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http://www.newyorker.com/arts/critics/television/2010/11/15/101115crte_television_franklin?currentPage=all
My fave part: When it comes to Palin specifically, there is the fundamental problem that some of us don’t want to see or hear any more of her than we have to. And there are those whose objections have a physiological basis as well as an ideological one: the pitch and timbre of her voice, the rhythms of her speech, her syntax, and the way she coats acid and incoherence with cheery musical inflections join together in a sickening synergy that distresses the listener, triggering a fight-or-flight reaction. When Palin talks, my whole being wails, like Nancy Kerrigan after Tonya Harding’s ex-husband kneecapped her: “Why? Why? Why?”
My fave part: When it comes to Palin specifically, there is the fundamental problem that some of us don’t want to see or hear any more of her than we have to. And there are those whose objections have a physiological basis as well as an ideological one: the pitch and timbre of her voice, the rhythms of her speech, her syntax, and the way she coats acid and incoherence with cheery musical inflections join together in a sickening synergy that distresses the listener, triggering a fight-or-flight reaction. When Palin talks, my whole being wails, like Nancy Kerrigan after Tonya Harding’s ex-husband kneecapped her: “Why? Why? Why?”
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