In the first installment of a three-part series on NBC’s Hannibal, Allison McCracken and Brian Faucette discuss the show’s and network’s branding efforts in relation to their appeals to “feminized” audiences.
Bradley Schauer argues that David Letterman’s brilliant late night talk show career would have been a nonstarter in today’s television landscape.
Piers Britton explores questions of representation and issues of authorship and creative control in “Avengers: Age of Ultron” and the Marvel Cinematic Universe.
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 rhetoric of #gamergate co-opts concerns that women and minorities in the industry have raised for years. It has struck a chord now because the industry is changing.
Klout attempts to quantify the ephemeral, subjective concept of online influence through social media analytics. What does such a number mean for how we consider self-presentation online?
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.
Melanie Kohnen reports to Antenna from her recent experience at Digital Day at the New York Television Festival, and discusses how the NYTF is shifting the focus of Digital Day away from second screen apps offering program-related content towards TV network-preferred Twitter.
Here are ten or more media industry news items you might have missed recently
A full rundown of all the information you’ll need to know to participate in tonight’s #WOTW75 collective listening experiment, commemorating the 75th anniversary of Orson Welles’ and the Mercury Theatre’s “War of the Worlds” radio broadcast.