Might TV Contribute to Millennials’ Emotional Fragility?

Image resultDavid Brooks has noted that Millennials, while more accomplished, are more “emotionally fragile” than previous generations. He is backed up by this article which includes reports from Psychology Today, that “the average high school kid today has the same level of anxiety as the average psychiatric patient in the early 1950s.”

This fits with my experience. People my age have battled spiraling depression and anxiety since early adolescence or before. I do agree with Brooks that it’s in large part because many of us lack deep convictions and a narrative about what is really meaningful.

In his book, “The Road to Character,” he identifies inside everyone an “Adam I” and an “Adam II.” Adam I is the external person, the face we show to the world, the bearer of “resume virtues,” as he puts it. Adam II is the internal person, the inner compass of wisdom, maturity and kindness or of fragility, shallowness and self-righteousness. Adam II is bearer of the “eulogy virtues.” Brooks says and I agree that the great struggle of being a good person is to bring these two aspects of ourselves together.

I would like to introduce a contributing factor that Brooks does not explore: the saturation of TV, movies and visual media in our lives. In my (limited) experience, development of the Adam II, the inner person, relies on refining our emotional processing of external realities. Yet, in our culture, we almost lack entirely a vocabulary to express this inner thought process and dialogue. Our language is much better suited to the roles of Adam I – naming nouns, like rocks and buildings, and discussing clear, observable markers of achievement such as job titles and salaries. If our words have trouble explaining Adam II, our visual mediums struggle even more and this contributes to the difficulty we have in developing Adam II.

In mediums such as TV shows and films where characters hash out their differences or conquer adventures in visual theatrics, there is almost no method for depicting the inner-transformations that go on in order to develop that wisdom and maturity that characterizes Adam II. Even writers, artists of the silent medium, today criticize older models of novel-writing that spent paragraphs and paragraphs detailing a character’s motivation. In today’s sitcoms or romantic comedies, a character experiencing emotional distress almost always runs away and pouts–be it a child nervous before a performance or a woman scorned. Then, the father, teacher or boyfriend character seeks out the distressed child or girlfriend, listens patiently, gets passed the walls and offers reassurance. This is the model of any TeenDisney or Jude Apatow movie.

From an artistic standpoint, it makes sense. When two characters interact, there is something to display on the screen. When they speak to one another, their thoughts and emotions can be revealed. Dialogue is the Holy Grail of good story-telling.

But when this example permeates our lives, we encounter a problem: it is not realistic. These portrayals set-up the expectation that there will always be a kind mentor to rescue us from our emotional distress or at least help us to process it. But in real life, the mature person must often process her own emotions rather than expect others to do it for her. (It’s not that we can never ask for help, but that sometimes we can do it ourselves and we grow when we try).

When our real-life father, teacher and boyfriend (or opposite sex) figures do not always deliver the expected emotional rescue, we are often left distraught, without options–hence the spiral of depression and anxiety. The Washington Post describes the story of Amy, a 30-year-old in therapy who suffered break-downs in college “unable to do laundry and often stayed up until 2 a.m. trying to complete homework because she didn’t know how to manage her time without her parents’ keeping track of her schedule.” We have few models for healthy self-reliance and care in our cultural models of TV and film.  It’s not as simple as pointing the finger at mom and dad, though. The issue is more pervasive. If TV and movies are our cultural models, and I think they are, there are no cultural models even to guide parents for effective development of Adam II, of healthy maturation or emotional processing.  Continue reading

Article Round Up I

Well, Happy Thanksgiving! And welcome to a round of articles that I have found thoughtful and worthwhile over the past few months. It’s really things that I want to save for potential future use or citation.  (Note–unlike re-posts of my freelance work, these are not by me).

On Voting’s Significance (I know the time frame is sort of done on this one)

“I don’t plan to tell you how to vote, but I do want to establish a few basic principles:

  1. No well-formed Catholic should feel comfortable with Trump or Clinton;
  2. Thus, voters face a difficult decision this fall;
  3. The Church gives some guidance on this, but this guidance is limited;
  4. You, as a potential voter, have the final decision to make as to who to vote and who to support;  and
  5. Your salvation could well hang in the balance.”

http://shamelesspopery.com/worth-more-than-your-vote/

Why We Can’t Just Get Along— a disagreement, often unseen, on first principles, renders modern/faithful disagreement unsolvable

In Paradise Lost,

“Satan and Adam begin alike from a point of ignorance—they know nothing prior to (the precise word is “before”) the perspective they currently occupy; and the direction each then takes from this acknowledged limitation follows with equal logic or illogic. Adam reasons, since I don’t remember how I got here, I must have been made by someone. Satan reasons, since I don’t know how I got here, I must have made myself, or as we might say today, I must have just emerged from the primeval slime.

