
Ten (or more) media industry stories you might have missed recently.
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Ten (or more) media industry stories you might have missed recently.
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Welcome to our six new Antenna rotating editors, Evan Elkins, Kit Hughes, Myles McNutt, Nora Seitz, Jennifer Smith, and Adrian Sullivan!
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Deputy Chief Brenda Leigh Johnson on TNT's The Closer loves candy. And Hershey's loves The Closer. Is it a product placement match made in heaven?
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It’s worthwhile thinking about the Blackberry investigations and Google/Verizon plan for the future of net neutrality in connection with each another because they tell us a lot about trends in information policy and practice.
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This week's Mad Men is all about gossip.
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The strange case of the carnivalesque and commercial nature of the modern amusement park.
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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.
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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.
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The 62nd Primetime Emmys aired last night on NBC with a first-time host, and several first-time winners. There's much to discuss, and at Antenna, we're curious: what do you think?
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Ten (or more) media industry stories you might have missed recently.
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The documentary reality TV series American Pickers and Pawn Stars are two of this summer's hottest original shows on cable. And yet, how is that shows about collecting really expensive stuff are so popular amidst an economic recession?
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Keeping shooting schedules is hard enough under perfect conditions. For producers in the West Bank things are never perfect. For a scholar, for better and for worse, that’s part of the story.
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If I were to pick a worthy successor of Buffy's Sunnydale, it would be Mystic Falls rather than Bon Temps.
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Kids are being sexualized these days. And, wouldn’t you know it, popular culture is said to be at fault
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Mad Men begs the question of how the 1960s embodied by our characters informs the present world that we now inhabit. What would it mean if we are the inheritors not of only the brave triumphs of the Freedom Riders, but also of the indifference or disinterest of people who felt unaffected by them?
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When, if at all, can we appeal to painting to explain a filmmaker's work?
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