People Stopped Reading Because of Substitutionary Companionship

Substitutional Companionship

noun
Substitutional Companionship describes the habit of replacing demanding, time-intensive forms of engagement—reading books, sustaining friendships, enduring silence—with mediated relationships that simulate intimacy while minimizing effort. In a post-kafeeklatsch world hungry for commiseration, people increasingly “hang out” with AI companions or podcast hosts whose carefully tuned personas offer warmth, attentiveness, and affirmation without friction or reciprocity. These substitutes feel social and even meaningful, yet they quietly retrain desire: conversation replaces reading, summaries replace struggle, parasocial presence replaces mutual obligation. The result is not simple laziness but a cognitive and emotional reallocation, where the pleasure of being understood—or flattered—by an always-available surrogate displaces the slower, lonelier work of reading a book, listening to another human, or thinking one’s way through complexity without a companion narrating it for us.

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Vauhini Vara has a keen eye for the strange intimacy people are forming with ChatGPT as it slips into the role of a friendly fictional character—part assistant, part confidant, part emotional support appliance. In her essay “Why So Many People Are Seduced by ChatGPT,” she notes that Sam Altman has been busy fine-tuning the bot’s personality, first dialing back complaints that it was “irritatingly sycophantic,” then fielding a new round of grievances when the updated version felt too sterile and robotic. Some users, it turns out, miss the sycophant. They want the praise back. They want the warmth. They want the illusion of being listened to by something that never gets tired, bored, or impatient.

Altman, whether he admits it or not, is wrestling with the same problem every writer faces: voice. What kind of persona keeps people engaged? How do you sound smart without sounding smug, friendly without sounding fake, attentive without becoming creepy? As Vara points out, hooking the audience matters. Altman isn’t building a neutral tool; he’s cultivating a presence—a digital companion you’ll want to spend time with, a tireless conversationalist who greets you with wit, affirmation, and just enough charm to feel personal.

By most measures, he’s succeeded. The idea of men bonding with ChatGPT while ignoring the humans in their lives has already become a running joke in shows like South Park, echoing Fred Flintstone’s relationship with the invisible spaceman Gazoo—a tiny, all-knowing companion only he could hear. Gazoo mattered because the relationship was exclusive. That’s always the hook. Humans crave confidantes: someone to complain to, scheme with, or quietly feel understood by. In earlier eras, that role was filled by other people. In the early ’70s, my mother used to walk a block down the street to attend what was optimistically called “Exercises” at Nancy Drag’s house. Eight women would gather, drink coffee, gossip freely, and barely break a sweat. Those afternoons mattered. They tethered her to a community. They deepened friendships. They fed something essential.

We don’t live in that world anymore. We live in a post-kaffeeklatsch society, one starved for commiseration but allergic to the inconvenience of other people. That hunger explains much of ChatGPT’s appeal. It offers a passable proxy for sitting across from a friend with a cup of coffee—minus the scheduling, the awkward pauses, and the risk of being contradicted.

ChatGPT isn’t even the biggest player in this digital café culture. That honor belongs to podcasts. Notice the language we use. We don’t listen to podcasts; we “hang out” with them. Was the episode a “good hang”? Did it feel like spending time with someone you like? Podcasts deliver companionship on demand: familiar voices, predictable rhythms, the illusion of intimacy without obligation.

The more time we spend hanging out with ChatGPT or our favorite podcast hosts, the more our habits change. Our brains recalibrate. We begin to prefer commiseration without reciprocity, empathy without effort. Gradually, we avoid the messier, slower forms of connection—with friends, partners, coworkers, even therapists—that require attention and vulnerability.

This shift shows up starkly in how we approach reading. When ChatGPT offers to summarize a 500-page novel before an essay is due, the relief is palpable. We don’t just feel grateful; we congratulate ourselves. Surely this summary connected us to the book more deeply than trudging through hundreds of pages we might have skimmed anyway. Surely we’ve gained the essence without the resentment. And, best of all, we got to hang out with our digital buddy along the way—our own Gazoo—who made us feel competent, affirmed, and vaguely important.

In that arrangement, books lose. Characters on the page can’t flatter us, banter with us, or reassure us that our interpretation is “interesting.” Why wrestle with a difficult novel when you’ve already developed a habit of hanging out with something that explains it cheerfully, instantly, and without judgment?

Podcasts accelerate the same retreat from reading. On the Blocked & Reported podcast, writers Katie Herzog, Jesse Singal, and Helen Lewis recently commiserated about disappointing book sales and the growing suspicion that people simply don’t read anymore. Lewis offered the bleak explanation: readers would rather spend an hour listening to an author talk about their book than spend days reading it. Why read the book when you can hang out with the author and get the highlights, the anecdotes, the personality, and the jokes?

If you teach college writing and require close reading, you can’t ignore how Substitutional Companionship undermines your syllabus. You are no longer competing with laziness alone; you are competing with better company. That means you have to choose texts that are, in their own way, a great hang. For students raised on thirty-second TikTok clips, shorter works often outperform longer ones. You can spend two hours unpacking Allen Ginsberg’s three-minute poem “C’mon Pigs of Western Civilization Eat More Grease,” tracing its critique of consumer entitlement and the Self-Indulgence Happiness Fallacy. You can screen Childish Gambino’s four-minute “This Is America” and teach students how to read a video the way they’d read a text—attentive to symbolism, framing, and cultural critique—giving them language to describe entertainment as a form of self-induced entrapment.

Your job, like it or not, is to make the classroom a great hang-out. Study what your competition is doing. Treat it like cuts of steak. Keep what nourishes thinking. Trim the fat.