Author Archives: rachel

The Chicken or the Egg of Google

In the google controversies article, one of the issues discussed is how to equalize the amount of access different people have to google depending on the policies created by their governments. The thing that struck me about this article was that it pointed out something that had not necessarily occurred to me before— google is not all encompassing. It does not make its own rules. It is a company that has to adhere to the rules of the governing bodies of the countries in which google offers its services. Yet, at the same time, those government officials who are making the rules are probably googling the words in the rulebooks to see how to spell them.

It is an odd paradox— we know which came first in this situation, whether it be the chicken or the egg. But we don’t quite know how to separate them. The problem is that the chicken and the egg are now mutually dependent on each other, and one of them is far more aware of it than the other. As a company, google knows that it exists to make money and to, as their motto suggests not “be evil.” As a society, we do not quite realize the experience that we are having with google. In order to find the answer to that, we would probably have to google it. There are probably google searches on google in which people search for articles that are written about google itself. The point here is that google is intrinsic. It is becoming enfolded into our society, and most likely, it is becoming enfolded into other societies as well.

However, that, in combination with the China issue, brings up a few questions. Mainly, if the google experience is different depending on where we live in the world, how does this affect the way our populations are growing? It could be argued that a huge amount of American viewpoints come from having access to absolutely everything. If we want to go onto the internet and research reasons why 9/11 was a plot created by the Bush administration, we can do that. According to the phenomenon of groupthink, if we go into google expecting one answer and end up finding that answer supported by others, we will be even more convinced that we are correct. Technically, it is our right to believe that of our government. Whereas in China, if people wanted to even consider writing an article about that, they would immediately get trouble from their government, and the article most likely could not be listed on google. There is information that the government does not want their constituents to have, and that means that their access to the world is cut off short in a way that nobody else’s is.

This could be nothing, but it also could be something enormous. Given the fact that the internet is such a new phenomenon, there is no way of telling how exactly it is going to affect us socially. For example, perhaps people with less access to information will have less authority over the circumstances of their lives and government. Perhaps they will have less access to the ideas of others, which will help them understand where their general population lands on certain issues. However, less access to information could also lead them to have different types of development that a society such as America, with such enormous access to the internet. Different conversations and creative accomplishments could be the result of less access to certain information because with it may come less reliance on a search engine like google.

However, the idea that google might have limitations also leads one to realize how all-encompassing it is. Most people have a google tab open constantly on their computers. UMass’ email accounts are linked to google, so the school would not be able to function properly if something happened to it. America depends on google, despite the fact that its main function is to link Americans to other places. Despite other companies’ attempts to become true competitors to google, they haven’t been able to. The development of America, and other places around the world, is inevitably going to lead heavily on google as an establishment. And due to all of the increased access to information— correct or incorrect— this may lead the government and its citizens down a path that they have never been before. One would think that, due to google’s motto of “don’t be evil”, they would be able somehow control for how positive, negative, or correct the influencing information offered is. But google, and its effects on the world, are pretty much a wild card. Whether or not google ends up making the world more or less evil is still a story that needs to be told.

The History of TV

There’s a reason that “the good ol’ days” is a cliche. People seem to be stuck repeating the phrase over and over again. Their perspective on what is good usually lines up with what is old— there is a certain fascination with the past that is almost morbid because we cannot get back to it. Currently, this can be seen in television. A few years ago, the idea of a sequel TV series with the same actors would have made us laugh in the face of whoever was suggesting it. Usually, TV shows ended and that was that. Now, however, there are reboots of our favorite TV shows popping up all over the place. Fuller House, a sequel series for Full House, recently premiered on Netflix. In the coming months, a sequel to Gilmore Girls will be appearing on Netflix as well. The good ol’ days of television are coming back, but none of them are going to be on their original channels— Gilmore Girls, in fact, aired on a channel that doesn’t exist anymore, while Full House was on ABC.

