Ten (or more) media industry stories you might have missed recently
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As avid mediavores and media scholars, how should we consider our consumption of media products in light of the labor and environmental conditions of production?
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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.
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“Funk” exemplified everything I’ve come to expect from Glee: a confusing mix of rousing musical performances and out of place racist/sexist/heterosexist jokes
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The town names of callers allow listeners to construct an imagined regional map, an extended network of communication of which they are one point in their material environment that they comprehend through the car window
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The Eurovision Song Contest has the unparalleled capacity to make that skeleton of nationalism a little less scary – by putting it into a camp costume and acoustically accompanying it with pop music
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Disney’s announcement that it will be replacing cable channel Soapnet with a new preschool channel has generated serious concerns for U.S. soap viewers.
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Friday, Gary Coleman passed away after what appeared to be, by most accounts, an incredibly difficult 42 years, many of which were spent in an unsuccessful attempt to stay out of the spotlight and live as normal a life as humanly possible.
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What does it mean to have a beloved character's tastes change in favor of product placement opportunities? Fan backlash to product placement might disrupt the narrative, but it's probably not a bad thing for the advertiser.
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Is the virtual watercooler making timeshifting impossible? Can you have your DVR and Twitter too?
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It appears that in season six the world inside The Hills has effectively merged with the world outside The Hills. For this jaded fan, The Hills is once again must-see TV.
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How often this season have we seen ‘tween girls, and their forty-something moms, blamed for the sorry state of American Idol?
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The themed episodes often bury narrative and character development, but this week saw a powerful blending of Lady Gaga’s music and persona and the storyline. Her promotion of both over-the-top performance and being a “freak” allowed the show to return to one of its favorite themes.
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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.
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24 crosses the finish line with a return to form - and further resources to question and negotiate its assumed reactionary politics.
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It's time to let go.
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