Saved by Keely Adler
“Emily in Paris” and the Rise of Ambient TV
The ambience of ambient TV is often predicated on homogeneity; any diversity or discordance would disrupt the smooth, lulling surface. (“Emily in Paris” almost entirely stars white actors, too.) The lurking subtext of “Dream Home Makeover,” a kind of soft-white capitalist nationalism cloaked in throw pillows, brought to mind for me the architect... See more
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
The passive engagement of ambient television is a boon for streaming services, which just want you to keep binging so that you feel your subscription is justified.
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
In the two-thousand-tens, there was a brief vogue for “slow TV,” reality television of unedited reality, such as a more than seven-hour real-time video of a train ride from Bergen to Oslo, shot in 2009, and a Norwegian production, in 2016, showing twelve hours of the extreme tidal current in the strait of Saltstraumen. The durational videos inspire... See more
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
As with soaps and chores, the current flow of ambient television provides a numbing backdrop to the rest of our digital consumption: feeds of fragmented text, imagery, and video algorithmically sorted to be as provocative as possible. Ambience offers the increasingly rare possibility of disengagement while still staring at a screen.
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
Netflix’s back catalogue of ambient options is made up of reality shows: “Dream Home Makeover” is ambient interior decorating; “Taco Chronicles,” ambient foodie travel; “Get Organized with the Home Edit,” ambient cleaning; “Street Food,” ambient cooking; “MeatEater,” ambient outdoorsmanship. What these shows all have in common is their... See more
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
Netflix is pioneering a genre that I’ve come to think of as ambient television. It’s “as ignorable as it is interesting,” as the musician Brian Eno wrote, when he coined the term “ambient music” in the liner notes to his 1978 album “Ambient 1: Music for Airports,” a wash of slow melodic synth compositions. Ambient denotes something that you don’t... See more
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
Ambient denotes something that you don’t have to pay attention to in order to enjoy but which is still seductive enough to be compelling if you choose to do so momentarily.
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
TikTok’s For You tab serves an endless stream of short videos that algorithmically adapt to your interests, sorting the content most likely to engage you. Using it feels like having your mind read, because all you do is watch or skip, focus or ignore, a decision made too fast to be fully conscious. Individual videos or accounts matter less than... See more
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
Whereas the Internet once promised to provide on-demand access to limitless information and media to anyone willing to make use of a Google search, lately it has encouraged a more passive kind of engagement, a state of slack-jawed consumption only intensified by this past year’s quarantine ennui.