Matt Paproth watches a lot of television, and he probably should spend even more time writing about it than he currently does. In addition to blogging here at PopMatters, he has published essays on Samuel Beckett, Zadie Smith, Veronica Mars, and Friday Night Lights. He received his PhD from Southern Illinois University Carbondale in 2006 and is currently an Assistant Professor of English at Georgia Gwinnett College. Through the magic of the internet, you can see exactly what is going on in his head by following him on Twitter@mattpaproth.
It was with great anticipation that all of us got our first listen to Justin Timberlake's new album at some point in the past few weeks. Here are four takeaways I have picked up from three weeks of listening to The 20/20 Experience.
Serious business occurs in this week’s episode, and it doesn’t involve marginal progress in one of the lame stories, or a footman spilling something at dinner. No, this is about as good as the show gets, and it really is predicated on shocking you.
As the overarching narrative of the season, the question of "How will we keep Downton Abbey?" is working far better than the WWI did last season, probably because it allows Fellowes to focus on the minor characters in a way that the galvanizing narrative pull of the war did not.
While many critics argue that Americans are fascinated by Downton Abbey because of its fundamental Britishness, in other words because of how fundamentally different its sensibilities are from our own, I feel quite the opposite.
The backlash-to-the-backlash articles have followed suit, reminding readers that this is indeed a television show, one that has always been more interested in maintaining suspense and surprising viewers than in subtlety or in portraying the business of fighting terrorism with any degree of realism.