Badwatching: Scenes from a Misspent Life
J. D. Connor explains what Fox’s game show “Snake Oil,” Disney’s film “Haunted Mansion,” and NBC’s crime series “The Irrational” have in common.
J. D. Connor explains what Fox’s game show “Snake Oil,” Disney’s film “Haunted Mansion,” and NBC’s crime series “The Irrational” have in common.
J. D. Connor ponders how AI is transforming the media landscape, the law, and our lives.
J. D. Connor writes about the writers’ demands in the WGA strike in Hollywood, and about how movies about contracts relate to a downturn in production...
J. D. Connor reflects on the seemingly endless mutability of the Super Mario Bros. franchise.
J. D. Connor discusses Netflix’s business model, specwork in comedy, and the extraction of surplus value from Black labor.
J. D. Connor asks why Netflix spent $450 million to acquire the “Glass Onion” franchise.
J. D. Connor analyzes how cultural shifts in the relationship between movies and money made James Cameron’s initial record-breaking blockbuster...
J. D. Connor explains what “Citizen Kane” would look like if it had only industry politics and no real ones: it’d be “Mank.”
What sort of model — for narrative, for business — does the Marvel Cinematic Universe offer?
“[The Other Side of the Wind] is the movie Welles would have made had he been the digital filmmaker he was not.” J. D. Connor on Welles's final film.
It is his refusal to speak directly about “issues” that makes J. D. Vance the new pundit for white people.
Does "Twin Peaks: The Return" matter?