Recently, a former classmate badgered me into accompanying her on a run to the supermarket. As we were checking out, I, as a person who is very dedicated to the principle of self-interest, used a handful of coupons and a discount card to lower my final tally. My companion had a judgmental reaction to the proceedings: she gave me to understand that she never sought discounts or used coupons because to do so was beneath her station. Oddly, she could see no connection between her attitude and her continuous complaints about being short on funds. It was only much later that I connected her attitude at the cash register with her frequent monologues about a “broken society,” a slight fixation on “inequality,” and an overweening sense of entitlement.
In 1971, NBC produced a sitcom called The Good Life, not to be confused with the British series of the same name. The American series was unsuccessful, in comparison to its competition, and it was canceled after fifteen episodes. I have never seen the show as NBC has never rerun it or provided a home release of it. I first heard of The Good Life in a book, whose title I have regrettably forgotten (for a long time I thought the book was Greg Easterbrook’s The Progress Paradox but now I can’t find any allusion to the tv show in Easterbrook’s book.). The author of the forgotten book alluded to The Good Life as a watershed moment in tv history with its portrayal of the so-called super-rich – the one bit I remember was that the book described the show as “the most luxurious show [in terms of portrayal of lifestyle]” and connected the show to a sudden increase in a broad sense of entitled victimhood throughout society. The Good Life was also, apparently, part of creating the environment conducive for the success of the soap opera Dallas (1978 – 1991).
The plot behind The Good Life is that a middle-class couple become exhausted with the pressures of suburban life and maintaining a lifestyle that’s beyond their means. Consequently, the pair decide to scam their way into the household of an industrialist multimillionaire by disguising themselves as a butler and housekeeper. The theme which (apparently) underlay the show was the idea that there is a class of people who live extravagant, exotic lives (the proverbial good life) and therefore can afford to support some sponging malcontents.
When researching the show, one thing that struck me about it was how prescient it was in terms of foretelling some of the themes which are present in our current socio-political discourse. The two con-artists are reasonably successful college graduates who believe that society promised them the good life as a reward for going to college and having careers; however, when the pair see the lifestyle shown in glossy magazines – mansions, tennis courts, Rolls-Royce cars – the couple feels that society has reneged on its promise. The logic of the show’s premise is that the couple has been pushed by society – that wicked, amorphous “they” – toward a life of deception because there is no other path to riches open to them.
LitHub ran an article titled “How the well-educated and downwardly mobile found socialism.” The article isn’t worth reading, but the title touches on what began as the fictional premise of The Good Life and has become a full blown, ideologically fraught, issue today. What happens when perception of status is overblown and there is no sense of timeframe to temper expectations?
Thinking of the popularity of AOC or Andrew Yang and the manner in which they have successfully tapped into the tropes of “unjust society” of “inequality,” the modern millennial (my own generation) seems to have embraced the premise of The Good Life. The tv show contained a very subtle, and completely subversive, inversion of the moral order: because “society’s promises” were broken, the dishonesty of the protagonists was not immoral. The extension of such reasoning is that the industrialist was obligated to support the swindlers anyway due to his greater wealth.
Capx just ran a terrific article by Jethro Elsden, “Jane Austen, the accidental economist,” in response to the new film version of Emma. One of the interesting tidbits the author found was that in modern terms, Mr Darcy’s £10,000 per annum income is probably equivalent to £60 million today, which would make his wealth around £3 billion. Even then Elizabeth Darcy had to “make small economies” once she decided to support her sponging sister and feckless brother-in-law. Granted the economies might have been the result of not telling her husband, but still the point remains that no one can long support spongers.
Elsden alluded to the logic of social pressure and the malignant effect it had on Austen’s characters who feel compelled to engage in an “arms race.” A major reason the swindlers of The Good Life turn to dishonesty is that they feel pressured to look like successful suburban college graduates. The problem was that in the case of Austen’s characters and the tv show from 154 years later, the definition of “success” in relation to appearances was fungible. Rationally, it is ridiculous for the youngish couple of The Good Life to be in same place financially and socially as their mark, the middle-aged, widower industrialist whose lifestyle (but not work ethic) they covet.
To return, finally, to the anecdote regarding my shopping expedition, the episode is an example of a type of path that begins with frivolous preconceptions and ends with The Good Life on the comic end and the rise of Andrew Yang, Bernie Sanders, or Elizabeth Warren on the other. These politicians have located a demographic which has no sense of progression of time, stages of development, or realistic expectations. A perfect example is my ex-classmate, who has subjected herself to a fantasy regarding her own realistic expectation and now believes that the social contract has been broken. For such a demographic, the emotional trumps the rational. It is easier to believe themselves wronged than as merely victims of their own imaginations.