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Reboots like these are quickly becoming the most discussed TV on social media because everybody already knows that they are supposed to be good. We cleave to the familiar, which innately changes the way we interact with TV. Instead of looking forward to watching pilots that major networks are airing, people are looking forward to reboots of their favorite series. It’s taking away from the time that people spend in front of their actual televisions, watching new shows with commercials. Platforms like Netflix don’t need commercials because their subscribers end up paying money to get access to content. It is possible that this is connected to the downfall of Nielsen ratings. Though these ratings used to be the primary way a network tracked how well a television show is doing, now these are inaccurate, due to the amount of people who watch on their computers and cell phones instead of their televisions. Without these numbers, there is no way for advertisers to know how well the show is doing or how much to pay for commercials.

According to Michael Wolff in his article ‘Amazon and the Triumph of Television,’ “Television was once exclusively supported by advertising dollars that demanded mass market audiences, and encouraged safe and bland product,” a process which has been completely toppled by service providers like Amazon and Netflix, neither of which are playing it safe currently. Aside from the sequels, another reason that it is becoming increasingly difficult for regular networks to compete with the numbers of Amazon and Netflix is that these companies no longer have to play it safe. They are able to show almost whatever they want and say what they want as long as the actors agree to it— they are no longer constrained to the same guidelines as network TV is. Furthermore, Wolff’s article reminds the reader that this generation has a very short attention span, and therefore isn’t able to focus for as long on one TV show. Therefore, outputting a season’s worth of content in one day and allowing people to binge watch it creates a more accessible platform through which audience can access shows. Plus, Netflix seasons are far shorter than most TV seasons— a normal TV season is 24 episodes, while Netflix usually has 12 episode seasons.

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It’s an odd conundrum. People want new, but old. They want more content, but less of it. And they want it to be accessible at all times, instead of having to wait every week to be satisfied by the buildup. It’s strange to consider the fact that the moment TV stopped playing it safe in one place, it turned to safety in a different place. Although television shows can be more vulgar, on one hand, they seem to be doing so with characters that the audience already loves. They can show things that we would have been scandalized to see on television ten years ago, but they’re also doing that with characters who are already established in one universe or another. It has become safer to do a reboot than to actually create brand new television content, because audiences are clamoring to see characters that they miss. If it’s not a reboot of a TV show, Netflix uses characters that are from comic books and have established tie-ins to universes that people like. Even HBO has attempted to follow this train with its show Better Call Saul, which is a spin-off of Breaking Bad that features one of the show’s most popular characters.

It’s difficult to quite understand what the future of TV is, because people’s desperation to cling to the past seems to be directly affecting the types of content that Amazon and Netflix choose to produce. In this ephemeral moment, seeing our favorite shows come back to life is joyous and exciting. But content creators should also consider why this was never a popular choice to make before. Why did this not happen? How does it affect the type of content TV stations are going to begin attempting to produce to become competitive? How do we decide which shows are worth rebooting?

TV is going in a million different directions right now, and it is my opinion that the lane network executives select could possibly be one that contributes more to their wallets than it does the creative fabric of society.

Community

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Earlier in the semester, a lecture we watched on the subject of youtube spoke about how the internet has the amazing ability to bring people together. When the lecture was filmed, the internet was not in the same place it is today. It had untapped potential that people didn’t quite understand how to use yet, but one thing was certain: websites like youtube were bringing people together in communities.

Youtube is referred to as “the youtube community” to describe people who meet via this platform and become friends, but the internet has blown the idea of communication far wider than that. People are now able to meet others with similar experiences— ideally, people who never would have been in their lives without this connection. As the internet has become several series of niche groups, different people have been able to utilize this in order to feel less alone. One example of this, mentioned in class in the podcast presentation, is Marlo Mack and her daughter, M.

When Marlo Mack first realized that her daughter was trans, one of the main reasons she felt fear was because she did not have an awareness of any community which could educate her and embrace her child. That’s why she made the choice to begin her podcast, How To Be A Girl. The podcast chronicles the story of Marlo raising her daughter, M., and trying to navigate this experience in a way that would make M. safe and happy. Marlo uses a fake name for both herself and her daughter so that other people can hear about their experiences in a way that does not expose her daughter to discomfort at school.

