Allegedly, somewhere in Wake Forest, North Carolina, a 4 bed, 5.5 bathroom house totaling more than 6,600 square feet is for sale at a price of 2.37 million dollars. The house, allegedly, was built in 2021. Allegedly, it looks like this:
A McMansion is, in effect, the same house over and over again - it’s merely dressed up in different costumes. In the 90s, the costume was Colonial; in the 2000s, it was vague forms of European (Tuscan, Mediterranean), and in the 2010s it was Tudor, dovetailed by “the farmhouse” – a kind of Yeti Cooler simulacra of rural America peddled to the populace by Toll Brothers and HGTV.
Now, we’re fully in the era of whatever this is. Whitewashed, quasi-modern, vaguely farmhouse-esque, definitely McMansion. We have reached, in a way, peak color and formal neutrality to the point where even the concept of style has no teeth. At a certain moment in its life cycle, styles in vernacular architecture reach their apex, after which they seem excessively oversaturated and ubiquitous. Soon, it’s time to move on. After all, no one builds houses that look like this anymore:
(This is almost a shame because at least this house is mildly interesting.)
If we return to the basic form of both houses, they are essentially the same: a central foyer, a disguised oversized garage, and an overly complex assemblage of masses, windows, and rooflines. No one can rightfully claim that we no longer live in the age of the McMansion. The McMansion has instead simply become more charmless and dull.
When HGTV and the Gaineses premiered Fixer Upper in 2013, it seemed almost harmless. Attractive couple flips houses. Classic show form. However, Fixer Upper has since (in)famously ballooned into its own media network, a product line I’m confronted with every time I go to Target, and a general 2010s cultural hallmark not unlike the 1976 American Bicentennial - both events after which every house and its furnishings were somehow created in its image. (The patriotism, aesthetic and cultural conservatism of both are not lost on me.)
But there’s one catch: Fixer Upper is over, and after the Gaineses, HGTV hasn’t quite figured out where to go stylistically. With all those advertisers, partners, and eyeballs, the pressure to keep one foot stuck in the rural tweeness that sold extremely well was great. At the same time, the network (and the rest of the vernacular design media) couldn’t risk wearing out its welcome. The answer came in a mix of rehashed, overly neutral modernism – with a few pops of color, yet this part often seems omitted from its imitators – with the prevailing “farmhouse modern” of Magnolia™ stock. The unfortunate result: mega-ultra-greige.
Aside from war-mongering, rarely does the media manufacture consent like it does in terms of interior design. People often ask me: Why is everything so gray? How did we get here? The answer is because it is profitable. Why is it profitable? I’d like to hypothesize several reasons. The first is as I mentioned: today’s total neutrality is an organic outgrowth of a previous but slightly different style, “farmhouse modern,” that mixed the starkness of the vernacular farmhouse with the soft-pastel Pinterest-era rural signifiers that have for the last ten years become ubiquitous.
Second, neutrals have always been common and popular. It’s the default choice if you don’t have a vision for what you want to do in a space. In the 2000s, the neutrals du jour were “earth tones” - beige, sage green, brown. Before that, it was white walls with oak trim in the 80s and 90s. In the 70s, neutrals were textural: brick and wood paneling. We have remarkably short memories when it comes to stylistic evolution because in real time it feels incremental. Such is the case with neutrals.
Finally, the all-gray palette is the end logic of HGTV et al’s gamified methodology of designing houses with commodification in mind: if you blow out this wall, use this color, this flooring, this cabinetry, the asking price of your house goes up. You never want to personalize too much because it’s off-putting to potential buyers. After twenty years of such rhetoric, doesn’t it make all the sense in the world that we’ve ended up with houses that are empty, soulless, and gray?
A common realtor adage is to stage the house so that potential buyers can picture their own lives in it. In other words, create a tabula rasa one can project a fantasy of consumption onto. Implied in that logic is that the buyer will then impose their will on the house. But when the staged-realtor-vision and general-mass-market aesthetic of the time merge into a single dull slurry, we get a form of ultra-neutral that seems unwelcoming if not inescapable.
