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Elise Ong

Cultural Studies and the Media


Leola Johnson
December 5th, 2014
Friends: They are always there for you
On September 22, 1994, NBC aired an American television situation comedy created by
David Crane and Marta Kauffman. The show was called Friends and it lasted ten years and air
its series finale on May 6, 2004. The show, after twenty years since its air date and ten years after
the finale, is still running on networks in syndication and has been licensed to stream all ten
seasons (236 episodes) on Netflix. The concept was simple: a group of 20-something friends
living in Manhattan. The idea that the show is still on the air, let alone publicized as often as it is,
is astounding. The nostalgia that one must get when a new Friends article on Buzzfeed is
overwhelming when there are multiple postings about the show or referencing the show every
week. Friends utilizes both of Fredric Jamesons ideas of postmodernity and that the historical
past has become pastiche as well as something that is continuously commodified and consumed.
Fredric Jameson, in his book Postmodernism, or, The Cultural Logic of Late Capitalism,
characterizes cultural production in the era of late capitalism, the second half of the 20th century,
to distinguish this era from other forms of cultural production of preceding capitalist eras. The
reason Friends has been such a success is that it has taken pastiche and even commodified and
consumed that utilization.
Nostalgia is a structure of feeling. A structure of feeling comes from an emergent culture
that may or may not develop into dominant culture. The experiences that give rise to an emergent
culture is a structure of feeling. It is about the present and the dynamics that is shaped by a larger
culture, the process of the moment. A structure of feeling has to do with things we think of as
currently present in our lives that exerts an influence on us, and is often taken for granted. It is
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the spirit of the time. In the nineties, the structure of feeling was shaped by the Clinton
administration and NBC played a large part in structure of feeling that was created at the time
when it premiered shows like Friends, Frasier and ER. A structure of feeling can be thought of
as the moment. Structures of feeling are what we are concerned with meanings and values as
they are actively lived and felt (132, Williams). Structures of feeling are not only our
experiences but the way the present felt to people at that moment in time. It is the here and now,
the characteristic elements of impulse, restraint, and tone; specifically affective elements of
consciousness and relationships, that creates a structure of feeling (132). The structure of
feeling that was created in the nineties is one that appeals to us now in the form of nostalgia. It is
the present, something that cannot be recreated because it is a social experience which is still in
process, often indeed not yet recognized as social but taken to be private, idiosyncratic, and even
isolating, but which in analysis (though rarely otherwise) has its emergent, connecting, and
dominant characteristics (132). We reminisce about the structure of feeling we felt when we
look back to a time when we watched Friends and it is this nostalgia and escape I will continue
to write about. The structure of feeling during a period is something that must be processed and
will not be recognized until reflected on. It is something private and done alone and can even
become an isolating experience, but once analyzed it can be seen as emergent, something that
connects with current day to day dominant characteristics.
Jameson writes a chapter on Film, where he talks about periods, we use periods to
commodify time and postmodern nostalgia film, according to Jameson, is the commodification
of history. Jameson claims we assign attributes to a time period to elevate the value of that period
and he uses the example of the fifties. He claims the reason we create periods like the fifties is
the romanticism that we assign to those periods idealizes reality. We ignore the politics of that

time, we look toward the only kind of art willing (and able) to deal with the stifling Eisenhower
realities of the happy family in the small town, of normalcy and nondeviant everyday life (280).
As people, we look toward happiness, we enjoy the gratifications of a new car, the TV dinner
and your favorite program on the sofa--which are now themselves secretly a misery, (280)-- we
are constantly looking for happiness that may never be filled because living in a false reality, like
a period we create with attributes we arbitrarily assign to a time and ignore the reality of life, is
easier. We have reached a point where there is an unhappiness that doesnt know its name, that
has no way of telling itself apart from genuine satisfaction and fulfillment since it has
presumably never encountered this last (280). We are unhappy with the way things are because
reality is difficult to accept. Jameson claims this is the reason why we enjoy the fifties, because
during this time it is high culture that is still authorized to pass judgement on reality, to say what
real life is and what is, on the other hand, mere appearance; and it is by leaving out, by ignoring,
by passing over in silence and with the repugnance one may feel for the dreary stereotypes of
television series (280). Our society enjoys using the phrase ignorance is bliss, in this case,
ignorance is avoidance of the problems in our lives and the bliss comes from the fact that
period concepts finally correspond to no realities whatsoever, and that whether they are formulated in
terms of generational logic, or by the names of reigning monarchs, or according to some other category or
typological and classificatory system, the collective reality of the multitudinous lives encompassed by such
terms is nonthinkable (or nontotalizable, to use a current expression) and can never be described,
characterized, labeled, or conceptualized.(282)

We look toward the positive things in life and often times it comes down to what people may not
classify as high culture, but it is culture that allows us to pass over the judgement on reality
and what real life is.