In an interview with Salon magazine, Marlo discusses the moment that she finally accepted the fact that her child was a girl. “‘The day she finally convinced me was when I asked her, “Do you still want to be a girl?” and she said, “No, Mama, I still am a girl.’” This moment occurred around the time M. was four years old, and Marlo likes to tell the story to show people how intrinsic M.’s gender is within her. She tells the story, and the other stories of her life with M., because she wants parents to realize that this child knew who she should be even at four-years-olds, and now that she is seven, that hasn’t changed. Marlo hopes that this information will come as a relief to other parents that they are not alone, or perhaps will bring people to the realization that their child’s gender is no more a choice than their own.

Through this podcast, Marlo and M. have been able to connect to people with similar experiences to their own. They have spoken out about creating a community of kind, understanding, and similar people so that acceptance is a regular aspect of M.’s life. Both in real life and on the internet, M. is surrounded by positivity, and M.’s story fills other people’s lives with positivity. In doing so, Marlo is attempting to normalize this experience, both for M. and for other people. In one story, she describes M. meeting Laverne Cox, a popular actress who is trans. Marlo states that M. was genuinely more excited to meet Laverne because she was famous than she was to meet a fellow trans person. This is just one example of the community Marlo has created for her daughter.

Even a decade ago, a podcast like this would not have existed. And, with that, the acceptance that this podcast created, both for M. and for other parents as well, would not have existed either. Podcasts like How To Be A Girl have created a dialogue that would not exist without them. They have become useful in both capturing the public discourse of the time period, and also facilitating it. How To Be A Girl gives this particular niche of people an opportunity to find others who are similar, while also allowing them to possibly enlighten both themselves and those who do not belong in this niche on the subject of what it is like to have a child who is trans or to be a trans child. This raw significance is captured perfectly in a quote from Marlo. She says of her daughter: “I hope that hearing her voice will help change some hearts and minds on this issue. She’s a powerful advocate for herself and others like her.”

This is just one area of the world that the internet is bettering, and as it continues to grow, there will be more stories just like this one that lend themselves to the concept of this machine being one of the biggest advocates for humanity.

Sources: http://www.howtobeagirlpodcast.com/about/, http://www.salon.com/2015/08/30/how_this_mom_is_raising_her_7_year_old_transgender_girl_with_a_little_help_from_laverne_cox_janet_mock_and_jazz_jennings/

Representation on TV

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Recently, while scrolling through a website, I stopping on an article entitled “Like ‘Orange is the New Black?’ You’ll Love These 8 Shows!” It did not make me pause because of the title itself— OITNB has become a staple in American culture. Every show or movie has a reference to it. Everybody has seen it. The thing that gave me pause about this article was the fact that it was attempting to capitalize on this TV show that went against every single trope that producers and executives were comfortable with. Of the eighteen actors billed as main cast, only three of them are men. When you switch the channel from Netflix instant to primetime, you’ll find that the ratio of men to women is 5.4 to 1.

Orange is the New Black is also known for having one of the most diverse casts on television when it comes to race. According to PBS, in 2015, 73.1% of actors in Hollywood blockbusters were white. Furthermore, Orange is the New Black features a cast that has various different sexualities and gender identities— things that primetime networks appear to be unwilling to touch for fear of losing their audience. However, with white men taking the leading positions as executive producers at ABC, NBC, and CBS, should people be completely surprised that they are not taking “risks” by filling their lineups with diverse casts lead by women?

To be fair to ABC, Orange is the New Black is not the only example of successful female casts in the media. Shonda Rhimes, a forty-six-year-old black woman, is the sole creator of one of the most successful nights of primetime TV: Must-see-TV-Thursday. The Shondaland lineup includes How To Get Away With Murder, Scandal, and Grey’s Anatomy, two of which have large ensemble casts led by women and filled with characters that have diversity of sexual orientation and race. These shows are some of the most popular on TV right now, which continues to beg the question: What about breaking free of the stereotype of “straight, white, cis, male” is so difficult for TV executives to get behind? The proof can be found in both social media and the ratings— people love these shows that would normally be deemed risks by most primetime television programmers. Yet these statistics show that the primetime programming isn’t showing any increase at all.

