Princeton’s COVID-19 communications are dangerously ambiguous
The following is a guest contribution and reflects the author’s views alone. For information on how to submit an article to the Opinion Section, click here.
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The following is a guest contribution and reflects the author’s views alone. For information on how to submit an article to the Opinion Section, click here.
Comedian John Hodgman has written on many occasions that nostalgia is a “toxic impulse.” And while I am, by nature, a deeply sentimental person prone to intense bouts of reminiscence, I’ve always tended to agree with him, at least theoretically. The urge to look only to the past for comfort seems troubling and isolating, and even threatening in a political context. So, I surprised myself recently by discovering how important revisiting — rewatching, rereading, re-listening to — art and media has become to me.
The reality competition show "Survivor" has frequently been praised as the "greatest social experiment ever" by the media, its host Jeff Probst, and its contestants. I’ve been watching “Survivor” since I was seven years old, and I’m excited for it to return this month after a yearlong hiatus. My primary method of procrastination for a while has been catching up on older seasons, doing deep dives into obscure analyses of voting patterns, and waking my sister up with 3 a.m. texts about funny moments.
“Fun City” is, in as few words as possible, a co-GMed Shadowrun narrative-play improv comedy podcast. This set of terms is pretty much impenetrable on its own, and each term merits its own elaboration, given that each marks an innovation in the audio production world.
What will football look like in the future? Follow this apparently innocuous question asked in the headline of an article on sports news site SB Nation, and you’re probably expecting a write-up of draft prospects, league policies, statistical predictions, and maybe some musings on the evolution of sports fandom. What you get, however, is Jon Bois’s “17776,” a long-form multimedia speculative fiction narrative longlisted for two Hugo Awards.
I’ve been active on Twitter since 2014, and it is exhausting. On the one hand, I’ve derived some very real benefits — I discovered some of my favorite artists and creators, refined my political and personal perspectives, goofed around in direct messages with my friends.