Cultural commentator Chris Black argues that ordinary consumers now have excessive access to industry data and business information about entertainment, which is fundamentally damaging their ability to simply enjoy artistic content. In his latest newsletter column "Pulling Weeds With Chris Black," the GQ writer contends that social media and newsletter subscriptions have created a new type of online personality obsessed with industries they don't actually work in.

Black describes how his daily routine involves consuming vast amounts of information across multiple industries including media, music, entertainment, publishing, and food through his podcast "How Long Gone." He notes that while information hoarding has been his personal interest since high school, the current widespread obsession with data is "sucking all the fun out of everything."

The columnist specifically criticizes film enthusiasts who have evolved from simply loving movies to consuming industry publications like Variety, The Hollywood Reporter, The Ankler, and Deadline. These fans now discuss opening weekend box office numbers, executive decisions by Disney CEO Bob Iger, director salaries, and complex corporate merger details like the potential David Ellison-led Paramount Skydance/Warner Bros. Discovery deal. Black points out that these individuals "have no skin in the game" but can no longer enjoy a simple movie experience because they're preoccupied with distribution strategies and international market performance.

The music industry faces similar issues, according to Black, despite being his "true love." He observes friends constantly referencing Spotify streaming numbers, which he admits to never checking himself. While he regularly reads industry publications like Hits Daily Double, Bob Lefsetz's newsletter, and visits sites like Stereogum, Brooklyn Vegan, and Pitchfork for tour announcements and music discovery, he criticizes how fan culture has evolved. He notes that teenage fans now debate first-week sales numbers and merchandise bundle controversies, tracking their favorite artists' Billboard chart positions with corporate-level scrutiny.

Black expresses particular frustration with fans discussing legal battles like the Drake versus Universal Music Group lawsuit, arguing that corporate disputes don't affect the actual listening experience. He highlights how Twitter users regularly post Ticketmaster screenshots to point out when artists don't sell out specific venues, questioning whether ordinary people really need to know details from record label earnings calls.

The writer advocates for society to "leave the data to the bean counters and enjoy art," emphasizing that fans have no legitimate reason to obsess over business metrics. While acknowledging that debates and discussions can be entertaining, he warns against letting industry knowledge cloud perception or reduce enjoyment of artistic works. He mentions loving numerous albums that received negative reviews from Pitchfork and criticizes platforms like Letterboxd, where users "with no skin in the game and too much time on their hands get to play pretend Siskel & Ebert."

Black concludes his commentary with a simple appeal to "just enjoy stuff while we still can," suggesting that the current trend of over-analyzing the business aspects of creative industries is ultimately destructive to the pure appreciation of art and entertainment.