Your description of an emergent, hyper-informed teenage typology and your description of Juno do not match. At what point does Juno use a cell phone? A computer? Wikipedia? We could assume she does because of her age, but we are then molding her in our preconceived notions of today's teens. If anything, Juno is a poorly-drawn mishmash of today's teen and yesterday's wisecracking wallflower, aka Diablo Cody. She displays no recognizable intelligence. She reveals no discernible worldview. And no, I couldn't see her at the same Ivy League school with Michael Cera's character. But let's explore a few of your comments in more details.

"Coming to maturity at the height of our information culture, my generation has enjoyed instant access to practically all specialized knowledge, not to mention instant communication with anyone, anywhere." I've been over this already, but it bears repeating. For the record, I agree with your assessment of modern youth: Information access is at an all-time high. (Information analytical tools, however, are on the decline. But that's neither here nor there.) Juno, her arcane tastes aside, never shows us this side of today's teenager. Again, she never uses a cell phone, opting for the oh-so-precious hamburger phone instead. She never uses a computer, nor can I recall a computer being shown in her house. Juno is frequently shown visiting people in person, sometimes unannounced, a far cry from the texting, facebooking generation we're both familiar with. In fact, amazingly enough, the entire plot of the movie shifts around Juno and her best friend finding an adoption ad in the Penny Saver. In the PENNY SAVER!!!!???? This gets into a whole new area of criticism regarding plausibility and realism, so suffice it to say that Juno is not the herald of the information age you indicate she is. If anything, she heralds BACK to simpler times, when the doorknock was a more familiar sound than the Ding! of a text message.

"Her poise, self-belief, intelligence, and yes, even her flip and dry sense of humor..." OK, I'll grant you poise, although I've traditionally reserved that word for people who seem to appreciate the enormity of an exceptional and challenging circumstance, and hold their emotions in reserve. Juno certainly holds her emotions in reserve (until the glibness demands a tonic, and finds it in an affected teary scene), but she never really shows she appreciates the seriousness of her situation. Self-belief? I'm not sure I know what that means. She believes in herself? OK. She believes in herself. Moving on. Intelligence. This one gets me. Whence this supposed intelligence? I've heard her character described as intelligent, smart, witty, sharp, and perceptive. All evidence in the movie, however, suggests otherwise. I saw a nigh unceasing string of pop cultural references (some incorrectly used, i.e. Bone Collector, Thunder Cats) and clumsy alterna-phrasings ("...procure a hasty abortion...", "chosen custodians of this big-ass bump...", "I'm allergic to fine home furnishings", etc.). "Silencio?" I'm blown away by her intelligence. Get me a Harvard application--this one is familiar with over four decades of television trivia, and she knows how to use it. Mostly. (I say all this as a person who has, in the past, mistaken his own sarcasm and glibness for intelligence, and who has learned that it is not.) I'm sorry, but I just don't think "intelligent" when I see Juno. Please provide some examples.

"And so, on the surface, Juno appears glib, her vocabulary over-revved, the way she diffuses many situations with her wit a bit superficial." You lost me again. You say that Juno is glib, and that her vocabulary is "over-revved." I'll grant you glibness, and I'll grudgingly concede the vocab comment, if only for ill-fitting phrases "shockingly cavalier." But to confuse these qualities with wit is a miscarriage of analysis. Sunny D. Maker's Mark. Thundercats. The Goonies. Argento. iPod. She is a repository of popular culture, a collection of cultural signposts by which audiences can navigate the script. Hey, I know the Thundercats! Hey, I know Patti Smith! To these signposts there are two appropriate reactions: a knowing smile or a knowing laugh. If this is what passes for wit these days, I weep for the future of comedy. Additionally, these references do little to diffuse anything in the movie, except perhaps the encroaching realization that one is being played for the informed consumer s/he is, instead of entertained by originality, or challenged by complex characterization.

"I think this makes older people who are unfamiliar with this very real worldview uncomfortable because they didn't have synomymous sensations growing up." What worldview? Juno downplays the seriousness of her pregnancy. OK, we get it--she's an emotionally risk-averse, tetchy teenager. But from her teary breakdowns--the lighter one after her exchange with Bleeker, the heavier after Mark tells her he's leaving Vanessa--we are led to believe she is no one-trick--or one-line, as it were--pony. What does she realize? What is her worldview? That you should be with the person "who thinks sun shines out of your ass?" That she's really in love with Bleeker? If I thought Juno had an opinion about anything of import, I would certainly feel more engaged with her character, even if I didn't have the same opinion. But what exactly are these sensations that I do not feel synonymously? The sensation of knowing nothing? The sensation of caring about nothing?

"But it's always endearing, and more importantly, it's knowing. Juno comes from a limited, hyper-consuming, too-comfortable suburban life, and yet she, like Dawson, inhabits this world comfortably, despite the fact that we know she transcends it." What endears Juno to you is precisely what alienates me. To each her own. But to say that Juno transcends anything is to overstate her characterization considerably. And this is, I believe, your mistake. Juno's lack of anything resembling a core set of beliefs, her sarcastic commentary on the events around her, her absolute detachment from her pregnancy--these hardly add up to something more than their sum. What I do think emerges from the character of Juno is an excuse for Diablo Cody to showcase her ability to hoodwink the American public into thinking they are experiencing a bold new type of dramatic comedy, or, to borrow one of your phrases, a "new American persona." Let me pull the wool away, folks: this type of comedy has been around since at least 1996 (Bottle Rocket), and snarky, shallow teens been around for even longer.