What’s new in Amanda Lotz and Timothy Havens’ Understanding Media Industries 2?
“Binging” and “marathoning” don’t cut it — we need a word in addition to binging to describe emerging viewing behaviors.
Sometimes love surprises us; I never thought I’d love Sons of Anarchy.
I demand a moratorium on breathless distribution announcements from cable companies until they upgrade the user interface. We all know the technology exists.
Trend pieces positing a “mancession” on network television schedules this fall overestimated the phenomenon.
Sons of Anarchy has often been described as Hamlet on Harleys for good reason. But my readings of late have me thinking that the show actually offers some really different inflections on Modleski’s Loving with a Vengeance.
The four part look at US television, America in Primetime, has been extraordinary, offered me new ideas, and left me reminded of the possibilities of the medium and with renewed thanks that I earn a living studying it.
Zucker never managed to balance a love for the potential of television with a love for the bottom line. Indeed, his job description only expected the latter, but the great ones have managed to do both.
This summer’s crop of original cable series leaves me wondering if we’ve entered a new era, as I increasingly find less innovation and distinction among many of cable’s originals.
To the series’ credit, it often “goes there”—into those contentious waters of clearly gendered dilemmas about women’s work, motherhood, and guilt that were a mainstay of a lot of 1980s and 1990s drama.
It is not that I harbor ill will toward the television industry—far from it. Rather, I’d hoped that some of the desperation of recent years might be enough to create the momentum needed for some real change. This remains a seriously strange way to allocate billions of dollars.