Friends romanticizes the nineties, in a way that society today craves. Friends is a show
that is created and airs in the nineties and represents nostalgia for society today. The nineties to

us now is what the fifties were to the eighties. Jameson claims that in the mid eighties, we will
know a fifties revival in which much of this degraded mass culture returns for possible
reevaluation (280, Jameson). The reason the eighties found the fifties a more appealing time to
reminisce about was
a shift from the realities of the 1950s to the representation of that rather different thing, the fifties, a shift
which obligates us in addition to underscore the cultural sources of all the attributes with which we have
endowed the period, many of which seem very precisely to derive from its own television programs: in
other words, its own representation of itself. However, although one does not confuse a person with what
he or she thinks of himself/herself, such self-images are surely very relevant indeed and constitute an
essential part of the more objective description or definition. (281)

We delude ourselves to think that imagining the world as a different period is easier than facing
reality. We use periods as an escape from our own time and the nineties was exactly that for
Generation X, as a drifting, soul-searching ensemble always stuck in second gear, as the theme
song goes, struggled with changing jobs and goals and evolving notions of the ideal relationship.
Where a more earnest baby boomer generation took on life-or-death topics - as epitomized on
shows like the 1980s hit "Thirtysomething" - this group probed their own identities and the
quandaries of single life in the '90s (McCarrol). The show draws people in its comedic timing
and simple concept. Watching common, daily struggles like the ones depicted on the show,
people relate to their struggles and the added comic relief makes spending twenty minutes
(without commercials) in front of a screen more appealing that our daily lives. Like reality TV
shows, it is easier to insert yourself, or project yourself into a show and imagine their problems
are yours and escape from your own problems.
The nostalgia that revolves around Friends is an escape for society today because the
show is an American classic. For the society Jameson writes about, he assumes a suburban
audience who he addresses, you might want to leave, you might still long of the big city, but
something had happened--perhaps something as simple as television and the other media--to

remove the pain and sting of absence from the center, from the metropolis (281, Jameson). That
is what Friends was: a show set in the big city, the biggest city in America, New York. Jamesons
concept of classicism is a concept in German cultural history that disappears when we zoom out
into a European perspective and it amalgamates into some vaster opposition between
Enlightenment and Romanticism (281) of the past. He continues to say that his idea is
a speculation which presupposes the possibility that an outer limit, the sense people have of themselves
and their own moment of history may ultimately have nothing whatsoever to do with its reality: that the
existential may be absolutely distinct, as some ultimate false consciousness, from the structural and social
significance of a collective phenomenon, surely a possibility rendered more plausible by the fact of global
imperialism, in terms of which the meaning of a given nation-state--for everyone else on the globe -- may
be wildly at odds from their own inner experiences and their own interior daily life. (281-282)

