A commonly raised criticism against celebrity culture is that it celebrates people who become famous without any connection to their skills, talents or achievements. A culture in which people become famous simply for being famous is criticized for being shallow and inauthentic. In this paper we offer a defence of celebrity by arguing against this criticism. We begin by outlining what we call the Talent Argument: celebrity is a negative cultural phenomenon because it creates and sustains fame without any connection (...) to the accomplishments that arise from an expression of talent or skill. By appealing to the metaphysics of talent and skill, we argue against the Talent Argument and propose that being a celebrity requires the skills that are necessary to acquire and maintain one’s status as a celebrity. A celebrity is more likely to be talented and successful in their expression of these skills, and even celebrities who are ‘famous for being famous’ will often display talents and skills that give rise to their fame. This means that those who critique celebrity culture should not do so by appealing to the Talent Argument. We show how our account of celebrity, talent and skill works to reject both the strong version of the Talent Argument, as well as a weaker and more plausible version of the argument we call the Valuable Talents argument. We conclude by noting that our analysis has demonstrated the need to explore more closely the kinds of skills that are necessary to cultivate celebrity status. This allows for a more nuanced understanding of what a celebrity is, and the values that are attached to celebrity culture. (shrink)

Talents often play a significant role in our personal and social lives. For example, our talents may shape the choices we make and the goods that we value, making them central to the creation of a meaningful life. Differences in the level of talents also affect how social institutions are structured, and how social goods and resources are distributed. Despite their normative importance, it is surprising that talents have not yet received substantial philosophical analysis in their own right. As a (...) result, the current literature is rife with conceptual ambiguity: a talent is referred to as all of a skill, potential, ability, capacity, endowment, and a natural gift. In response to this confusion, in this paper I develop an account of what a talent is, based on the debate concerning the metaphysics of ability and dispositions. I argue for a position that I call ‘talent dispositionalism’: S has a talent for skill A in circumstances C iff S has the general disposition to excellently develop and maintain A when, in circumstances C, she tries to excellently develop and maintain A. On this account, a talent is not the skill itself, but a general iterated ability for the excellent development and up-keep of a particular skill, constituted by an agent’s dispositional properties. I defend the account against four objections usually levelled against traditional dispositionalist theories of ability, and highlight some ways the account may influence debates in other areas of philosophical inquiry. (shrink)

A central feature of being a celebrity is experiencing a divide between one's public image and private life. By appealing to the phenomenology of Sartre and Merleau-Ponty, we analyze this experience as paradoxically involving both a disconnection and alienation from one's public persona and a sense of close connection with it. This ‘uncanny’ experience presents a psychological conflict for celebrities: they may have a public persona they feel alienated from and that is at the same time closely connected to them (...) and shapes many of their personal interactions. We offer three ways in which a celebrity might approach this conflict: (i) eradicating the divide between their public and private selves, (ii) splitting or separating their private and public selves, or (iii) embracing the arising tension. We argue that it is only this third approach that successfully mitigates the negative effects of the alienation felt by many celebrities. (shrink)

Even though The Medium Place is overshadowed by the dramatic events that unfold in the fake Good Place neighborhood, it is more significant to The Good Place. The Medium Place is described as an individually tailored “eternal mediocrity,” a place of neutrality and compromise. One of the most prominent contemporary cultural theorists, Homi K. Bhabha, calls this space of becoming, where contradictions and differences are explored rather than resolved, a “Third Space”. Bhabha claims that despite its importance, being “in‐between” is (...) usually “unrepresentable,” and Roland Barthes too refers to his idea of the “third possibility” as having “no place” of its own. But the writers of The Good Place have proved them wrong—they have found a way to represent this middle “in‐between” space it as a geographical neighborhood. The morality of The Medium Place is the most human and realistic of all The Good Place neighborhoods. (shrink)