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Rage of the Creative Underclass

Vanessa Grigoriadis on Gawker:

Journalists are both haves and have-nots. They’re at the feast, but know they don’t really belong—they’re fighting for table scraps, essentially—and it could all fall apart at any moment. Success is not solid. That’s part of the weird fascination with Gawker, part of why it still works, five years on—it’s about the anxiety and class rage of New York’s creative underclass. Gawker’s social policing and snipe-trading sideshow has been impossible to resist as a kind of moral drama about who deserves success and who doesn’t. It supplies a Manhattan version of social justice. In the past couple of years, Gawker has expanded its mission to include celebrity gossip, sacrificing some of its insider voice in the process, but on a most basic level, it remains a blog about being a writer in New York, with all the competition, envy, and self-hate that goes along with the insecurity of that position. 

Tell it, sister.

I've Gawked, been Gawked, and I once abortively Wonketted. Through it all I came away thinking Denton was a good guy (he more or less got me my job at Slate). And my therapy bills are way higher than Emily Gould's.

Gawker and the Rage of the Creative Underclass — New York Magazine

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