Netflix's willingness to give the audience control over serial viewing challenges assumptions that the best way to control program costs is to eke out episodes over time, measuring demand, and then raising and lowering prices in response.
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As we bid farewell to Don’t Trust the B, we also bid farewell to a part of gay black visibility on network television. Luther was a character written in a mold that has (problematically) been deemed passé and disrespectful to the middle class, married/coupled, suburban model of gay televisibility. And for that, we should...
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As more media scholars grapple with issues traditionally associated with aesthetic analysis, the need to map the history, methods, and goals of this “aesthetic turn” proves increasingly pressing.
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The new series The Following literally spells out the very tropes it plan to use, letting its audience in on its postmodern joke where the plotting criminal is aware that he is creating a literary plot as well.
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As we reinvent our lives through gamification, we have to ask ourselves what it means to be alive.
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The new findings on player concussions have caused an onslaught of negative media attention for the NFL, and may soon bring the sport of professional football to a crucial crossroads.
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Comedy Central's new sketch comedy program Kroll Show offers an infinite regression of media industry meta-discourses, recreating a dominant reading position that masquerades as oppositional.
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NBC's new First Family sitcom, 1600 Penn, is surprisingly devoid of conventional political engagement, instead relying on traditional domestic comedy in the form of interpersonal conflict.
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As audiences migrate away from live TV viewing and advertisers become increasingly concerned about how to get their messages out, series like "Escape My Life," which invite viewers to engage more directly and deeply with a brand (while being entertained!), might just be the wave of the future.
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It has been a really hard fall for a feminist TV lover. Problems abound with both the character of Julia Braverman-Graham of Parenthood, and Mindy Kaling's character on her new show, The Mindy Project. But nothing–nothing–has exceeded my disappointment more than the transformation of Up All Night.
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If the development of a symbiotic relationship between actors and products in reality television is the casting director’s responsibility, then who is excluded by Absolut Vodka’s sponsorship of RuPaul's Drag Race?
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Flipping through the post-Christmas sales, I'm reminded of how the TV show on DVD has become an ubiquitous part of our culture. But it's those series or seasons of shows that are not for sale that tell a narrative of what's worthy of archiving within our popular culture and collective memory.
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Rudolph was created when gayness as identity was rarely represented on screens, instead shunned off into the shadowy world of coded meanings waiting to be activated by knowing readers or “appearing” as semiotic excess waiting to be queered through the practice of camp.
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While episodic gaming is a new frontier for how developers make games, it is perhaps an even larger divergence in terms of how we play games.
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Antenna contributors consider the 2012 Fall Premieres from The CW.
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