Jameson argues that society has unconsciously chosen [their] own delusion and has fled the
anxieties of war or conflict at the time, of the domestic and reassuring comforts of [their] own
childhood during [certain] period[s] (283). The escape Jameson describes continues to prove
that the delusion that everything will be fine, or ok is aided by television series like Friends. That
is why Friends is TV show that still collects buzz in the media. In a time when NBC is trying to
compete with other networks, the show's era may have been critical to its success, says David
Bushman, television curator at New York's Museum of Television & Radio. The Clinton years
were pretty prosperous and safe. We were not at war, the economy was doing pretty well - and I
think it was a time where a show like 'Friends' was sort of perfect (McCarrol). There may not
have been wars going on but there is always political or social conflict around the world. In a
time like ours when events like that of Ferguson, or the Israel-Palestine conflict and fears of Isis
surrounds us, an escape from news is television, and its only a couple clicks away. Civilization as
a whole has moved into a time period where escape or false consciousness is a mindset that is
more comfortable and convenient to be in and that is why nostalgia is so appealing.
Friends begins their ten-season run by basing their story on nostalgia and it is a recurring
topic demonstrated in the show. The pilot is based on Rachel and Monicas reunion after Rachel
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runs away (escape) from her problems-- she realizes she does not really love her fiance. She
moves in with Monica because of their childhood friendship connection. This is an example of
the simplification of reality. There is collective wish-fulfillment (283, Jameson) when people
watch this because the show depicts how easy it is to move to New York in the 90s when you
are in your twenties. Monica introduces Rachel, as her high school friend and in that moment
Monica reminisces about their high school experience, Hey everybody, this is Rachel, another
Lincoln High survivor, this is everybody, this is Chandler, and Phoebe and Joey, and do you
remember my brother Ross? (4:39) Rachel explains her struggle to the gang why she is still
dressed, and wet from running in the rain from her marriage. She commiserates about her
relationship with her fiance and declares [she] just had to get out of there, and [she] started
wondering why [is she] doing this and who [she is] doing this for? So anyway, [she] just didnt
know where to go and [she knew] that [Monica] and [her] have kind of drifted apart, but,
[Monica was] the only person [she] knew who lived, here, in the city (5:39, pilot). Rachel
literally runs away from her own wedding and finds connection in the nostalgia of high school
friends as an escape from her problems. Later in the episode, Monica explains to Rachel the
realities of life, and that Rachel should not rely on her parents money to financially support her
independence in the city. Monica does this by saying, welcome to the real world, it sucks!
Youre going to love it! (26:11) That is how the series starts and it depicts Monicas welcome to
a pseudo-reality of the show, not only to Rachel but the audience. The series is a parallel of the
real world, and yet it is still an escape when the nostalgia of easier times is acknowledged
through repeated playings of the show.
Another basis of nostalgia depicted in the show is Ross and Rachels relationship. The
relationship begins, in the pilot, not only from their high school friendship but from Rosss

statement of his crush on Rachel in high school (27:06). Again, in Season 2 episode 14, they find
a video from high school where Monica and Rachel get ready for the prom, Ross doesnt want to
watch it but the rest of the group insists (18:18). Rachels date doesnt show up (20:40) so
Monica and Rosss parents convince him to take Rachel to prom, knowing that Ross has a crush
on her. Rachels date shows up just as Ross is ready to come down, having changed into a suit
for the dance (22:13), the group watches Rosss face of mortification and sadness. Ross is
embarassed in front of his friends (22:30) and Rachel goes over to him and kisses him (22:48)
and that is the beginning of their relationship as a couple. It is this nostalgia that causes Rachel to
realize how much Ross means to her and watching his internal struggle over his feelings for her
that makes her change her mind about their relationship.
There are other instances in the show where nostalgia is present. Due to Ross and
Monicas familial connection, there are moments when the two of them reminisce about their
childhood. When one of the group reminisces, the others talk about their childhood as the
nostaglia passes through. This is depicted in Season 7 Episode 9, when Rosss son, Ben, gets his
first bike without training wheels, Ross, Phoebe, Chandler and Monica are in the park with Ben
and his new bike. Phoebe exclaims wow, bens first big kids bike! This is so exciting! The
dialogue continues between the group and Monica reminisces, Aw yeah, I remember mine, it
was my sixth birthday and my dad took me to the park and I got on it... and it bent. Having been
there Ross agrees and Phoebe explains to her friends that she never had a bike of her own
because her family did not have a lot of money but she remembers, the girl across the street had
the Best bike, it was pink, and it had rainbow colored tassels, hanging off the handle grips and a
bell and this big white wicker basket with those plastic daisies stuck on! Chandler adds that
Phoebes description sounds like [his] first bike, [because his] dad gave [him[ his old

