New sincerity, which is closely connected to and sometimes considered the same as post-postmodernism, is a trend found in music, art, books, film reviews, poetry, book analysis, and philosophy. It describes creative works that build on and move away from postmodernist ideas like irony and cynicism.
The term was first used in the mid-1980s, but it became more well-known in the 1990s through the work of American writer David Foster Wallace.
In music
"New sincerity" was a term used to describe a group of alternative rock bands based in Austin, Texas, between 1985 and 1990. These bands were seen as responding to the sarcastic and negative attitudes of earlier music styles like punk rock and new wave. The term "new sincerity" first appeared in a casual conversation between Austin-based artist Jesse Sublett and music writer Margaret Moser. Sublett later claimed he was misunderstood, saying he told Moser, "It's all new sincerity to me… It's not my cup of tea." Regardless, Moser began using the term in her writing, and it became widely associated with these bands.
The most successful "new sincerity" band nationally was the Reivers, originally named "Zeitgeist," who released four well-received albums between 1985 and 1991. Another band, True Believers, led by Alejandro Escovedo and Jon Dee Graham, earned praise in Austin but struggled to capture their live sound in recordings. Other notable bands included Doctors Mob, Wild Seeds, and Glass Eye. A key figure in the movement was Daniel Johnston, a unique and critically praised songwriter.
Despite receiving attention from national outlets like Rolling Stone and an MTV program called The Cutting Edge, the "new sincerity" bands did not achieve major commercial success. The movement faded within a few years. Later, the term was also used by music writers to describe artists such as Arcade Fire, Conor Oberst, Cat Power, Devendra Banhart, Joanna Newsom, Neutral Milk Hotel, Sufjan Stevens, Idlewild, Okkervil River, Leatherbag, and Michael Waller.
In film criticism
In 1993, film critic Jim Collins wrote an essay called "Genericity in the 90s: Eclectic Irony and the New Sincerity." In this essay, he compared two types of films. One type uses "eclectic irony," which means filmmakers mix different styles and genres in a humorous or playful way. The other type uses "new sincerity," where filmmakers treat genre conventions seriously and respectfully. Collins discussed films like Field of Dreams (1989), Dances With Wolves (1990), and Hook (1991). These films do not mix genres in a hybrid way but instead rewrite classic genre films through a method called "ethnographic" rewriting. This approach focuses on studying and showing different cultures or traditions. These films aim to recover a sense of "purity" in storytelling, which Collins suggests existed before the time when film genres were most popular.
In literary fiction and criticism
In his 1993 essay "E Unibus Pluram: Television and U.S. Fiction," writer David Foster Wallace described a possible new direction in literature. He suggested that future writers might reject the heavy use of irony and self-awareness that had become common in modern fiction. Instead, these writers might focus on real emotions and simple ideas, treating everyday human experiences with respect and honesty. They might avoid being overly aware of themselves or tired, even if others see them as old-fashioned or naive. Wallace believed that these writers could become true rebels by taking risks, such as facing criticism for being too sincere or too simple. He compared this to earlier writers who faced backlash for being shocking or controversial.
This idea was later discussed in the blog Fiction Advocate, which explained that Wallace's novel Infinite Jest was an example of the new style he described. The book aimed to challenge the emptiness caused by too much irony in American fiction. Wallace wanted to create a work that encouraged people to engage with stories and emotions again, rather than being detached or cynical.
In a 2010 essay, Adam Kelly wrote that Wallace and his peers focused on sincerity in their writing, which was different from earlier ideas about being authentic. Many other authors, including Jonathan Franzen, Marilynne Robinson, Zadie Smith, Dave Eggers, Stephen Graham Jones, Michael Chabon, and Victor Pelevin, are also linked to this movement.
In philosophy
The term "new sincerity" is sometimes used to describe an idea that comes from the main principles of performatism. It is also considered an important feature of metamodernism. Books connected to this idea include Wendy Steiner's The Trouble with Beauty and Elaine Scarry's On Beauty and Being Just. Other related movements may include post-postmodernism, New Puritans, Stuckism, the kitsch movement, remodernism, and the Dogme 95 film movement, which was started by Lars von Trier.
As a cultural movement
"New sincerity" is a cultural idea promoted since 2002 by radio host Jesse Thorn of PRI's The Sound of Young America (now Bullseye), a program described as "the public radio program about things that are awesome." Thorn explains "new sincerity" as a movement based on ideas like "maximum fun" and "be more awesome." It focuses on celebrating joy and avoids using irony, especially when appreciating cultural works. Thorn has shared this concept on his show and in interviews.
