Author Archive

Disney Interactive's big gaming industry play comes with rhetoric of revolution, and a business model built on the success of other gaming platforms.
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Netflix's nominations have been signaled as historical for online television, but they were earned through efforts to erase that distinction.
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Part two of an interview with TV critic Alan Sepinwall about his popular history of the past fifteen years of television drama.
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Part one of a two-part interview with TV critic Alan Sepinwall on his popular history of the past fifteen years in television drama.
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Days after the channel debuted a documentary series focused on gender equality, their Wimbledon coverage raises questions about their own commitment to equality in broadcasting.
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BBC America’s campaign to earn the Orphan Black actress a nomination comes at a time when the Academy's traditional logics are being challenged by new spaces for Emmy campaigning.
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Prospect Park’s soap opera strategy tests traditional conceptions of televisual value within an evolving space of digital distribution.
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While The Office's documentary aesthetic has often led to the assumption the show itself was the final product, the choice to position the diegetic documentary as public television and a successful international export pushes against this assumption in interesting ways.
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Why kickstarting Veronica Mars was not simply a procedural act, but rather a social experience awakening, mobilizing and monetizing fan cultures in real time.
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While Defiance may seek to expand its focus beyond a primarily male audience, as a broader transmedia initiative it highlights the gendered realities of convergent media practices.
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While a complex production mythology makes Syfy's ambitious transmedia series/game Defiance unique, the first of two parts explores how this mythology also breeds uncertainty as the franchise's April debut nears.
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By licensing—and disciplining—history, the Assassin's Creed series seeks to turn cultural capital into gaming capital.
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While winners and losers may speak most directly to television's hierarchies, the Emmy telecast itself offers a space in which broadcast networks can reshape prevailing discourses of quality within the television industry.
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As DirecTV, Netflix, Hulu, and Amazon emerge as players in content distribution, we are seeing evidence of active campaigning by production studios finding new homes for their canceled shows.
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PBS successfully transitions Downton Abbey from Miniseries to Drama Series by continuing to lean on the advantages afforded the former distinction.
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