one(0:23). There are many moments like this in the show where the characters reminisce about
the good old days and this creates moments when the audience can do the same. There is another
instance in Season 7 Episode 13, when Monica and Ross revisit their childhood home after their
parents put an ad in the paper explaining its sale. Ross and Monica are upset and Ross exclaims,
I cant believe we have to say goodbye to the house we grew up in! (3:58) Their father
explains that its time for a new family to start their memories here(7:17). Ross and his father,
Jack, go through storage boxes, and the find things like report cards, toys and other mementoes
from the past (8:18). Ross and his dad find that Monicas boxes have been ruined by water and
that their Jack moved Monicas boxes to keep water away from the bottom two inches of the
porsche (9:00). Ross explains that Monica came [home] for some memories and dammit were
going to give her some!(15:20) So Jack and Ross try to pass off Rosss old things for Monicas
but she does not fall for it. After Monica finds out her boxes have been ruined Monica becomes
very upset because none of her old things were salvageable she becomes very sentimental. The
episode after that one is called The One Where They All Turn Thirty and it is Rachels
birthday. The rest of the episodes are flashbacks to when each of them turned thiry and how they
celebrated. These are just a few examples of how nostalgia is depicted in the show. Marta
Kauffman and David Crane use many methods to create a young group of attractive people
appealing to the public and they created a show that can depict nostalgia but also use it as a tool
to bring in a continuous audience and commodify the product they created.
Jameson talks about the idea of reification, the process of making something real or bring
it into being. It is a practice that we can build, or create, like periods. It is something that
"ceases to be a baleful and alienation process, a noxious side-effect of our mode of production, if
not, indeed, its fundamental dynamic, and is rather transferred to the side of human energies and

human possibilities. (285, Jameson) Jameson uses this idea in mass culture or commercial
culture, which is what Friends is. It is a show that becomes popular culture. The show becomes
so popular it is still in syndication and is commodified in a way that those involved in the shows
creation are still paid every time the show is aired on television. Networks use Friends as a
vehicle to impart nostalgia on their viewers. The audience enjoys this because nostalgia is an
expression of a deep, unconscious yearning for a simpler and more human social system (283).
Friends allows us
an experience of our present as past and as history-- is slowly excluded. Yet everything in our cultures
suggests that we have not, for all that, ceases to be preoccupied by history: indeed, at the very moment in
which we complain, as here, of the eclipse of historicity, we also universally diagnose contemporary culture
as irredeemably historicist, in the bad sense of an omnipresent and indiscriminate appetite for dead styles
and fashions: indeed, or all the styles and fashions of a dead past. (286)

Jameson continues to argue that it is by way of so-called nostalgia films that some properly
allegorical processing of the past has trained us to consume the past in the form of glossy images
that new and more complex postnostalgia statements and forms become possible. (287)
No one can argue that Friends was and still is a household name. It was not just
television that changed because of the its inception, cultural media exploded with the Friends
fandom. The show may have just been about six friends, who in reality had a decade of
enduring popularity, harmonious living situations, constant laughter, marriages, and divorces that
left little bitterness, but six babies (McCarrol). Christina McCarrol wrote her article in 2004
when the show was showing its series finale. She claimed it was an age when the average US
household has 100 TV channels and some critics predict the demise of the sitcom, "Friends"
stands as an icon of its age - a show that captured a generation's angst and ambition, fluid notions
of family, and America's cult of youth. Her statement is true however, we are still in that age.
The sitcom is still notable but it is struggling to find another show that can stand up to the test of
time like Friends has. McCarrol continues and explains that the show struck a particular chord

with Generation X, as a drifting, soul-searching ensemble always stick in second gear, as the
theme song goes, struggled with changing jobs and goals and evolving notions of the ideal
relationship. It was not as though the show did not depict differences and difficulties in life,
some topics it did address were things like surrogate motherhood, adoption, infidelity, out-ofwedlock births, lesbian parenting, interracial dating, premarital sex, even impotence. Amid
Americas changing sense of family and talk of dysfunction and divorce, a drifting group of
friends forged their own family, one of unflappable devotion and supporth with the theme-song
mantra of Ill be there for you. And there for you, it is, the show lasted ten seasons and ten
years and it lasted so long in its popularity because of the focus of friendship, in a time where
shows like Seinfeld focused on neurotic characters and their anxieties or the issues in family
dynamics. There are issues to the show like the fantasy it creates of New York where sidewalks
are pristine and tree-lined, the show did revolve, after all, around six witty, articulate, beautiful
people with an inordinate amount of free time. McCarrol quotes Lawrence Lichty, a professor
from Northwester Universitys Radio/Television/Film Department on Friends idealized,
simplistic world and explains that this alternate reality is both criticised or longed for, similar to a
1950s classics like Ozzie and Harriet and Father Knows Best because we like to idealize our
particular time. People could relate to that time period at all ages, some in high school idolized
the characters, some thought it was ridiculous, but people, nonetheless tuned into reruns
through college and law school. Even though the show bothered this person, they continued to
watch the show. The nostalgia for the show may be becoming kind of sad, but it still exists.
The fact that the show steers clear of politics and current event, according to Dr. Lichty, the
show becomes timeless and will appeal through endless reruns and historical flux. And during
a time of crisis like 9/11, there was no mention of terror or hijacked planes, after the Twin