Perhaps the lack of improvement is inherent within the issue of whose pockets have the money. Would the face of TV look different if opportunities were handed to women? If media is supposed to reflect the experiences of consumers, why is it that so many people feel as if they are not being represented by the modern day spectrum of television shows? When a person sits down to watch a television show, they are interested in both escaping, but also finding themselves within the characters. People use novels, television, and film in order to learn things about themselves while experiencing other characters, and the fact that shows like Orange is the New Black are so rare means that there are large groups of people whose experiences are not being represented by television. People become obsessed with a show like that because it is so special to use an eclectic cast of women all having their stories flushed out and told. None of these women are stereotypes or one dimensional. They are allowed to be funny and sexy and broken simultaneously, which is a far more similar to many women’s experiences than one-dimensional portrayals on sitcoms.

However, even primetime television is taking small steps towards what should have already been instilled. Many shows with female leads are beginning to pop up— whether they get renewed or not is a different story, but there is certainly some effort lately. The CW has shows that are primarily captained by women— most notably, the March 21st episode of their “Jane The Virgin” made it a point to educate the audience on the subject of the Bechdel test. The characters discussed what the test was, why it  was important, and then made a small joke out of which of their scenes passed the test and which did not. Jane, the lead character, obsessed over the chapters of the novel she was working on being able to pass the test. When her advisor said that she wasn’t impressed, Jane was horrified, claiming that she had done the work— her chapters passed. However, the advisor pointed out that merely passing wasn’t enough, implying that the problem lied in the fact that there even had to be a rest in the first place.

Sources: http://www.cheatsheet.com/entertainment/if-you-like-orange-is-the-new-black-check-out-these-8-shows.html/, http://www.pbs.org/newshour/rundown/30000-hollywood-film-characters-heres-many-werent-white/, http://www.huffingtonpost.com/2012/11/13/women-in-the-media-female_n_2121979.html.

My Youtube History

 

https://www.youtube.com/playlist?list=PL1ZfIuq9KGhUefY7VW5goNdxA7-0vB3FE

 

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My first experience with a youtube video occurred when my Aunt and Uncle showed me the Charlie the Unicorn videos. I couldn’t believe that I had never heard of them before, because my family members could quote these videos from the beginning to end. I think that was the start of my experience with being completely behind on anything “youtube.”

I have never been the type of person to go onto youtube and waste hours getting lost in video content. My experiences with youtube have largely been defined by everybody else in a room being able to quote a video that I have, inevitably, never heard of. Throughout my life, if I have wanted to show someone a youtube video, there is basically an 85% chance they have already seen it. Even now, I genuinely don’t know how people hear about/find youtube videos. It’s an art that is lost on me.

 

There’s a small number of youtube videos of me singing in middle school and high school productions (I have no idea who put them up, but they’re pretty good blackmail) so I get to occasionally walk down memory lane and watch fourteen-year-old me belting out a tune from “Kamp Kaos,” our eighth grade musical. My mom used to go onto youtube and show her friends the videos and I would bolt from the room so I didn’t have to hear myself.


Mostly, I use youtube for music. If it’s a newer song, it’s probably in my itunes library, so I head over to youtube for the middle school stuff or songs that I grew up hearing my mom singing. Over the years, as I’ve become more engaged in fandom, I’ve also wasted a lot of time watching scenes of couples I like all condensed into one video, usually with a song in the background (like the mashup videos that the Russo article was discussing.) One night last semester, my roommate and I spent multiple hours watching videos about Seth and Summer from The O.C., despite the fact that neither of us have ever seen a single episode of that show. We are not proud of this fact.

 

Youtube is also a place where I have been able to watch Broadway shows. A lot of them are on youtube if you know where to look (many are unlisted, so you need a link to get to them). I watched Spring Awakening, Next to Normal, A Very Potter Musical, Legally Blonde, and Dogfight (my all time favorite musical!) on youtube. Although I have since seen three out of five of these shows done live, I got to expose myself and others to theatre through this site, which I’m really grateful for.

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I also had the pleasure of experiencing The Lizzie Bennet Diaries almost from the beginning of the show, and getting all of my friends addicted to it. One of my favorite high school memories is being gathered around the computer with five or six of my friends on the day that we knew we were going to see Darcy’s face for the first time (dubbed ‘Darcy Day’ by the fandom because alliteration is awesome). We skipped lunch for it, but it was worth it. Towards the end of the series, I would sneak my ipad into school and excuse myself to go to the bathroom when the new videos came out on Monday and Thursdays at 12pm.