{"title":"Emily Nussbaum","description":null,"products":[{"product_id":"i-like-to-watch-book-emily-nussbaum-9780525508960","title":"I Like to Watch","description":"\u003cb\u003eFrom \u003ci\u003eThe New Yorker\u003c\/i\u003e's fiercely original, Pulitzer Prize-winning culture critic, a provocative collection of new and previously published essays arguing that we are what we watch.\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cbr\u003eEmily Nussbaum is the perfect critic--smart, engaging, funny, generous, and insightful.--David Grann, author of \u003ci\u003eKillers of the Flower Moon\u003c\/i\u003e\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003e\u003cb\u003eNAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR - \u003ci\u003eChicago Tribune \u003c\/i\u003e- \u003ci\u003eEsquire \u003c\/i\u003e- \u003ci\u003eLibrary Journal \u003c\/i\u003e- \u003ci\u003eKirkus Reviews\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003e From her creation of the Approval Matrix in \u003ci\u003eNew York \u003c\/i\u003emagazine in 2004 to her Pulitzer Prize-winning columns for \u003ci\u003eThe New Yorker, \u003c\/i\u003e Emily Nussbaum has argued for a new way of looking at TV. 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Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism, one that resists the false hierarchy that elevates one kind of culture (violent, dramatic, gritty) over another (joyful, funny, stylized). \u003ci\u003eI Like to Watch\u003c\/i\u003e traces her own struggle to punch through stifling notions of prestige television, searching for a more expansive, more embracing vision of artistic ambition--one that acknowledges many types of beauty and complexity and opens to more varied voices. It's a book that celebrates television \u003ci\u003eas\u003c\/i\u003e television, even as each year warps the definition of just what that might mean. \u003cp\u003e\u003c\/p\u003e\u003cb\u003eFINALIST FOR THE PEN\/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY\u003c\/b\u003e \u003cp\u003e\u003c\/p\u003eThis collection, including some powerful new work, proves once and for all that there's no better American critic of anything than Emily Nussbaum. 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In this collection, including two never-before-published essays, Nussbaum writes about her passion for television, beginning with \u003ci\u003eBuffy the Vampire Slayer,\u003c\/i\u003e the show that set her on a fresh intellectual path. She explores the rise of the female screw-up, how fans warp the shows they love, the messy power of sexual violence on TV, and the year that jokes helped elect a reality-television president. There are three big profiles of television showrunners-Kenya Barris, Jenji Kohan, and Ryan Murphy-as well as examinations of the legacies of Norman Lear and Joan Rivers. The book also includes a major new essay written during the year of MeToo, wrestling with the question of what to do when the artist you love is a monster.\u003cbr\u003e \u003cbr\u003e More than a collection of reviews, the book makes a case for toppling the status anxiety that has long haunted the \"idiot box,\" even as it transformed. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism, one that resists the false hierarchy that elevates one kind of culture (violent, dramatic, gritty) over another (joyful, funny, stylized). \u003ci\u003eI Like to Watch\u003c\/i\u003e traces her own struggle to punch through stifling notions of \"prestige television,\" searching for a more expansive, more embracing vision of artistic ambition-one that acknowledges many types of beauty and complexity and opens to more varied voices. It's a book that celebrates television \u003ci\u003eas\u003c\/i\u003e television, even as each year warps the definition of just what that might mean.\u003cbr\u003e \u003cbr\u003e \u003cb\u003eFINALIST FOR THE PEN\/DIAMONSTEIN-SPIELVOGEL AWARD FOR THE ART OF THE ESSAY\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \"This collection, including some powerful new work, proves once and for all that there's no better American critic of anything than Emily Nussbaum. 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In this revelatory, deeply reported account of the rise of dirty documentary--from its contentious roots in radio to the ascent of Donald Trump--Emily Nussbaum unearths the origin story of the genre that ate the world, as told through the lively voices of the people who built it. At once gimlet-eyed and empathetic, \u003ci\u003eCue the Sun \u003c\/i\u003e explores the morally charged, funny, and sometimes tragic consequences of the hunt for something real inside something fake. \u003cp\u003e\u003c\/p\u003eIn sharp, absorbing prose, Nussbaum traces the jagged fuses of experimentation that exploded with \u003ci\u003eSurvivor\u003c\/i\u003e at the turn of the millennium. She introduces the genre's trickster pioneers, from the icy Allen Funt to the shambolic Chuck Barris; \u003ci\u003eCops\u003c\/i\u003e auteur John Langley; cynical \u003ci\u003eBachelor\u003c\/i\u003e ringmaster Mike Fleiss; and Jon Murray and Mary-Ellis Bunim, the visionaries behind \u003ci\u003eThe Real World\u003c\/i\u003e--along with dozens of stars from \u003ci\u003eAn American Family, The Real World, Big Brother, Survivor, \u003c\/i\u003eand \u003ci\u003eThe Bachelor\u003c\/i\u003e. We learn about the tools of the trade--like the Frankenbite, a deceptive editor's best friend--and ugly tales of exploitation. But \u003ci\u003eCue the Sun \u003c\/i\u003e also celebrates reality's peculiar power: a jolt of emotion that could never have come from a script. \u003cp\u003e\u003c\/p\u003eWhat happened to the first reality stars, the Louds--and why won't they speak to the couple who filmed them? Which serial killer won on \u003ci\u003eThe Dating Game\u003c\/i\u003e? 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