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“Amusing Ourselves to Death”: News media and the public’s desire to be entertained vs. its need to be informed | Media Matters for America
Journalism cannot serve its role as an institutional check on the powerful if it is driven by a need to maximize profit. The press can’t be afraid to be boring, but changes in the industry’s economic landscape over the past 20 years show what happens if it can’t keep our attention.
journalism  tv  media  politics  neilpostman  entertainment  whatnow  civics 
8 days ago by dirtystylus
Courtney Jane Walker on Twitter: "@VMIpod @Duanaelise @jennyowenyoungs I could actually do a full twenty minutes on the arc of the Veronica/Logan romance and how the reboot was a savvy exploration and subversion of “bad boy” teen romance tropes." / Tw
I could actually do a full twenty minutes on the arc of the Veronica/Logan romance and how the reboot was a savvy exploration and subversion of “bad boy” teen romance tropes.

VMIPod: yes! He had really worked on himself and she…hadn’t? HZ

Yes! There was that part of her that wanted him to be jealous and angry because she 1) thinks it’s hot and 2) can’t stand being disappointed by people, so better to expect the worst.
twitterthread  tv  tv:veronicamars 
16 days ago by dirtystylus
Olivia Colman & Phoebe Waller-Bridge Cover Portishead: Watch - Stereogum
As if you needed another reason to love Olivia Coleman, she’s a Portishead fan. The British actress chose to sing “Glory Box” for Got It Covered, a new celebrity covers charity album to raise money for BBC Children In Need — and she brought her Fleabag co-star and fellow national treasure Phoebe Waller-Bridge along for the ride.
music  portishead  songcover  oliviacolman  phoebewallerbridge  tv:fleabag  tv  video 
12 weeks ago by dirtystylus
R. Eric Thomas on Twitter: "Me confronting my past mistakes in a healthy and nurturing way.… "
Me confronting my past mistakes in a healthy and nurturing way.

[Photo of older Superman gripping younger Superman by the neck]
superheroes  superman  tv  dccomics  comics 
12 weeks ago by dirtystylus
What's Next: Avengers, MCU, Game of Thrones, and the Content Endgame | MZS | Roger Ebert
Whether what's truly being aped here is television, the theatrical cliffhangers of the 1940s and '50s, the serialized fiction of Charles Dickens and other 19th century magazine writers, or comic books and comic strips is ultimately a distinction without a difference. They're all manifestations of the same commercial/artistic impulse, to keep audiences on the hook, constantly craving dopamine rush that comes with narrative closure, even when it proves to be temporary, just a setup for the next cliffhanger. The takeaway here should be that television and cinema have merged into the endless, insatiable content stream, and the biggest, baddest examples of image-driven entertainment—the works that have the power to unite large sections of an otherwise fragmented society—are the ones that are more reminiscent of television as we've always known it.
film  cinema  tv  marvel  culture  gameofthrones 
november 2019 by dirtystylus
The troubling age of algorithmic entertainment
The point is that streaming is affecting content and we don't quite know how that will play out over time. Still, if there's one thing we know about algorithms, it's that they tend toward an odd mix of the flashy, the outrageous, and the comforting. And art that perhaps doesn't fit, or won't appeal to the way the algorithm works, may get pushed to the side. That isn't new exactly — that has almost always been the case with media that pushes against the status quo — but it's hardly the democratic utopia that digital's most prominent supporters promised us, either. Instead it represents a dumbing down, a dull sameness — and unlike a setting on a TV, the size and influence of the tech giants means it won't be something you can simply switch off.
culture  media  algorithm  film  tv  music 
november 2019 by dirtystylus
How Marvel films like Captain America: Civil War became the world's biggest TV show - Vox
Once you start to think about the MCU as a TV show, a lot of the common criticisms people tend to level at it take on a new context. For instance, you don't have to look far to find complaints that Marvel's films are formulaic, or lack the visual spark of other blockbusters, or shoehorn in story elements that don't exactly fit but are necessary to set up future films. But all these characteristics are fairly typical on television, where a director's influence is much lower than that of the showrunner.

In the case of Marvel's films, the showrunner is probably producer Kevin Feige, though he's hired others to take on the sorts of supervisory roles a co-executive producer might hold on a TV series. For instance, Joss Whedon — a great TV showrunner himself — oversaw much of Marvel's so-called "Phase Two," while Christopher Markus and Stephen McFeely have written many of the company's recent releases. (For more on how Fiege, Markus, and McFeely collaborate, read this piece by Vox contributor Peter Suderman on Marvel's approach to connecting all of its films.)

But Feige is essentially the visionary behind Marvel's entire slate. And from his perspective, many of the complaints occasionally lobbed at Marvel's films become strengths of the MCU as a whole. The idea that Marvel's films are less artistic expressions and more pieces of corporate product — though I would push back against that criticism — makes less sense if you view the MCU as one big TV series.
marvel  by:emilyvanderwerff  film  filmmaking  tv  culture  criticism 
november 2019 by dirtystylus
How spoilers have changed the way we watch movies and TV - Vox
For me and apparently many others, knowing what’s going to happen in a movie before we see it helps us enjoy the experience more.
culture  tv  film  spoilers 
november 2019 by dirtystylus
Is ‘Modern Love’ Only for White Women? - ZORA
After watching the show, I cried too—longer and harder than I care to admit. But I cried because, as a Black woman, the show made me feel anything but romantic. With its total exclusion of Black, brown, and Indigenous women as love interests, I felt invisible and dehumanized. Modern Love was incredibly traumatizing to watch, reminding me of all the gendered violence and dismissal I’ve faced in my life.
amazon  tv  tv:modernlove  relationships  blackness  blackwomen  representation 
october 2019 by dirtystylus
Fleabag breaks the fourth wall and then breaks our hearts.
But then the scene changes. The Priest’s eyebrows furrow in surprise. “What was that?” he asks, looking at Fleabag. “You just went somewhere,” he tells her accusingly, glancing in the same direction she turns when she looks at the camera. Fleabag claims to not understand, and, panicked, she looks at the viewer once again, this time with alarm on her face. “There!” he says. “Where did you just go?” Fleabag tries to shake it off. “Nowhere,” she tells him. He only sort of accepts this, shrugging. Fleabag turns to the camera once again, this time in shock. He’s seen her. He’s seen us.

Reader, I gasped.
tv  tv:fleabag  phoebewallerbridge  screenwriting  filmmaking 
may 2019 by dirtystylus
How ‘Fleabag’ Season 2 Improves Upon Those Tired ‘Thorn Birds’ Tropes | Decider
Priest becoming increasingly aware of this behavior suggests to me that Fleabag turning inward is something everyone in her life could indeed see, but they just didn’t care about her enough to pay close attention.
tv  tv:fleabag  phoebewallerbridge  screenwriting  tv:thornbirds 
may 2019 by dirtystylus
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