To impose one’s style on the perfect starkness is almost intimidating, as though one is fouling up something untouchable and superior. If neutrality makes a house sell, then personality - at all - can only be seen as a detriment. Where does such an anti-social practice lead us? Back to the house that may or may not exist.
In my travels as McMansion Hell, I’ve increasingly been confronted with houses full of furniture that isn’t real. This is known as virtual staging and it is to house staging as ChatGPT is to press release writing or DALL-E is to illustration. As this technology improves, fake sofa tables are becoming more and more difficult to discern from the real thing. I’m still not entirely sure which of the things in these photos are genuine or rendered. To walk through this house is to question reality.
Staging ultimately pretends (sometimes successfully, sometimes not) that someone is living in this house, that you, too could live in it. Once discovered, virtual staging erases all pretensions: the house is inhabited by no one. It is generally acknowledged (though I’m not sure on the actual statistics) that a house with furniture - that is, with the pretense of living – sells easier than a house with nothing in it, especially if that house (like this one) has almost no internal walls. Hence the goal is to make the virtual staging undiscoverable.
If you want to talk about the realtor’s tabula rasa, this is its final form. Houses without people, without human involvement whatsoever.
But what makes this particular house so uncanny is that all of these things I’ve mentioned before: real estate listing photography, completely dull interiors and bland colors all make it easy for the virtual furniture to work so well. This is because the softness of overlit white and gray walls enables the fuzzy edges of the renderings to look natural when mixed with an overstylized reality. Even if you notice something’s off in the reflections, that’s enough to cause one to wonder if anything in the house is real: the floors, the fixtures, the moulding, the windows and doors.
This is where things are heading: artifice on top of artifice on top of artifice. It’s cheap, it’s easy. But something about it feels like a violation. When one endeavors to buy a house, one assumes what one is viewing is real. It’s one thing if a realtor photoshops a goofy sunset, it’s another to wonder if anything in a room can be touched with human hands. I won’t know what, if any, part of this estate costing over 2 million dollars actually exists until I visit it myself. Perhaps that’s the whole point - to entice potential buyers out to see for themselves. When they enter, they’ll find the truth: a vast, empty space with nothing in it.
The better this rendering technology gets, the more it will rely on these totally neutral spaces because everything matches and nothing is difficult. You are picking from a catalog of greige furniture to decorate greige rooms. If you look at virtual staging in a non-neutral house it looks immediately plastic and out of place, which is why many realtors opt to either still stage using furniture or leave the place empty.
Due to the aforementioned photography reasons, I would even argue that the greigepocalypse or whatever you want to call it and virtual staging have evolved simultaneously and mutualistically. The more virtual staging becomes an industry standard, the more conditions for making it seamless and successful will become standardized as well.
After all, real staging is expensive and depends on paid labor - selecting furniture, getting workers to deliver and stage it, only to pack it back up again once the property is sold. This is a classic example of technology being used to erase entire industries. Is this a bad thing? For freelance and contract workers, yeah. For realtors? no. For real estate listings, it remains to be seen. For this blog? Absolutely. (Thankfully there is an endless supply of previously existing McMansions.)
The thing is, real estate listings no longer reflect reality. (Did they ever to begin with?) The reason we’re all exasperated with greige is because none of us actually live that way and don’t want to. I’ve never been to anyone’s house that looks like the house that may or may not exist. Even my parents who have followed the trends after becoming empty nesters have plenty of color in their house. Humans like color. Most of us have lots of warmth and creativity in our houses. Compare media intended for renters and younger consumers such as Apartment Therapy with HGTV and you will find a stark difference in palate and tone.
