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.
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
There’s a danger that, through algorithmic digital platforms, we can stay ensconced in our soothing aesthetic bubbles.
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 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
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
The earlier era of prestige TV was predicated on shows with meta-narratives to be puzzled out, and which merited deep analyses read the day after watching. Here, there is nothing to figure out; as prestige passes its peak, we’re moving into the ambient era, which succumbs to, rather than competes with, your phone.
Kyle Chayka • “Emily in Paris” and the Rise of Ambient TV
In this and other recent programming, 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.
Kyle Chayka • “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
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.