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Many cultural critics live in an unrepresentative internet bubble. Much of the current divergence between elite discourse and popular preference can be reduced to a simple heuristic: Most critics are on Twitter; most consumers are not. If you examine the coverage proclaiming the end of Harry Potter or Lin-Manuel Miranda, or castigating any other wildly successful cultural product or personality, you’ll quickly spot a pattern: The only evidence they tend to cite is an assortment of tweets.Share
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