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Avidly Reads Screen Time
Avidly Reads
General Editor: Sarah Mesle
Founding Editors: Sarah Blackwood and Sarah Mesle

The Avidly Reads series presents brief books about

how culture makes us feel. We invite readers and
writers to indulge feelings—­and to tell their sto-
ries—­in the idiom that distinguishes the best con-
versations about culture.
Avidly Reads Theory
Jordan Alexander Stein
Avidly Reads Board Games
Eric Thurm
Avidly Reads Making Out
Kathryn Bond Stockton
Avidly Reads Passages
Michelle D. Commander
Avidly Reads Guilty Pleasures
Arielle Zibrak
Avidly Reads Opera
Alison Kinney
Avidly Reads Poetry
Jacquelyn Ardam
Avidly Reads Screen Time
Phillip Maciak
AVIDLY READS
SCREEN TIME
P HI LLI P MAC IA K

y
NE W Y O R K U NI V ER S I T Y P RE S S

i d l
New York, New York

Av ads
Re

Screen
Time
Phillip Maciak
NE W Y O R K U NI V ER S I T Y P RE S S New York
NEW YORK UNIVERSITY PRESS
New York
www.nyupress.org
© 2023 by New York University
All rights reserved
Library of Congress Cataloging-in-Publication Data
Names: Maciak, Phillip, author.
Title: Avidly reads screen time / Phillip Maciak.
Description: New York : New York University Press, [2023] |
Series: Avidly reads | Includes bibliographical references
and index.
Identifiers: LCCN 2022049832 | ISBN 9781479820542 (hardback) |
ISBN 9781479820573 (paperback) | ISBN 9781479820580 (ebook) |
ISBN 9781479820597 (ebook other)
Subjects: LCSH: Television viewers. | Television—Social
aspects. | Information technology—Social aspects. |
Digital media—Social aspects.
Classification: LCC HE8700.65 .M33 2023 | DDC 302.23/45—dc23
/eng/20221021
LC record available at https://lccn.loc.gov/2022049832
New York University Press books are printed on acid-­free paper,
and their binding materials are chosen for strength and durabil-
ity. We strive to use environmentally responsible suppliers and
materials to the greatest extent possible in publishing our books.
Manufactured in the United States of America
10 9 8 7 6 5 4 3 2 1
Also available as an ebook
To Maeve, Phoebe, and Mel,
my real life
Contents

1 Creatures Made of Screens 1

2 The Screen Time Era 37

3 We Are Not Alone (good vibes) 73

4 We Are Not Alone (bad vibes) 101

5 Space Junk 127

Acknowledgments 143

Works Consulted 147

About the Author 153

Figure 1.1. Mad Men, “Waterloo,” 2014
 1

C REATUR E S MAD E OF S CR EEN S

We are the TV. They’re looking at us. It’s season seven

of Mad Men, and the Moon landing is being broad-
cast live on television. They’re captivated, they’re in
awe. They’re warmed by each other’s presence. And
they’re illuminated by the screen in front of them.
For a brief moment, the camera lets us be the ob-
jects of their gaze. We see what it’s like to be watched
like a screen, like Neil Armstrong, like a commercial
for hamburgers or floor wax. And we look back at
them in a way that Neil Armstrong can’t, but maybe
some other screens can: we see Peggy Olson posed
upright in a baby blue dress, Don Draper lurched
forward in rumpled shirt and tie. They, as viewers,
become our object. Attentive, but vulnerable. Look-
ing out, looking in.
Michel Foucault, a contemporary of Don Draper
and Peggy Olson, wrote once about a similar figure
in a similar image, this one by Velázquez: “He is star-
ing at a point to which, even though it is invisible, we,
the spectators, can easily assign an object, since it
is we, ourselves, who are that point: our bodies, our
faces, our eyes.” We are the TV. They’re looking at us.
We, ourselves, are that point.

1
 This image has always stuck with me, a viewer
and a writer for whom these people on this TV show
were uncommonly important, and someone whose
life is shaped by screens of all kinds. This frozen mo-
ment of two spectators whose spectatorship, and its
relationship to our own, isn’t some pause in the real
story. It’s the story.
The screen watching us watching. All the time.
This is the story of our lives, as workers, as consum-
ers, as friends, as lovers, as parents, partners, chil-
dren. Screens mediating whatever it is we do, back
and forth, in and out. Maybe the image tells a story
about communion and community and innovation
across time and space. Our far-­flung relatives can be
close to us despite their physical distance, informa-
tion that would otherwise have been remote is acces-
sible within seconds, kids can go to school without
exposing themselves to life-­threatening illness, new
voices can express themselves through expanded, if
not fully democratized, online platforms. Or maybe
the story reveals surveillance and exploitation and
vulnerability. Virtual closeness erodes the impor-
tance of real community, the slippery ease of the
internet glosses over its massive carbon footprint,
online spaces of connection are also spaces of vio-
lent radicalization, bullying, and hate, everybody is
watching you.
That image’s looping self-­awareness disguises the
fact of its incredible straightforwardness. The hope
and paranoia indexed by that screenshot of Peggy and

