Ruminations on 1990s white-collar ennui seem quaint when viewed through a 21st-century lens. Adams based Dilbert on his experiences working as a financial analyst in the late 1980s, but offices have changed a lot in the interim 30 years. The salaried cubicle jobs rejected in Office Space and Fight Club are now objects of desire for survivors of the dot-com bubble and the 2007 financial crisis. The ersatz futurism of the sterile modernist office, unintentionally paying homage to Schindler’s List by sucking the color out of everything but a red iMac G3, is now a source of nostalgia. It could be a “grass is always greener” thing — or it could be that gaining the ability to fuck around online on the clock fundamentally transformed the nature of office work — but a not-insignificant portion of ’90s media is now incurably dated. The standard reaction to this development for those who created such media seems to be a turn toward far-right politics. Fight Club often finds itself misinterpreted by neo-fascists. Office Space creator Mike Judge regularly pals around with Alex Jones, at whose recent request he brought Western culture to its nadir by saying “Infowars dot com” in the Beavis and Butt-Head voice. Scott Adams, though less adept at creating an animated series (the Dilbert TV show lasted two seasons on the now-defunct network UPN), followed a similar path.
Alex Nichols on.