pynchon), it was with some trepidation that I opened a book entitled “Everything Bad Is Good For You.” Heaven forbid people think that I was reading a self-help book. Was I just trying to justify my need to drink hedonistically , eat rich foods, and sell meth to children on playgrounds? Alas, the book broaches none of these subjects, instead focusing on exploring some commonly held beliefs about the state of popular culture - tv, internet, movies, and video games. It takes on the Neil Postman claims that popular culture is in a death-spiral towards the lowest common denominator and instead posits that the additional complexities of our media are making the masses, which Johnson refers to as the “Sleeper Curve,” smarter. Whole geniuses and idiots remain much more stable as intellectual classes, the middle of the curve where most of us appear, is getting more intelligent by all measurable statistics. Johnson believes this is because of the increasing complexity of these cultural mediums.
Gasp! Posh! Can American Idol really be anything other than a sign of the end-times? Isn’t TV teaching us to be the Eloi (see H.G. Wells’s story “The Time Machine” if you don’t know this reference you non-reading, tv-watching heathens - you make me sick ;^)), whilst tv executive Morlocks prey upon our simplistic desires? Fortunately, there is another way to look at the intelligence necessary to deconstruct these shows. Johnson claims that the participatory nature of these newer shows has radically altered the landscape of audience engagement. Shows like “24″ not only challenge us to follow much more complex plots with a greater number of characters than in years past, they lend themselves to repeat viewings so that we can absorb the nuances, catching all of the meaningful glances between characters, etc.
The grand unifying statement from this book is really the following from the conclusion:
The cultural race to the bottom is a myth; we do not live in a fallen state of cheap pleasures that pale beside the intellectual riches of yesterday. And we are not innate slackers, drawn inexorably to the least offensive and least complicated entertainment available. All around us the world of mass entertainment grows more demanding and sophisticated, and our brains happily gravitate to that newfound complexity. Dumbing down is not the natural state of popular culture over time — quite the opposite. The great unsung story of our culture today is how many welcome trends are going up.
If this statement sounds compelling to you, I’d recommend picking this book up. While much of the middle of the book bogs down in repetitious arguments replaying over various areas of cultural media, the premise to this book is strong, buttressed with compelling but not exhaustive, data. I’d recommend reading it if you have an interest in justifying your more prurient delights. It was worth it for me just to make me feel less guilty about my own tv-watching habits and it went down nearly as fast as a DVD-worth of “24.”