Virginia Postrel

The Y2K bug is a genuine technical concern, consuming the energies of many specialists. But the prophecies of doom represent a broader worldview using the bug as a news hook. In this vision, the good society is a stable society, undisrupted by innovation, ambition or outside influences.

On the Net, the bell curve reclaims its tails. The uncommon is as accessible as the common. The very fragmentation of the Internet allows us to find ourselves in other people - and to know that we are not alone.

When 'Buffy the Vampire Slayer' premiered on the WB Network in 1996, American culture was in trouble. Americans were bowling alone, pursuing individual interests to the detriment of the communal good. Business leaders were celebrating creativity and neglecting discipline. Nike's 'Just do it' ads were teaching young people to break the rules.

Grassroots techies - the mostly unknown people who write code and start companies that don't make the headlines - hate, loathe, and despise Microsoft. At technology conferences, it is the devil, or the guaranteed laugh line. Its products are mocked, its business practices booed.

The theater itself is a lie. Its deaths are mere special effects. Its tales never happened. Even the histories are distorted for dramatic effect. The theater is unnatural, a place of imagination. But the theater tells the audience something true: that the world requires judgments.

The innovative process is a fragile one, dependent on a complex, often messy interplay of imagination, competition, and exchange. Curbing new ideas hurts not only individual creators but the audience for which they create and the posterity that inherits their legacy.

Although people often equate them, glamour is not the same as beauty, stylishness, luxury, celebrity, or sex appeal. It is not limited to fashion or film; nor is it intrinsically feminine. It is not a collection of aesthetic markers - a style, as fashion and design use the word.

We've gone from a world in which Starbucks set a cutting-edge standard for mass-market design to a world in which Starbucks establishes the bare minimum. If your establishment can't come up with an original look, customers expect at least some sleek wood fixtures, nicely upholstered chairs, and faux-Murano glass pendant lights.

The profusion of fonts is one more product of the digital revolution. Beginning in the mid-'80s and accelerating in the 1990s, type design weathered the sort of radical, technology-driven transformation that other creative industries, including music, publishing, and movies, now face.

Average Americans order nonfat decaf iced vanilla lattes at Starbucks and choose from 1,500 drawer pulls at The Great Indoors. Amazon gives every town a bookstore with 2 million titles, while Netflix promises 35,000 different movies on DVD. Choice is everywhere - liberating to some, but to others, a new source of stress.

Most of us cluster somewhere in the middle of most statistical distributions. But there are lots of bell curves, and pretty much everyone is on a tail of at least one of them. We may collect strange memorabilia or read esoteric books, hold unusual religious beliefs or wear odd-sized shoes, suffer rare diseases or enjoy obscure movies.

The elements that create glamour are not specific styles - bias-cut gowns or lacquered furniture - but more general qualities: grace, mystery, transcendence. To the right audience, Halle Berry is more glamorous commanding the elements as Storm in the X-Men movies than she is walking the red carpet in a designer gown.

The glamour of air travel - its aspirational meaning in the public imagination - disappeared before its luxury did, dissipating as flying gradually became commonplace.

People without children do have the freedom to do things that caring parents with dependent kids can't - to work long hours, to travel frequently, to relocate, and to do all these things on short notice if necessary. In return, they can achieve positions that devoted parents can't.

The glamour of twentieth-century air travel helped to persuade once-fearful travelers to take to the skies and encouraged parochial Americans to go out and see the world.

The Dallas model, prominent in the South and Southwest, sees a growing population as a sign of urban health. Cities liberally permit housing construction to accommodate new residents. The Los Angeles model, common on the West Coast and in the Northeast Corridor, discourages growth by limiting new housing.

In Shakespeare's world, characters cannot trust their senses. Is the ghost in Hamlet true and truthful, or is it a demon, tempting young Hamlet into murderous sin? Is Juliet dead or merely sleeping? Does Lear really stand at the edge of a great cliff? Or has the Fool deceived him to save his life?

In post-Vietnam, post-Watergate America, skeptical voters demand full disclosure of everything from candidates' finances to their medical records, and spin-savvy accounts of backstage machinations dominate political coverage.