While productions like Sport in America champion sport’s cultural import, they tend to obscure the conditions that facilitate and restrict sport’s apparent capacity to define us.
We not only need to engage with historiographical ideologies and methods in times of shifting temporality and materiality; we need to protect physical media.
A preview of the European Football Championship quarterfinal between Greece and Germany.
In the final installment of this series on podcaster Bob Frantz and his venture Boneyard Industries, the frustration that comes with advertising and getting local listeners on board is explored.
TBS’ agreement to air new episodes of Cougar Town may signal the next network to employ the “Fox Formula” whereby market share is built courting black viewership, only to be discarded once a critical mass of mainstream viewership is attained.
Is Ridley Scott’s Prometheus a half-baked pile of philosophical babble, or is it more seductively an early harbinger of a kind of post-television cinematic narrative—filmmaking in the age of television?
True to form, this year’s Tony Awards laid bare its undying need to appear youthful, popular, and hip, all the while marginalizing the spirit of American theatre and those who participate in it. The broadcast looked less like a celebration of New York theatre and more like the Oscars, Emmys, and Grammys rolled into one. And, after all of this pandering, the Tonys did what many think they do best: produced a ratings disaster.
Upon being released after his home station embraced a format change, radio personality Adam Carolla responded by creating a “network” of podcasts he could use to sell advertisers listeners in aggregate. Bob Frantz quickly looked to this strategy as a way to continue an over-the-mic career after the death of a ten-year radio career and recruited a number of friends and former broadcast buddies to populate the Boneyard Podcast network. Part two of a three-part post.