Lifted from the comments, which you’re reading of course:

In the piece linked above, Ben Sixsmith responds to an attempt, by Lukas Shayo, to problematise a much-loved comic strip, one that must now, it seems, be fretted over as both “violent” and “sexist.” Readers familiar with the strip in question may wonder whether complaining in print about Calvin’s mom being, well, a mom, and about the “sexism” of a cartoon six-year-old, should result in some reflection on one’s chosen career, and one’s life choices more generally.

As Ben replies,

I’ve said before, regarding the pop-culture site io9, the more insufferably woke the site has become, the more generic and unwritten its content feels. By which I mean, it was once possible to stumble across lengthy articles on niche pop-culture subjects, often written with an affectionate expertise. Now, however, it’s difficult to differentiate one contributor from another. The content doesn’t read as if anyone in particular wrote it. It’s flavourless, uniform in its politics and ideological assumptions, both pointedly announced, and uniform in its tone. It might as well be generated by an algorithm.

Regarding Ben’s piece, Aelfheld adds,

It’s practically a genre – and a tool for the forging of progressive credentials. Basically, take something that’s very good and that a lot of people like, or have liked as children, and then problematise it, sour it, generally in a narrow, glib, and self-satisfied way. While getting details hopelessly wrong and missing all kinds of subtlety.

Or as Ben puts it, “joyless Buzzfeed-esque finger-wagging.”

See also, certain popular songs of the 1940s.

The author of the joyless prattle, Lukas Shayo – CUNY and Brooklyn, naturally – does rather struggle to find his “10 ways” in which Calvin and Hobbes should elicit regret or disapproval. We’re told, for instance, that,

And we’re informed that the absence of smartphones and GPS tracking devices – the strip concluded in 1995 – may be “baffling for young readers.”

Mr Shayo also bemoans Calvin spending “too much time by himself,” thereby allowing his imagination to entertain the reader.

We’re told, with improbable earnestness:

Also troubling to Mr Shayo is the thought of our comic-strip protagonist being “unsupervised in an enormous forest.” Or, unregistered by the author, what Calvin perceives as an enormous forest. This, remember, is a six-year-old boy who regularly ventures into outer space and who perceives his stuffed toy as an eloquent, talking tiger. This one reminded me of being six or so myself and, with my cousin in tow, fearlessly exploring a small strip of woodland behind my grandmother’s house, and which six-year-old me chose to see as enormous and therefore a basis for adventure.

Given that the charm of Calvin and Hobbes so often hinges on the mismatch between what Calvin imagines and rather more mundane reality, you’d think that Mr Shayo might entertain such possibilities. But no. Wokeness must be announced, a posture assumed, and things found problematic. Because contrived disappointment, a souring of all the things, is the latest must-have. For a certain kind of person. And everything, especially things that many people have enjoyed, must be judged – and found wanting – by the narrow standards of one’s own self-admiring in-group at this precise point in time.

Update, via the comments:

Aitch adds,

While Dean reveals,

I suppose that’s what makes it grimly funny, in a disappointing modernity kind of way. If you poke through Mr Shayo’s other, numerous contributions, the tone, such as it is, is much the same. There’s no obvious personality – no sense of any particular person having written it – no sense of mischief, and no discernible wit. Mr Shayo is, however, capable of making entirely contradictory claims, on the very same subject, mere days apart.

For instance, in the “10 Ways” article quoted above, Mr Shayo worries that the absence of smartphones and GPS tracking devices may be “baffling for young readers,” and he bemoans how the strip “doesn’t have any modern technology.” And yet we’re told – days later – that, “the lack of technological influence makes the strip read as a timeless work.” “It always feels that it’s something that could still happen today… the absence of technology is hardly notable.”

Likewise, Mr Shayo insists that “ending Calvin and Hobbes is exactly what saved it,” and praises the strip’s creator, Bill Watterson, for refusing to license spin-offs, adaptations, and potentially lucrative merchandise, thereby “living up to the ideals that the strip… championed.” “Ending the strip,” we’re told, “was a good decision” and “there is no reason to tarnish that legacy by adding more to an already concluded work.”

While, one week earlier, “Calvin and Hobbes needs to be an animated show.” Because “an adaptation or continuation is essential.”

These, shall we say, inconsistencies, among many others, aren’t a result of some cunning AI spoof, some infinitely deep intelligence. This is just the standard of writing, and thinking, now deemed good enough.

Consider this an open thread. Share ye links and bicker.