Here's what might be considered the nut of the essay:
By depicting various figures attempting to argue their way out of fraudulence, Wallace brings his readers to what might be a depressing realization: “true authenticity” can always be forged. His writing has value, specifically for us, because it actualizes and confirms our suspicion that, across the categories of American culture—in social life, television, politics, art and criticism—our obsession with fraudulence and authenticity has acquired the configuration of neurosis. The more fervently we demand authentic expression, the less capable we are of identifying it. We can no longer agree on standards, or whether we should have standards. Postmodernism has not succeeded in eradicating the distinction between what is real and what is fake, but it may have deprived us of any vocabulary for speaking meaningfully about that distinction. Irony, satire and ridicule, masked as coping mechanisms, become the ongoing symptoms and restatements of our condition. Wallace draws a line from the Frankfurt School to the metafictionists to The Simpsons to The Daily Show. He drives us to acknowledge the AA maxim that not just our worst, but also our “Best Thinking” got us here, where we are free to say anything but what we mean.
I also thought this was an interesting remark, especially since I'm preparing to read Tolstoy's Anna Karenina this summer:
Wallace was often accused of fashionable postmodern pretension, which inverts his potential vulnerability. Critics could more accurately fault Wallace for the kind of reactionary dogmatism associated with the late Tolstoy, whose turn to folk Christianity had a similar structure and motivation as Wallace’s valorization of AA.