In a 2009 interview, Thorn said "new sincerity" began as a humorous idea he and friends created in college. He explained that while they joked about silly topics, they were sincere in their interest in them.
Since 2002, Thorn's idea of "new sincerity" has become more widely recognized. Some believe the movement started after the September 11, 2001, attacks, which changed American culture. The 1990s were known for art and media filled with irony, but after 9/11, there was a shift toward more serious and heartfelt expressions. Graydon Carter, editor of Vanity Fair, wrote that the attacks marked the end of the "age of irony." Jonathan D. Fitzgerald of The Atlantic suggests this change may also be part of natural cultural patterns.
Because of this movement, some cultural works are seen as examples of "new sincerity." This idea also became a way for people to enjoy things they once felt guilty about, like "guilty pleasures," and share their appreciation with others. One example is the "brony" fandom, made up mostly of adult men who enjoy the 2010 animated show My Little Pony: Friendship Is Magic, which is marketed to young girls. These fans are described as showing "internet neo-sincerity" by openly enjoying the show and challenging traditional gender roles.
A 2016 play by Alena Smith titled The New Sincerity is described as capturing the spirit of a time that seeks meaning and impact, even if it is not easily achieved.
In the early 2020s, writer James Poniewozik of The New York Times wrote about how TV shifted from ironic storytelling to more sincere and earnest approaches in his article "How TV Went From David Brent to Ted Lasso." He explains that TV shows no longer focus on detached or mocking tones as much as they once did. Instead, they aim to be more direct and heartfelt. Poniewozik suggests this change may be linked to the inclusion of more diverse voices in TV, such as those from underrepresented groups. He notes that shows like Atlanta, Ramy, Master of None, and Insecure show more empathy for their characters than older shows like Arrested Development.
This shift toward sincerity in film and television makes sense when considering the growing acceptance of diverse perspectives. However, it is important to note that before this change, popular culture was known for a period of "high irony," as Poniewozik calls it.
Regional variants
In Russia, the term "new sincerity" (novaya iskrennost) was first used by poet Dmitry Prigov and critic Mikhail Epstein in the mid-1980s or early 1990s. They introduced it as a reaction to the feeling of absurdity in Soviet and post-Soviet culture. Mikhail Epstein described "new sincerity" as an effort to bring back "dead" languages by using strong emotions like love, sentimentality, and enthusiasm.
This idea of "new sincerity" focused on avoiding cynicism, though it did not always avoid irony. Alexei Yurchak of the University of California, Berkeley, explained that it is a type of irony that is kind and warm. This kind of irony lets writers stay connected to the ideals they discuss, even while being slightly humorous about them.
Today, "new sincerity" is often compared not to Soviet literature, but to postmodernism. Dmitry Vodennikov and Victor Pelevin are seen as important figures in the new wave of Russian "new sincerity."
Since 2005, poets such as Reb Livingston, Joseph Massey, Andrew Mister, and Anthony Robinson have worked together on a poetry movement driven by blogs. Joseph Massey called this movement a "new sincerity" in American poetry, which contrasts with the cold, ironic style that dominates many poetry publications. Other poets linked to this movement include David Berman, Catherine Wagner, Dean Young, Matt Hart, Miranda July (who is also a filmmaker), Tao Lin, Steve Roggenbuck, D. S. Chapman, Frederick Seidel, Arielle Greenberg, Karyna McGlynn, and Mira Gonzalez.
In More Deaths than One (2014), the American/New Zealand writer and singer-songwriter Gary Jeshel Forrester explored the Central Illinois roots of David Foster Wallace during a journey from New Zealand to America. In this novel, Forrester wrote that Foster Wallace aimed to fill the postmodernist "void" by combining ideas from modernism and postmodernism. In this new approach, areas like metaphysics, epistemology, and ontology are important, but the main focus is on ethics. Foster Wallace believed it was okay to search for values and meaning, even while being skeptical. In 2026, Forrester published a poetry collection called The Ancient Light of the Dead in Australia. The 84 poems were written while Forrester lived in Georgia, a post-Soviet country. The poems were described as a casual walk through a diverse village cemetery that each person builds over their lifetime and will eventually live in.