Metamodern people have seen the unsustainability of postmodern deconstruction, and they desire construction. They want to believe problems can be solved and progress can be made. Even as they’re suspicious of absolute truth in theory, their existential reality leads them to desire it. After all, to construct anything, one must have foundations.

Why, when we look at contemporary pop culture—movies, music, TV, campus protests, meme culture, and TikTok (especially TikTok)—does the word “incoherence” often come to mind? Why does so much today feel random, disconnected, contradictory, aimless, and altogether void of coherent logic and purpose?

Part of it is that social media’s inherent denarratived randomness has powerfully shaped a schizophrenic cultural consciousness. We see the world as we see our scrolling feeds: one random thing after another, ephemeral and quickly forgotten, providing mild amusement and occasional resonance but without an anchoring narrative that offers lasting satisfaction. As Byung-Chul Han puts it in The Crisis of Narration, digital platforms provide “media of information, not narration… The coherence from which events derive their meaning gives way to a meaningless side-by-side and one-after-the-other.”

Charles Taylor’s concept of “cross-pressures” also helps explain the situation. Contemporary people are bombarded from all directions by information, ideas, experiences, affinities, and spiritual quests—each pulling them in a different direction. Naturally, the experience of cross-pressured life (and its artistic expression) tends to be dizzying, conflicted, and incoherent.

One term academics, artists, and critics have started to use to explain what’s going on is “metamodernism.” For Christians and church leaders, knowing what this term describes—and especially how it finds expression in pop culture—will be helpful for our mission.

Metamodernism: What It Is

Metamodernism is what came after postmodernism, which is what came after modernism. If postmodernism cynically reacts against and deconstructs modernism, metamodernism reacts against modernism and postmodernism, affirming and critiquing aspects of both. Metamodernism opposes the “either/or” bifurcation of modernism and postmodernism. It refuses to choose between sincerity/certainty/hope (modernism) and irony/deconstruction/nihilism (postmodernism). It values both, even if—or perhaps precisely because—such a synthesis is, in the end, illogical and incoherent. Metamodernism accepts this incoherence because it values mood and affect (how I’m feeling / what I’m resonating with) more than rigid logic.

If this seems like a “have your cake and eat it too” philosophy, that’s sort of the point. Shaped by the endless, have-it-your-way horizons of the internet (a structural multiverse of innumerable “truths”), metamodernism is a worldview as wide open and consumer friendly as the smartphone. Take or leave what you want, follow or unfollow, swipe right or left: it’s your iWorld, so make it a good one.

The nice academic term for metamodernism’s hyperconsumerist, bespoke toggling between seemingly contradictory ideas is “oscillation.” The metamodern outlook constantly oscillates between the poles of modernism and postmodernism. This has the effect of making the metamodern posture impossible to pin down and ultimately hyperindividualistic. Each person, in any given moment, might swing multiple times between deconstruction and construction, truth and relativism. It seems to depend only on a vague mood disposition mixed with a cautious sense of avoiding “all-in” commitment to any one direction.

Here’s how one writer describes it:

Metamodernism considers that our era is characterized by an oscillation between aspects of both modernism and postmodernism. We see this manifest as a kind of informed naivety, a pragmatic idealism, a moderate fanaticism, oscillating between sincerity and irony, deconstruction and construction, apathy and affect, attempting to attain some sort of transcendent position, as if such a thing were within our grasp. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other.

This last oscillation—between irony and sincerity—is especially noticeable when you start to look at contemporary pop culture.

Metamodernism in Movies

The best analysis I’ve seen on metamodernism in movies is a video essay by media critic Thomas Flight (embedded below). It’s long (about 40 minutes) but well worth the time if you’d like to learn how the cerebral concepts of metamodernism show up in concrete ways in contemporary movies.

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