The Nineties: A Book

Klosterman begins this chapter by examining the concept of artifacts in the context of the ’90s. He discusses how certain products and ideas from this era reflected society’s understanding of the future, often in ways that seem peculiar in retrospect. The author delves into the beverage industry of the early ’90s, focusing on the phenomenon of clear drinks. He explores the creation and marketing of products like Crystal Pepsi and Zima, analyzing how these beverages represented broader cultural trends. Klosterman argues that these products were not developed in response to consumer demand, but rather reflected a cultural phase characterized by informed insincerity.

The chapter then shifts to a discussion of the Biosphere 2 project, a large-scale ecological experiment conducted in Arizona during the early ’90s. Klosterman describes the ambitious goals of the project, which aimed to create a self-sustaining ecosystem isolated from the outside world. He examines the various challenges faced by the Biosphere 2 crew, including food shortages and social conflicts, and considers how the project’s failures and successes reflected the cultural zeitgeist of the era. Klosterman argues that the Biosphere 2 project embodied a unique intersection of scientific ambition, environmental concerns, and New Age philosophy that could have only coalesced during this specific time period, when wealthy private citizens were increasingly seen as potential problem solvers for issues traditionally addressed by governments.

Klosterman proceeds to analyze the public reaction to the cloning of Dolly the sheep in 1997. He explores how this scientific breakthrough sparked widespread anxiety and ethical debates, despite its potential benefits. The author contrasts the actual implications of cloning technology with its depiction in popular culture, noting how movies and literature often portrayed cloning in a negative light. Klosterman highlights how films like Jurassic Park and novels like The Day After Tomorrow reinforced public anxieties about cloning by presenting worst-case scenarios, despite the fact that the successful cloning of Dolly the sheep demonstrated significant scientific progress without the catastrophic consequences often imagined in fiction.

The chapter concludes with a discussion of the “New Sincerity” movement in literature and culture during the late ’90s. Klosterman examines how this trend emerged as a reaction against pervasive irony and emotional detachment in art and media. He considers the complexities and contradictions inherent in attempting to deliberately cultivate sincerity and how this movement reflected broader cultural anxieties about authenticity and emotional engagement. Klosterman points out the paradoxical nature of the New Sincerity movement, observing that the very act of consciously striving for sincerity could be seen as a form of insincerity itself, thus creating a psychological double bind for artists and consumers alike.

Throughout the chapter, Klosterman portrays the ’90s as a decade characterized by contradictions and anxieties about the future. He suggests that many of the era’s cultural phenomena, from clear beverages to cloning debates, reflected a society grappling with rapid technological change and shifting social norms.

This chapter explores the ’90s’ television and film landscape, highlighting how these mediums both reflected and shaped cultural attitudes.

Klosterman begins by examining the evolution of television during the ’90s. He contrasts the popularity of shows like Dallas in the ’80s with the rise of “prestige television” exemplified by The Sopranos at the decade’s end. The author notes that early ’90s TV was often viewed as passive entertainment. He illustrates this point through an analysis of the sitcom Seinfeld, which humorously acknowledged television’s perceived triviality. Klosterman examines a specific episode of Seinfeld titled “The Pitch,” in which the characters propose a show about nothing, reflecting the era’s perception that television content was often inconsequential and that people watched simply because programming was available. This meta-commentary not only highlighted the show’s innovative approach to comedy but also underscored the broader cultural attitude toward television as a medium that didn’t require substantial content to attract viewers.

The chapter then explores the phenomenon of “Must See TV,” NBC’s dominant Thursday night lineup. Klosterman discusses how shows like Friends and ER captured massive audiences while subtly addressing generational concerns. He pays particular attention to Friends, examining how it depicted a timeless version of young adulthood that resonated with viewers without explicitly tying itself to ’90s culture.

Transitioning to cinema, Klosterman focuses on the blockbuster film Titanic. He recounts the skepticism surrounding its production and the subsequent shock at its unprecedented success. The author analyzes how Titanic contradicted many assumptions about ’90s culture, suggesting that certain audience desires remain constant regardless of era. Klosterman posits that Titanic’s immense success challenged prevailing notions about ’90s audiences’ preferences for irony, complexity, and innovation in cinema. He argues that the film’s straightforward narrative, clear-cut morality, and emphasis on spectacle over nuanced character development demonstrated that many viewers still craved traditional storytelling and grandiose visual experiences, even in an era often characterized by cynicism and a push for more sophisticated entertainment.

Klosterman then explores the sudden superstardom of Leonardo DiCaprio following Titanic’s release. He posits that DiCaprio represented a unique convergence of old Hollywood star power and new forms of celebrity cultivated through emerging internet fandom.

The chapter concludes by examining the intense anticipation for Star Wars: Episode I – The Phantom Menace. Klosterman uses this example to illustrate how Generation X’s nostalgia for childhood entertainment collided with the realities of adulthood. He suggests that the disappointment many felt upon the film’s release forced a reevaluation of how they remembered and idealized their past.