In our last contribution to #EmmysWatch2025 at Pop Junctions, @ladyhorrors.bsky.social considers how #WhatWeDointheShadows shapes the sitcom and mockumentary forms in ways that enrich narrative, character and theme.
And that’s a wrap of this series—thanks to all our contributors and readers!

Next up in #EMMYWATCH2025 is a piece on #Andor by @taralomax.bsky.social that explores questions of genre in the series and the #StarWars franchise.

Next up on #EMMYSWATCH2025, @chriscomerford.bsky.social compares the blend of comedy and drama in #TheBear and #Shrinking to explore the complexities of effective ‘dramedy’ storytelling.

In this #EMMYSWATCH2025 contribution, @mbarnesnelson.bsky.social discusses the self-reflectivity of #TheStudio.

Really excited to share the collection of contributions we have coming at Pop Junctions for #EMMYSWATCH2025.
We start off with a great 2-part interview with the creators of the podcast We Disrupt this Broadcast, with fellow associate editor Lauren Alexandra Sowa.

I was recently invited to inform this piece on what is really driving superhero fatigue for Sydney Morning Herald and The Age. Of course genre fatigue isn’t new.

WWE Raw launched on Netflix yesterday with this opener. It reinforces a point that has been central to WWE’s revival: that pro wrestling is a distinct art form with its own histories, and formal conventions in storytelling and style. A great way to begin the Netflix era.

I have found myself writing a bit about toys this year, after starting the year with a piece on Barbie and now ending it with this one on Marvel Legends action figures. In this post I reflect on my own experience as an action figure collector and the practice of displaying.

Pop Junctions is now on Bluesky. We’re looking forward to sharing forthcoming blog content and revisiting previous highlights. Formerly Confessions of an Aca-Fan by Henry Jenkins, Pop Junctions is now coordinated by a collective editorial team from across the globe.

Proud to share my newest publication, co-authored with Liam Burke and Jessica Balanzategui: “Cine-mapping: Charting the Use of Scripted Spaces in Screen Tourism,” published in JCMS: Journal of Cinema and Media Studies.
muse.jhu.edu/pub/349/arti...

Does the Australian film industry have a problem with the horror genre? Australia has produced globally successful horror films, such as THE BABADOOK (2014) and TALK TO ME (2022), but filmmaker Maria Tran – director of MIDNIGHT NEVER SLEEPS (2024) – says the local industry still resists the genre.

Perfect cinema space for a 50th anniversary screening of Young Frankenstein at the Hayden Orpheum Picture Palace.

For info about my research and publications, check out my website Assembled Illusions at taralomax.com. I have work on a range of topics related to contemporary Hollywood entertainment, blockbuster franchising and multiplatform storytelling, including on Star Wars and Marvel (plus more)

We celebrated the end of a 2-year journey for our MA Screen students this past week and staff shared parting words and a fav film. I couldn’t go past the twins of May 25: MIDNIGHT COWBOY (1969) and STAR WARS (1977). Together these films represent my love of the New Hollywood era.

Delighted to see that birds are a thing on here, so here’s a series of my favourite local inner Sydney birds.

Been inactive on that ‘other platform’ for a while, mostly since it developed a strange ‘x’ factor, so curious to see how this migration pans out. Interested in conversations about screen media, filmmaking, entertainment, academic research and higher education.