Metamodernism is a feeling in art predicated on a coexistence of modernist and postmodernist principles, resulting in “informed naivety,” “pragmatic idealism,” and simultaneous sincerity and irony (Vermeulen & van den Akker). 

Metamodern art is oftentimes a response to crisis, and can grapple with recent events and issues, applying itself to the world in real time (Abramson “Ten Basic Principles of Metamodernism”). 

Modern criticism, although it never faced the internet’s existence in its heyday, might “[lament the] fragmentation” caused by the web, as technology and social media distort perceptions of reality (Barry 81). Postmodern criticism would instead celebrate the individual’s ability to construct any desired identity on the web, and is “likely to emphasize how meaning degenerates as it moves across the vast expanse of space between selves and groups of selves” (Abramson “Ten Basic Principles of Metamodernism”).  Furthermore, in reference to Because the Internet, postmodernism would embrace the use of both “high and low culture” mediums, such as adult film star Abella Anderson’s inclusion in the experimental film Clapping for the Wrong Reasons (Barry 88). Postmodernism emphasizes distances and alienation between parties, yet “the Internet, by comparison, is a strange mix of distance and closeness, detachment and immediacy — our sense of ourselves and strangers’ varying senses of us… thus, metamodernism” (Abramson “Metamodernism: The Basics”). 

Glover, the metamodernist, notes the simultaneous existence of modernism and postmodernism’s seemingly diametrically opposed notions. Moreover, metamodernism itself does not uphold the notion that these two are the only suppositions of the web’s affect, as variations on user involvement lead to different capacities for danger or safety, and the metamodernist acknowledges the multiplicity of approach (Abramson “Ten Basic Principles of Metamodernism”). In amalgamating concerns of racial bias and internet-era dangers with existentialism’s emphasis of individual agency, in using intertextual and interdisciplinary transmedia to craft his world, Glover embodies the metamodern sentiment, placing an impetus on audiences both to interact with the art and to apply significance to their own lives.

Metamodernists have claimed Glover as one of their own, amongst the likes of Shia LaBeouf, Reggie Watts, Wes Anderson, Lana Del Rey, and James Franco in a wave of popular metamodern artistry (Abramson “What is Metamodernism?”). While there has been previous study of Because the Internet as a metamodern work, most notably in Jesse Damiani’s web-essay “Childish Gambino and the Metamodern Ennui,” he ultimately fails to adequately address the proliferation of transmedia forms that make up the world, instead focusing primarily on the lyrical content and music videos. Whilst Damiani states that Glover “engenders discussion” through his art, he missteps in the notion that this exploration is shoved into “the same, infinite space where we do virtually everything else, [the internet],” failing to consider Glover’s live shows or pre-release gatherings in parks and houses across North America as recognition and outreach into the real world (“Part IV”).  Metamodernist Seth Abramson’s identification of Glover as a metamodern artist unfortunately does not delve into an investigation of Glover’s work in detailed fashion (“What is Metamodernism?”). Thus, an examination of metamodern concepts as they apply to the transmedia world Because the Internet is sorely needed.

Glover’s metamodern sensibilities are a response to crisis, both the individual existential crisis faced, as well as the collective grappling with the internet’s influence. Statements made in interviews along the lines of “we are more connected than ever but I have never felt so alone” echo this metamodern sense of the internet’s effect, and reflects the social desire “to be with each other, but also elsewhere - connected to all the different places they want to be,” pursuable through the power of the web (Breakfast Club 2013; Turkle). 

The sincere belief in love apparent in songs such as “I. Pink Toes” and “I. Flight of the Navigator,” as well as the script’s description of The Boy and Naomi’s love (“It’s a connection. The less alone. This is all we look for on earth”), coexists with the heartbreak evident in The Boy’s multiple ex-girlfriends, as well as his failures to connect with others (Glover 65). This is inextricably tied to Glover’s personal life, as he discusses the crisis he faced, when he was with “a girl [he] thought [he] was going to marry [before they] broke up,” and his ensuing suicide attempt (Pastuk). This solidifies the influence of metamodernism in the Because the Internet world, as “metamodernism is used by individuals and societies as a generative response to tragedy,” since metamodern art “gives one a reason to hope and the ability to stave off despair” through its optimism and sincerity in dealing with harsh cruelties (Abramson “Ten Basic Principles of Metamodernism”). Contextually considering the suicide attempt that preceded Glover’s creation of Because the Internet, his created world exemplifies his feelings of universality in individualized thoughts, evidenced in his reaction to onlookers’ concern over his seemingly suicidal Instagram notes: “Everybody feels that way. Everybody has suicidal thoughts. Everybody is on the verge of suicide every day. You could die at any moment!” (Moore). This conception of a line between life and death, if this line even exists, is quite thin. This danger is accentuated by the internet, as mistakes are made permanent: “because the internet, mistakes are forever / but if we fuck up on this journey, at least we’re together” (“III. Life: The Biggest Troll”). Thus, the vulnerability created by the web on the individual meets the safety of connection between humans, creating a simultaneous sense of togetherness and solitude, safety and fear, individual identity and collective presence. Because the Internet is a spotlight on the existential dilemma faced by society in the internet age, as well as the internet’s propensity and utilization to overcome said dilemma, thus being a metamodern representation of life’s simultaneous significance and meaninglessness.

“Roscoe’s Wetsuit,” itself a phrase of simultaneous significance and meaninglessness, a mystery box of a phrase/hashtag/concept, appears throughout Glover’s Because the Internet world. It becomes a singular representation of this metamodern conception of identity, safety, and the web, contingent on its transmedia use both by Glover in his authorial role, as well as the proliferation and exploration of the phrase by his audience. The phrase first appeared on Glover’s twitter feed, and he would intermittently retweet accounts that had also tweeted the phrase (@DonaldGlover). “Roscoe’s” hints at identity, since it is a name, while also referring to the popular California-based restaurant chain, Roscoe’s Fried Chicken & Waffles, notably connected to African-American culture (Snoop Dogg being a notable celebrity endorser of the chain) (Roscoe’s Official). Thus, while the vague nature of the phrase makes it widely applicable, Glover, in an act of metamodernism, simultaneously hones in on African-American identity. “Wetsuit” refers to the act of surfing the web, related to the surfing near the beginning of the script, its protective properties, as well as the use of clothing as an expression of identity. The “Wetsuit” is a choice, a construction of identity when surfing the web. Glover’s pervasive use of this mystery box encouraged audience investigation and spreadability, realizing his desire for audience exploration of the world he created, evidenced in the plethora of chat rooms, forums, and articles dedicated to investigating the phrase’s significance (@Genius). Transmedia implementation of mystery boxes is predicated on the notion, that, in world-building, “mystery… is the catalyst for imagination,” and fans explored the meaning of Roscoe’s Wetsuit (Rose 4). In this, Glover captures transmedia’s capacity for engaging audience participation through his mystery box, and illustrates the metamodern conception of identity simultaneously overlapping with other facets of identity. Finally, the connotation of the wetsuit as a protective equipment emphasizes Glover’s spotlight on constructed identity as means of more safely surfing the web.