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Towers went down ratings soared as viewers flocked to a world unchanged. The show
idealizes the types of friendships we would all like to have and that is what makes us nostalgic
for the time we spent watching it growing up.
Friends was picked up by the network NBC because the former president, Warren
Littlefield liked the idea of, in a world where failure is commonplace,...twentysomethings [are]
just beginning to make their way, and despite the difficulties, it would be easier if you did with
a friend. Littlefield targeted a young, urban audience, who were people starting out on their own.
The appeal was there, Matt LeBlanc, the actor that played Joey on the show commented that the
show had substance, that in between all the jokes, there was this emotional thread. You cared
about these people. You were invested in these relationships. You cant get enough of these
people. Why? No one could describe their passion for it. An emotional soap opera is a great way
to describe it. The shows creators recognized how invested the audience was in these
characters, how desperately they wanted them to be happy, how putting them together made
some kind of weird sense (Littlefield). So the creators made their audience happy and they did
this for ten years, they recognized they the audience wanted all six of them and all of them
equally so they instilled that philosophy in their writing. It was the first ensemble cast where not
one person got more time than the other. The creators felt that utilizing six equal players, rather
than emphasizing one or two, would allow for myriad story lines and give the show legs,
according to Crane (Jicha). Not only that, but the actors in real life became friends. Their
relationships were not fake and the audience recognized it.
The concept for Friends never deviated from the vision of its creators. Fortunately, it was exactly the type
of series Littlefield had been seeking, a comedy involving young people in a big city coming together to
share living expenses. This meant they also would share signal events in a memorable period of their lives,
not with parents and siblings, but with new, surrogate family members. (Jicha)

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One the creators of the show argued against the statement Friends was for one specific
generation--Generation X. Marta Kauffman stated she wanted to create a show that she, herself,
would enjoy watching and David Crane said it was not a show for one generation, that the
show was for everybody (Jicha). The ease of watching real life friends develop made escape
for the audience their reality and made it easier for the audience to continuously go back and
watch old episodes.
The media attention of the show is still prominent today. After twenty years, the nostalgia
of Friends, forces the media to keep up with the trend. That despite the conclusion of the show,
people still enjoy to reminisce about the characters or read about what is happening now in
television that relates to the show. Vulture even wrote a series, in September, about the 1994-95
season and the shows that debuted that season that still have an effect on viewership today. Josef
Adalian started his series on September 2nd stating, that month marks the 20th anniversary of
the start of what we now recognize as one of network TVs watershed seasons, an epic year that
is most easily remembered for the debut of NBCs twin Thursday night triumphs, Friends and
ER. And over the next four days, Vulture will look back at those Peacock powerhouses, revisit
the 1994-95 seasons best episodes and moments (as well as some of the worst), and revel in
other phenomena from that banner year of TV. The show was even picked up by Netflix, after
years of broadcast syndication--networks buying a set of episodes and playing reruns almost
everyday,-- Warner Bros boss Kevin Tsujihara just told investors that it has licensed 236
episodes all 10 seasons of Friends to Netflix for the U.S. and Canada, with streaming
beginning on January 1, 2015 (Lieberman). Further, a pop-up replica of the series signature
Central Perk coffee shop has been serving free cups of Eight O Clock Coffee in Manhattans

