1. The point of this anecdote is my ability to identify with a fictional character, and its real-life effects. The fact that many might be precluded from identifying with the Anglophile world and all-male cast of The Hobbit is another issue altogether.
  2. https://www.ted.com/talks/joseph_pine_on_what_consumers_want/transcript?language=en
  3. Nehamas, Alexander. “Because It Was I, Because It Was He.” Lecture, University of Edinburgh, 2008.
  4. Ibid
  5. Ibid
  6. See Joselit, David. “Against Representation.” Texte zur Kunst. Issue 95, September 2014, or for a more complete line of argumentation, see Fred Moten and Stefano Harney’s The Undercommons: Fugitive Planning and Black Study, Minor Compositions, New York: 2013.
  7. Ibid
  8. http://lectures-staedelschule.blogspot.com/2014/04/michael-sanchez.html
  9. http://www.nytimes.com/2015/04/13/business/media/at-the-head-of-the-pack-hbo-shows-the-way-forward.html
  10. Ibid
  11. The overt orientalism of Marco Polo, as well as Weinstein’s particular take on globalizing his audience, is painful to witness and leaves me too disgusted to waste time explicating. Suffice to note that the politics of these shows, like much popular fantasy, is incredibly regressive.
  12. “Your brain doesn’t like to keep secrets. Studies at the University of Texas, Austin, have shown that writing down secrets in a journal or telling a doctor your secrets actually decreases the level of stress hormones in your body. Keeping a secret, meanwhile, does the opposite.” ‘Incognito’: What’s Hiding In The Unconscious Mind, Fresh Air, 2012.
  13. I am indebted to Hannah Burnett for the observation about romance novel communities—it is her research and experience that I refer to here.
  14. Bourdieu, Pierre. The Field of Cultural Production. Columbia University Press, 1993. Pgs 44-45.
  15. Odysseus’ bed in The Odyssey—the pre-eminent journey story—was so strongly associated with the idea of home and intractability that its bedpost is an olive tree that the house was built around. The hero confirms his identity to the long-waiting Penelope by describing this post.
  16. By contrast, in Buffy (and other Joss Whedon series) the characters tend to start out as stiff and archetypical. It is only through events transpiring over the course of many episodes, or even seasons, that the characters ultimately become exceptionally vivid.