2 Creatures M ade of Screens

Don aren’t a televisual fantasy—­those feelings are or-
dinary, everyday. It’s euphoric and it’s depressing, it’s
both our favorite show and an existential nightmare
of complicity and exposure. This is what it’s like. This
is how it feels. This—­the charged, sometimes con-
fused, space between these people, their hot screen,
and us—­is what’s happening. It’s happening now.
What’s happening is screen time.
This is a book about how screen time—­the time
you spend looking at your screen or the time the
people you love spend looking at theirs—­makes us
all feel. For a lot of people, that’s not a very compli-
cated topic. Screen time makes us feel bad. For as
long as that phrase has been a part of our lexicon, it’s
been an avatar for guilt, for shame, for regret. It’s bad
for our children, it’s bad for their eyeballs, it’s bad
for America. And not only that, but there’s way too
much of it. Nobody feels proud of their screen time.
Nobody wants to increase their screen time. Screen
time makes us feel bad. By design.
Which makes it interesting that, since 2018, Screen
Time has also been an app. Starting with iOS 12 in
2018, Apple made this feel-­bad function a part of its
actual screen design. The Screen Time app, then, is
also a screen watching us watching, just as much as
the image of Peggy and Don and the Moon landing.
Is there something this app can teach us about a way
that, alongside the badness, screen time can make us
feel . . . good? Or, maybe not good, but something at
least a little more complicated than “bad.”

Creatures Made of S creens  3

 The app, which comes built in to all Apple prod-
ucts now, can do two things. The first thing it can
do is tell you about yourself. It tracks, with your
permission, everything you look at on your iPhone
and for how long. It clumps these things into three
categories—­Social, Entertainment, and Productiv-
ity & Finance—­and tells you how much you dip into
these categories every day and every week. It comes
up with a personal average to weigh yourself against.
Perhaps most importantly, it alerts you to devia-
tions from the norm, whether you exceed your per-
sonal average screen time or dip below it. It doesn’t,
mind you, say in any proscriptive way what a healthy
amount of screen time might be—­this much screen
time is too much screen time. It simply quantifies
your own relationship to the screen, in a weirdly
moral way. You could spend a paltry thirty minutes
a day looking at your phone, and Screen Time would
still be able to give you a sting of guilt if you hit forty-­
five or a charge of victory if you make it to fifteen.
But it also doesn’t really want you to stop. You’ll still
get a pat on the back if you bring your daily usage
down from sixteen to fifteen hours.
The other thing Screen Time can do is suggest
that controlling your screen time is something you
could and should do. It tells you whether or not you
are in control, and it gives you tools to regulate your
own screen time, so as to become more in control.
You can set limits for particular apps or particular
categories—­only an hour of Twitter per day, no email

4 Creatures M ade of Screens

after hours. You can restrict content for yourself or
for your children. You can be the screen watching
others watch. Every look is doing something, assert-
ing something, and you can be in control of that ac-
tion. (Foucault had something to say about this, too.)
What Screen Time tells you, implicitly, is that all
of this looking that this device enables is bad for you
in excess. But you didn’t really need an app to know
that, did you? If you’ve grown up in the US in the
past thirty years, you know, very instinctively if also
confusedly, that screens are bad for you. You know
that you need to control the time you devote to them.
Even when they bring you sustained and meaningful
pleasure—­watching a Super Bowl or a big finale or
scrolling family pictures on Instagram or texting your
friends—­you know, at some level, that there could be
too much of this pleasure, and that that would lead to
some inchoate ill. You have been told this your whole
life. You know, further, that the way to interact with
screens is through measurement, through surveil-
lance, maybe even through abstinence. It’s the way
you encounter all screens: you know to be worried
about your relationship to them. You know—­e ven
when you question that knowledge, even when you
enjoy that knowledge—­that they are a problem.
And that’s because you yourself are integrated
with that app in ways Apple was canny enough to
realize. What you see on your phone is just a visu-
alization, a cute externalization, of a process that’s
likely already going on and on inside your own mind,

Creatures Made of S creens  5

whether you buy the moral framing or not. It’s a
screen that gives you access to millions and millions
of images and words and even people, and it pays
attention to what you’re doing when you hold it in
your hand, and it judges you the way you might judge
yourself. It’s an autofill for an anxiety that was born
with the television in the fifties and caught fire at the
end of the twentieth century, creating a totalizing at-
mosphere for our lives. The screen sends you a no-
tification. It asks you to look at it. And it makes you
feel bad, or bad and something more, when you do.
This is what it’s like. This confusion is how it feels.
This is screen time.
So this is a book about that feeling, where it comes
from, what we can do with it, and what it does to us.
The screen time era spreads from the early nineties
to the present, and it’s a time period defined by big
changes in screen technology and in the way people
talk about screen technology. These were popular
national conversations, happening everywhere from
local papers to TV talk shows, but they did not im-
pact everybody equally. Screen time is collective, and
it is also hyper-­individualized. So this book about the
culture of screen time is also, by necessity, about me.
I grew up in the screen time moment, a white, cis-
gender, heterosexual boy in a suburban household in
Western Pennsylvania with access to screens of all
kinds. We had TVs, we had premium cable, we had
home computers as early as the Apple II. I had a Nin-
tendo, and later a Game Boy. My first iPhone was an

6 Creatures M ade of Screens

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