We’ll never know exactly why anyone wins Emmys, but the process weighed heavily in HBO’s dominance at this year’s ceremony.
The Recording Academy’s decision to use Twitter to announce its nominees reinforces social media’s role in shaping industrial practice surrounding award shows.
The removal of the artist’s songs from the streaming service represents the latest development in an ongoing distribution struggle in the music industry.
How this year’s ceremony’s lack of narrative created discursive space filled in by everything but the production itself.
As cases of so-called “category fraud” increase, the Emmy Awards’ arbitrary points of distinction risk becoming the story.
When fans are asked to crowdfund the marketing of a film that will exist without their support, the meanings of Kickstarter shift considerably.
How HBO’s deal with Amazon Prime reflects its history of embracing new forms of distribution in the interest of connecting with and monetizing audiences unable or unwilling to subscribe to the channel.
By leveraging Kickstarter as a safe space for masculinized fandom, Blue Mountain State has the potential to live on despite lacking its progenitor’s coverage, prestige, and formalized fan engagement.
Twitter serves not only as a platform for high-profile showrunners, but also a space where more nuanced television authorship is negotiated by writer-producers.
When a showrunner chooses to remove themselves from Twitter, they are removing themselves from not only professional opportunity but also a space for self-expression.
From the moment the ceremony began, it was clear that this was an evening set to celebrate television in the most misguided of ways.