I started streaming Crazy Ex-Girlfriend ( a.k.a. CXGF) on Netflix on Saturday night. The “Sexy Getting Ready Song” was refreshingly accurate. I was hooked after that. However, by episode 15, my interest took a dive. I’m afraid that much like my beloved The Good Wife, CXGF might be trapped in its name. Could it have hit the repetition wall–the dreaded point where the premise dies and the show must end–in the middle of its first season? I’m hoping for some kind of diegetic deus ex machina to refresh the show. While definitely a cumulative show, it leans heavily toward the episodic end of that spectrum, and that’s not ideal for binge watching. If I allowed a week to pass before watching the next episode, perhaps I’d be content. Maybe I should?
For sure thought this was a made up Vampire Diaries thing… 💉☠🍵
After seeing in class the fan mash-up of Sherlock with House M.D., I was curious what CBS’s Elementary might offer as an updated, American version of Sir Arthur Conan Doyle’s stories. I searched for an interview with one of Elementary’s female producers, and landed on Liz Friedman, a very accomplished television producer and writer who executive produced both Elementary and House M.D. I decided to write on this podcast interview with Friedman because female voices unmediated by men are not often heard, and this was an interview between two women in the industry. I wondered if Friedman’s minority status within the industry as a woman (a gay woman at that) would influence her representation of her work. The podcast was created and hosted by Jen Grisanti, a former TV executive who now seems to make her entire living off of paid seminars and speeches on “making-it” as an industry writer. By analyzing the subculture of “insider” discussion in Jen Grisanti’s podcast interview of Liz Friedman, I will explore how above-the-line work privileges the needs of the industry over individual laborers by using such deep texts as what Professor Johnson calls “regimes of truth,” enforcing the ideology of Hollywood meritocracy. Continue reading
Laura Prudom writing in Variety’s March 22, 2016 article, “Supergirl’ Meets ‘The Flash’: Stars Take Us Behind the Scenes on the Crossover (EXCLUSIVE)” reveals the economic convergence involved in such event programming. Henry Jenkins defines various forms of the post-network phenomena of convergence, the economic variety consisting of the ownership of different forms of media. Conglomeration has been ramping up for decades since the deregulation of Fin-Syn’s abolishment. The significance of conglomeration in the post-network age lies in the potential for what Jenkins terms “transmedia exploitation of branded properties.” When companies have ownership in multiple channels, they have greater incentive and ease in engaging in cross-promotion and synergy among those holdings. By exposing the economic convergence involved in the Supergirl/Flash crossover, I will show how convergence can breed convergence, allowing shows to benefit from post-network fragmentation.
Best known for its crime procedurals like NCIS and event reality shows like Survivor, CBS doubled-down on its cash cow shows years ago, as unabashed king of back-door pilots spinning off into series. While comedies and non-crime dramas exist and are even popular on the network, the majority of CBS shows are similar in their lean toward the episodic end of the cumulative TV spectrum. A few shows break this mold, Continue reading