Mark Lashley discusses “Fuller House” and the current trend of resurrected television nostalgia, and how the notion of television as an ephemeral or disposable media form is diminishing.
Piers Britton reflects on the unacknowledged divergences in use of the term “aesthetic” within television studies, and suggests that some of the elisions are leading to unproductive argument.
Studying representation was my way into media studies. But laborers aren’t working from a script and we can’t always visualize the lived realities of their work.
While this media surge contributed to this season’s premiere becoming Mad Men’s highest rated episode ever, ratings are not really the point. Mad Men sustains AMC’s brand, providing a specific and prestigious visibility that extends beyond those who actually watch. Mad Men also offers viewers the opportunity to feel simultaneously nostalgic for and superior to a version of an earlier era, achieving a “sophisticated weekly get together of the people we dig and who dig us.”
Each year, the anticipated fall premiere television season is followed by an equally exciting period: fall cancellation season. The failures of The Playboy Club and Pan Am raise the question of why we turn to period TV, especially post-Mad Men.
It is no longer impossible to imagine that AMC might move on, leaving its signature show behind.
This season, Mad Men, and its mad men and women, have been on a quest to redefine what advertising is, dramatizing the radical changes that the field underwent during the 1960s.
In “Chinese Wall,” barriers between personal and professional lives continue to erode, and Mad Men’s men begin to wrestle with these costs.
The British invasion of Sterling Cooper at the end of season two has resulted in a noticeably different firm and a noticeably different direction to the series. This has also meant moments of audible change.
An intersection of civil rights and women’s rights is woven through this episode about women’s voices.
Is the exclusion of blackness on Mad Men an oversight, a strategic choice, or a reflection of the continuing privilege of whiteness?
This week’s Mad Men is all about gossip.
Unlike any other episode to date, “Waldorf Stories” stresses the importance of masculine disengagement by creating a context in which this mode is no longer available to Don.