BBC1 edited out two intercut gay/het sex scenes - neither especially graphic - from its broadcast of Torchwood: Miracle Day episode 3, 'Dead of Night'. What's at stake here for John Barrowman as an actor/TV personality?
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TV
Torchwood Miracle Day, Episode Three: Tonight’s The Night?
Torchwood Miracle Day, Episode Two: A Rickety Rendition?
As Torchwood: Miracle Day progresses past its initial world-changing premise, how does it shape up? Episode 2 ('Rendition') seems to lack coherence. But for Torchwood, that's almost business-as-usual...
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Transatlantic Torchwood: Everything Changes?
What changes has Torchwood undergone as a BBC Worldwide/Starz co-production? Perhaps this latest version brings to the surface a logic present from the very beginning of Russell T. Davies's Doctor Who spin-off.
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How the Categories Got Their Shapes: Eligibility & the Emmy Nominations
While we are often quick to point out the flaws in the Emmy nomination process, lamenting the absence of our favorite programs, often the nominations are guided as much by eligibility as by voter subjectivities.
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You Have Friends That Want You Back Home
Treme’s focus on how its culture and cultural economies are created and presented through music and cuisine has meant a majority of its almost 22 narrative hours watching musicians struggle with bar owners, the recording business, the law and each other.
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The Pains of Winning
The Bruins won the Stanley Cup, in style. So why, as a Vancouver Canucks fan, do I feel more relief than sadness?
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Salvaging the Sinking Soaps?
Could the demise of so many daytime soaps be causing a return to form for a genre fans have long felt was losing its way? The rapidly changing world of U.S. daytime television has as many highs and lows as a juicy soap storyline these days.
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Waiting for Superman
Superman is the myth attracting the audience and the property that Time Warner values. But this value diminishes if his story is not told enough, so the trick is to render him inexhaustible, allowing him to be consumed without dying.
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The Rapture of New Network Shows
What happened at last week's network upfronts, and what does it say about American television?
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Matthew Graham’s Doctor Who: Fear Him?
The obvious critical question is this: which Matthew Graham do we get here? The Life on Mars and Ashes to Ashes scribe? Or the 'Fear Her' and Bonekickers doppelganger?
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Neil Gaiman’s Doctor Who: Fan Service Meets the Junkyard Look
There's an illusion of transformative work here – although this seems to alter the rules of the Whoniverse, in fact it leaves all the game pieces in play as they were.
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The Rhythm of a City Out of Sync: The Disrupted Spaces of Treme
While season one seemed to chart the resiliency of New Orleans as a place, defined by its people and its culture, season two is digging into localized spaces and demonstrating their continued vulnerability in the wake of the storm.
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Steve Thompson’s Steven Moffat’s Doctor Who: A Pirate Copy?
'The Curse of the Black Spot' serves up warmed-over intertextualities with gusto. But such manic repetition of generic fare seems to over-ride considerations of authorial distinction.
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Steven Moffat’s Doctor Who: Challenging the Format Theorem?
Moffat challenges the TV industry establishment far more notably than did series one through four. He's the Tom Baker to Russell T. Davies's Jon Pertwee.
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Spaces of Speculation: How We Learned Osama Bin Laden Was Dead
As one of the first events of this magnitude that has taken place squarely within the Twitter era, Osama Bin Laden's death reveals the challenge facing traditional media outlets when Twitter runs rampant with speculation (and real reporting).
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