fwiw i enjoyed the early millennial focus on diction and verbiage; made you appreciate the language it came from more and felt less like a linguistic flight of escape from it

(http://www.autoadmit.com/thread.php?thread_id=5711866&forum_id=2#48855520)

think back to the height of Wes Anderson's stuff. bespoke travel stickers on luis Vuitton luggage was back in, pop culture was riddled with renaissance faire runoff/the fae/poetry was having its moment again in academia and the public. sometimes there was a victorian revival type feel similar to what inspired the New Romantics music scene in the mid 80s. 60s british invasion culture was popular; mod aesthetics and sounds came around very often in indie rock. millennial music in general was often very verbose and full of poetic verbiage

people of that generation of some education spoke very well on the east coast and there were strong and clear class divides in most media that were slowly eroded by the Capital Records (catch-all term) push to have street culture proliferate everywhere

(http://www.autoadmit.com/thread.php?thread_id=5711866&forum_id=2#48858241)

i liked this stuff a lot because it had this hybrid digital/historical-textual basis backing it and you could get the best of both worlds. for one example, and he followed Orson Welles example on this: Wes anderson's whole thing was like "watch, we can just heal the rich (using art. and also make lots of money in the process)" and media catering to this class and those familiar with it helped allow for the breathing room that the left got and squandered in the following years

there's a lot of reasons for the change to the primarily pure spectacular digital Zoomer cultural soup but too many to get into in full in a single poast

(http://www.autoadmit.com/thread.php?thread_id=5711866&forum_id=2#48858265)