considered a period of artistic works ripe with irony, and the attacks shocked a change in the American culture. Graydon Carter, editor of Vanity Fair, published an editorial a few weeks after the attacks claiming that "this was the end of the age of irony". Jonathan D. Fitzgerald for The Atlantic suggests this new movement could also be attributed to broader periodic shifts that occur in culture. As a result of this movement, several cultural works, including many identified above, were considered elements of "new sincerity", but this was also seen to be a mannerism adopted by the general public, to show appreciation for cultural works that they happened to enjoy. Andrew Watercutter of Wired saw this as having been able to enjoy one's guilty pleasures without having to feel guilty about enjoying it, and being able to share that appreciation with others. One such example of a "new sincerity" movement is the brony fandom, generally adult and primarily male fans of the 2010 animated show My Little Pony: Friendship Is Magic which is produced by Hasbro to sell its toys to young girls. These fans have been called "internet neo-sincerity at its best", unabashedly enjoying the show and challenging the preconceived gender roles that such a show ordinarily carries. A review of a 2016 play by Alena Smith The New Sincerity observes that it 'captures the spirit of an age lightly lived and easily forgotten, which strives for a significance and a magnitude that won’t be easily achieved'. In the early 2020's, the shift toward a more overt embrace of New Sincerity was codified in James Poniewozik's New York Times piece titled, "How TV Went From David Brent to Ted Lasso." Poniewozik details the shift, arguing that "In TV’s ambitious comedies, as well as dramas, the arc of the last 20 years is not from bold risk-taking to spineless inoffensiveness. But it is, in broad terms, a shift from irony to sincerity. By “irony” here, I don’t mean the popular equation of the term with cynicism or snark. I mean an ironic mode of narrative, in which what a show 'thinks' is different from what its protagonist does. Two decades ago, TV’s most distinctive stories were defined by a tone of dark or acerbic detachment. Today, they’re more likely to be earnest and direct." Poniewozik goes on to address possible impetus for doing away with the disjoint between writer