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SoHo neighborhood since September 17 through Saturday, and some of the cast hit Jimmy
Kimmels late-night show to reprise their roles, if only for a night (Lieberman).
Friends has been transformed into a pastiche topic as other shows try to replicate or
reference it. Shows today, or in the past ten years, after Friends finale, have made reference to
the show or even imitated the scenes on the show. How I Met Your Mother, which premiered just
a year after Friends ended, traded in a coffee shop (Central Perk) for a bar (MacLarens) and
Ross Rachel for Ted & Robin, but otherwise held to the same principles as its predecessor (they
even kept the multi-cam format, complete with laugh track, despite being sold as the modern
Friends) (Travers). How I Met Your Mother, even directly references the coffee shop, bar
parallel in the episode titled Swarley (Season 2 Episode 7), where Ted, Marshall and Barney
go to a coffee shop and Barney comments on the differences between hanging out in a bar versus
a coffee shop. Travers even continues to parallel shows like Happy Endings, New Girl, Big Bang
Theory, and even shows with actors from the show, Courtney Cox and Matt LeBlancs spin-offs,
Cougar Town and Joey. The spin offs the actors have created on their own like Courtney Coxs,
Cougar Town; Matt LeBlancs shows Joey and Episodes; Lisa Kudrows The Comeback and
Matthew Perrys Go On and all haves shows their Friends have guest starred on. This feeds into
the nostalgia their audiences have about the show that made them all famous.
Die hard fans of the show still spend their time on social media looking for Friends
references in other shows, as well as creating fan art, taking quizzes and following the celebrities
of the show. There is a blog post regarding Friends references in the show Suits on Reddit.
Tumblr blogs are continuously adding or reposting images, or gifs, fan art etc. of scenes or
quotes or images from the show or of the characters or actors from the show. There are even
items to purchase on Etsy.com. Buzzfeed is continuously creating quizzes or articles or

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references to the show. Finding references to the show is easier now because of hash-tagging and
there are many pins on pinterest about the tv show. Media today has made nostalgia an easy
feeling to find, whether on TV, watching reruns, or looking for items to buy to remind you of the
show, with the internet and technology today, we can find the nostalgic feeling Friends creates
for us in any form. Margaret Lyons, a writer for Vulture, says she will probably never be as
devoted to another show as [she is] to Friends. She acknowledges part of it is timing since she
started watching the show in middle school in an age when your brain and spirit are sort of
designed to get obsessed with things. She also acknowledges how pervasive Friends is in our
lives because there are reruns and the true fan is one who watches episodes over and over. It is
clear the writers did a good job because even Lyons noticed how the popularity of the show came
from an important aspect of TV, its about people who like each other. Lyons recognizes all
that the Friends franchise has aimed to do, and she like many others has become a victim of this
planning. The writers and creators, and all those involved, have succeed in creating a show that
truly is timeless.
Friends does not haunt me. Friends comforts and delights me now just as it did when I started watching it.
I wish Friends were streaming on Netflix, so I wasn't reduced to the crappy syndicated versions that sound
weird because they're sped up. I wish I could believe in the idea of a reunion episode, because it would be
nice to have something to dream of. I wish there were more Friends knockoffs still happening, because
even though people like to say lightning doesn't strike twice, that's wrong that's what goddamn lightning
rods are for, for lightning to strike a bunch of times. (Lyons)

A New York Times article was written by John Tierney, last year, about the research
people have done regarding the idea of nostalgia. He interviewed psychologist about why people
enjoy being nostalgic. People cannot help thinking about the past and one man says it was
rewarding, when he did. Nostalgia made me feel that my life had roots and continuity. It made
me feel good about myself and my relationships. It provided a texture to my life and gave me
strength to move forward. For many nostalgia counteracts loneliness, boredom and anxiety
(Tierney). It makes people more generous to strangers and more tolerant of outsiders. Couples
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feel closer and look happier when theyre sharing nostalgic memories. On cold days, or in cold
rooms, people use nostalgia to literally feel warmer. Though nostalgia is a bittersweet emotion,
people use nostalgia to make life seem more meaningful and the negative aspects of life less
frightening.
When people speak wistfully of the past, they typically become more optimistic and inspired about the
future...Most people report experiencing nostalgia at least once a week, and nearly half experience it three
or four times a week. These reported bouts are often touched off by negative events and feelings of
loneliness, but people say the nostalgizing researchers distinguish it from reminiscing helps them
feel better. (Tierney)

Overall, people enjoy being nostalgic because it makes them feel better. Jameson explains
it best, in postmodern culture, nostalgia film or TV commodifies history. Networks that use this
tactic to commodify shows and make a profit use their audiences sense of nostalgia to continue
to eccrue more ratings. NBC and Warner Brothers created a show that made people happy and
easy to escape their everyday lives. Though the show seemed trivial, those who did not like the
show still watched the show, because it was easy to get sucked into happiness. The nostalgia that
a twenty year old show brings for people now allows fans to continue to watch it through reruns
and soon through Netflix. The structure of feeling that nostalgia creates for Friends audience is
one that is inescapable.

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