In neither case does the conclusion follow necessarily from the observed fact of imperfect knowledge. In both cases something is missing, a first premise, and in both cases reasoning can’t get started until a first premise is put in place. What’s more, since the first premise is what is missing, it cannot be derived from anything in the visible scene; it is what must be imported—on no evidentiary basis whatsoever—so that the visible scene, the things of this world, can acquire the meaning and significance they will now have. There is no opposition here between knowledge by reason and knowledge by faith because Satan and Adam are committed to both simultaneously. Each performs an act of faith—the one in God and the other in materialism—and then each begins to reason in ways dictated by the content of his faith.”

https://www.firstthings.com/article/1996/02/001-why-we-cant-all-just-get-along?utm_source=First+Things+Subscribers&utm_campaign=639cc6d14a-Sunday_Spotlight_Two_Essays_on_Gifts&utm_medium=email&utm_term=0_28bf775c26-639cc6d14a-180480817

David Brooks on Modern Toughness

“In short, emotional fragility is not only caused by overprotective parenting. It’s also caused by anything that makes it harder for people to find their telos.” (a Greek word meaning “end ” or  “purpose” in moral philosophy).

 

The End of Identity Liberalism

A good diagnosis I think of what went wrong for progressives in the election:

“In recent years, American liberalism has slipped into a type of moral panic about racial, gender and sexual identity that distorted liberalism’s message and prevented it from becoming a unifying force capable of governing.”

So, that’s it, readers. Enjoy and as always, feel free to send any thoughts!

 

Book Review: SPOILER ALERT Harry Potter and The Cursed Child – (Overdone and Boring at the same time)

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I’m sorry to review Harry Potter and The Cursed Child as one of the biggest reading disappointments I’ve had since I started reading for pleasure again after my kids were born–so in the last four years.

I loved the original Harry Potter books and the movies: the magic, the adventure, the fun, the characters. I grew up with it, and I wanted to love Harry Potter and the Cursed Child.

Yet, from page one, I was disappointed:

  1. little new plot material
  2. simplistic characters
  3. sloppy emotional outpourings

SPOILER ALERT – consider yourself warned, though I have avoided things that could ruin the one real surprise.

Plot:

There is only a little I could spoil because the new plot mostly revolves around the plots of the original seven books. What’s new is that that Harry’s son, Albus, and Draco’s son, Scorpius go, back in time with a time-turner in attempt to right certain wrongs from the past. They revisit Triwizard Tournament a few times, remind us of the Chamber of Secrets and go back to that fateful day when Voldemort gave Harry his scar.

The only present day conflict is that Albus and Harry don’t get along well. The Cursed Child is about the next generation wrestling with the scars of the past, which is of course a real struggle, but I was hoping for new present-day problems and adventures.

Yet the back-in-time plot, while a bit trite and logically-suspect, also tries to do too much.

At one point, Scorpius encounters an alternate universe where Voldemort is king, where all is dark, and Dumbledore’s Army is completely underground and he must find them, and convince them to help him and get time aright again. During this one-scene gargantuan plot piece, three (THREE!) characters throw themselves at Dementors to help save Scorpius. The full undermining of the alternate world is accomplished merely as a step in rest of the story–which is about the importance of letting things stand as they were. That one scene has to do a bit too much emotional and story-telling work for the amount of time it gets. And it seems a little too easy for Scorpius to sweep in and right this all-goes-wrong world in a few sentences.
Continue reading

Book Review: A Wrinkle in Time by Madeleine L’Engle

18131What a book! This was my second time reading it; I read it once in 6th grade and I enjoyed it far more this time. What struck me the most is how many incredibly complex thoughts and ideas flow so naturally in what appears to be an adventure story for children. And I love that it is an adventure that involves an entire family.

Meg, her little brother Charles, and her new friend Calvin, journey with three intriguing, teleporting ladies across space and time in an effort to save Meg’s & Charles’s father, who disappeared during research on the fifth dimension.

In the beginning, we see the beauty of the sweet relationships between Meg, Charles, their two other brothers and their Mother. The mother is an active scientist who has a lab in an outer room of the house. I simply loved the mother’s role in this story as wise, guiding, loving and very active on her own.

“Over a Bunsen burner bubbled a big earthenware dish of stew. ‘Don’t tell Sandy and Dennys I’m cooking out here,’ she said. ‘They’re always suspicious that a few chemicals may get in with the meat, but I had an experiment I wanted to stay with” (39).

In this alone, we see both a strong commitment to her family and also to her craft. It’s nothing short of inspiring.

Then there is the number of philosophical and emotional concepts packed into the story. Here’s one regarding the structure of our lives and the responsibility that we must take:

“You have a form of poetry called the sonnet….It is a very strict form of poetry….There are fourteen lines, I believe, all in iambic pentameter….But within this strict freedom, the poet has complete freedom to say whatever he wants”

“You mean you are comparing our lives to a sonnet? A strict form but freedom within it?” (198-199)

This is meant to describe how life works. There are boundaries, but within those, there is total freedom to do well or badly, and how very insightful this is! Boundaries I can think of include our physical capacity, the existence of others, the commitments we make in life and even moral laws. But in the example of the sonnet, L’Engle shows how beautiful the the boundaries can be. Freedom flourishes within bonds of love instead of turning into overweening destruction of neighbor.

And also, even though boundaries do exist, the measure of our freedom and responsibility is still enormous. We have a sonnet to write. Or a symphony perhaps, within a certain key. No one will write it but us.