But when it comes to actually existing houses - look at Zillow and it’s greige greige greige. So who’s doing this? The answer is real estate itself aided by their allies in mass media who in turn are aided by the home renovation industry. In other words, it’s the people who sell home as a commodity. That desire to sell has for some time overpowered all other elements that make up a home or an apartment’s interiority to the point where we’ve ended up in a colorless slurry of real and unreal.
Fortunately, after ten years or so, things begin to become dated. We’re hitting the ten year mark of farmhouse modernism and its derivatives now. If you’re getting sick of it, it’s normal. The whole style is hopefully on its last leg. But unlike styles of the past, there’s a real, trenchant material reason why this one is sticking around longer than usual.
Hence, maybe if we want the end of greige, we’re going to have to take color back by force.
there’s no “marriage equality” until disabled people can get married. congratulations on the legislation protecting interracial & gay marriage. don’t forget that people on SSDI still can’t get married. marriage equality would imply this legislation included us but it doesn’t. we still can’t get married
“but technically you CAN get married”
I live in a state without Medicaid expansion. If I get married I lose all access to medical care
that’s not “legal marriage” that’s fucking evil and deadly and not even possible for someone like me
If you are a US voter, call your Senator’s to state your support for the Puerto Rican Status Act. Additionally, remember the 191 congresspeople who voted against this.
If you are a US voter, call your Senator’s to state your support for the Puerto Rican Status Act. Additionally, remember the 191 congresspeople who voted against this.
I love that Leverage really goes out of it’s way to show us that just because you break the ‘rules’, it doesn’t mean you’re breaking the rules. Rules and laws and society are all made up, at the end of the day, and all you really have is your own moral compass and sense of justice; is this just to you? Is it right? Should it be OK for companies to put people in insurmountable debt for the rest of their lives just because our medical care is so expensive in this modern day and age? No law or rule should change what you know in your heart is right and wrong, and I think that’s the key thing that makes someone a good person in my eyes.
#there was a time when parker wouldn’t have noticed, #not because she lacked the capacity to care, #but because she had narrowed herself, #to stay alive she cut off as many unnecessary things as possible, #watching her get them all back, #is one of the glories of this show (via @seananmcguire)
Leverage hands down has the best character development I’ve ever seen.
This scene hit me like a brick. My parents were hundreds of thousands of dollars in debt when I was 16 bc I’d had cancer the year before (my treatment ended up being free but the initial ER bills and such were not).
But somewhere along the line they just… Disappeared. My mom says they’re not being paid and they’re not in collections. It’s almost as if someone out there did…exactly what Parker did.
Ever since I saw this the first time, I’ve imagined it was Parker doing it. That she and Hardison had a free weekend and decided to take it out on a collections agency. That I was one of the lucky ones who got a little Leverage.
Okay but like yeah, that is actually a thing that happens, albeit not exactly like this. I don’t remember the exact process but basically there’s a booming industry to sell peoples debt - the business you owe money to sells it to someone else for a fraction of the money owed, wipes their hands of the whole affair, and now whoever bought your debt is riding your ass to get you to give the money to the. But it’s also entirely possible for people to just… buy up massive amounts of debt for pennies on the dollar, and then just. Forgive it. Because capitalism is a living nightmare, but the system is broken enough that it’s possible to exploit it for good sometimes.
Like, the main reason I know about this is because John Oliver did a piece on debt buying a few years ago, and ended it by revealing that he’d bought 15 million dollars worth of medical debt just so he could forgive all of it. Both to expose how broken the system was because some random fucker like him could buy millions of dollars in peoples debt with zero regulations, and also just to take the record for biggest TV giveaway in history.
Why. Why is ‘extremely overweight’ an important detail in this passage?
And if anger causes us to be fat, then why didnt she lose weight when the anger-releasing ritual was done, hm????
Explain that to me Gynne. Explain it.
I’m so damn angry at this book.
And the fucking irony of counting fatness as a negative trait in a ritual to Pele, who is often portrayed as broad shouldered woman of size, for a culture whose standards of beauty are so very different from colonizer ideals. The audacity.
ALT
