Isn't it fun being able to do that?

YESSSSSSS!!!

Anyway, it is a wild time to be teaching Fahrenheit 451.

AI does not get to steal our intellectual labor and then claim em dashes and words like "juxtaposition" or "underscore" as its own. Also, how maddening is the grift of AI “detectors” that flag good writing and then offer to "humanize" it (for a fee!) by making it worse?

If clean, well-structured prose is "clearly AI," then what exactly are we teaching people writing is supposed to look like? I did not spend decades learning and teaching this craft just to have basic competence dismissed as artificial.

My favorite genre of academic conference encounter is the simple, familiar: “It is so nice to finally meet you in person.” For all the benefits of remote communication, I keep coming back to that reminder that our work is not purely textual. It lives in bodies and voices, too. #SCMS26

Book cover for Critical Approaches to Transmedia Storytelling in K-Pop, edited by Nicholas E. Miller, featuring a surreal collage with a red-and-blue door standing among colorful trees, floating rings, bubbles, and birds in a bright sky, with the Bloomsbury logo at the bottom.

Book cover for The Cultural Politics of Transmedia Storytelling in K-Pop, edited by Nicholas E. Miller, featuring a close-up of a studio microphone lit in pink and purple tones against a dark background, with the Bloomsbury logo at the bottom.

And while you are at #SCMS26, please stop by the @bloomsburyacademic.bsky.social booth for more information on my current and forthcoming collections about transmedia storytelling in K-pop.

Conference program listing titled “K-pop’s Transnational Turn: Mediating Difference across Platforms and Cultures,” held in the Fairmont Millennium (Lobby Level). Presentations include: Andrea Acosta, “Digital Artifice: K-pop, Race, and the Internet Body”; Nicholas E. Miller, “K-Pop as Queer Method: Generative Unruliness and Transnational Reception”; and Michelle Cho, “Nostalgia for Nostalgia: BTS on American TV.”

If you are going to be at #SCMS26 this weekend, please stop by on Saturday morning to chat all things K-pop! I feel ridiculously fortunate to be presenting with two absolute icons in #KpopStudies on mediating difference across platforms and cultures.

The Cultural Politics of Transmedia Storytelling in K-Pop Foregrounding the ways in which stories are created and circulated across media forms and cultures, this volume approaches K-pop as a narrative system rather th…

Editing a volume of scholarship is intense work. Editing two volumes back-to-back is something else entirely. But I just finished reviewing copyedits for the second one, and I am genuinely thrilled with how it has come together. Well worth it! And well worth a pre-order! #KpopStudies #Transmedia

And the chapter is EXCELLENT!!!

The Cultural Politics of Transmedia Storytelling in K-Pop Foregrounding the ways in which stories are created and circulated across media forms and cultures, this volume approaches K-pop as a narrative system rather th…

Guess what has now entered production? My second edited volume on transmedia storytelling in K-pop will be out this September and features another phenomenal roster of international scholars. Please consider pre-ordering and recommending it to your academic libraries! #Kpop #Transmedia #AcademicSky

Someday I want whatever chemical reaction happens in Haewon's brain every time she covers a Beyoncé song. #NMIXX

I do not want to make light of how dangerous this moment is, as I am genuinely frightened that Trump’s rhetoric is going to get Ilhan Omar killed. That said, there is something profoundly heartening about watching her walk purposefully toward her assailant, refusing to flinch.

Although this feels less local (for now), I am not sure that I have felt violence register so clearly in my body since the shooting of Michael Brown. Proximity may change, but I suppose the body bears witness and refuses to forget.

I have often worried that I am desensitized to violence, especially state-sanctioned gun violence. The visceral, embodied experience of watching this latest execution proves otherwise. Realizing this feels less like relief and more like an obligation to stay attentive and be unwilling to look away.

He was doing what many have been saying white men should be doing. He went outside to observe, he documented, he put his body on the line to protect another person and for this he was murdered by the gatekeepers of the fascist regime.

Sayre: "My background is in international humanitarian response in conflict zones in Yemen, Haiti, Syria, Iraq, and Ukraine. What I've seen here is what I've seen there. A powerful entity violently and intentionally terrorizing people."

My nervous system cannot take this. Watching militarized, masked men assault protesters while another person is executed by federally sanctioned thugs is not “news”—it is trauma. This is not a glitch in the system. This *is* the system: state violence, protected by impunity, carried out in public.

U_Chae performs at a small fan gathering inside KorK, a local K-pop store, holding a microphone and smiling in front of a pink tinsel backdrop with balloons and a large sign that reads “HEY U_CHAE PT.2.” She wears a leopard-print top and skirt with black leather accents.

U_Chae, live. Basically in my neighborhood.
So glad she came to STL. Thank you, @korkstl.bsky.social! #UChae #Kpop #KpopSTL

A hardcover copy of Critical Approaches to Transmedia Storytelling in K-Pop (edited by Nicholas E. Miller) standing upright on a glossy table.

Officially in my “photocard but make it citations” era. #KpopStudies #Transmedia #AcademicSky

After months of digital collaboration, I finally got to chat with @nayoungbishoff.bsky.social live—and she is every bit as brilliant, cool, and lovely as you would expect. Huge thanks to her for organizing such a fascinating panel on global musical adaptations earlier today! #MLA26

Title slide with pink, ethereal fairycore background and window light, reading “Fairy Queens and K-Pop Dreams: A Midsummer Night’s Dream and its Contemporary Afterlives.”

For those at #MLA26: I am participating in a virtual roundtable on “Global Musical Adaptations” with @nayoungbishoff.bsky.social at 3:30 PM (EST), with remarks on “Fairy Queens and K-Pop Dreams: A Midsummer Night’s Dream and its Contemporary Afterlives.” Join us! mla.confex.com/mla/2026/mee...

A rain-soaked teenage protester chants at a rally, holding a sign amid a crowded demonstration, with protest signs visible behind him.

Proud of my kids for showing up, standing out, and refusing silence—even in the rain. In a moment amplified by the killing of Renee Good, they chose visibility, solidarity, and care over ICE and its reign of terror. Photo shared by @stlpublicradio.bsky.social.

Critical Approaches to Transmedia Storytelling in K-Pop In Critical Approaches to Transmedia Storytelling in K-Pop, contributors present a variety of compelling case studies to argue that K-pop has evolved beyond a m…

📘 PUBLICATION DAY 📘

My edited collection, Critical Approaches to Transmedia Storytelling in K-Pop, is now available for individual purchase and library acquisition via @bloomsburyacad.bsky.social.

So grateful to the contributors who made this project possible! #Kpop #Transmedia #MediaStudies

Even granting every bad decision made by a handful of twenty-somethings and their families, it is still unsettling to watch people cheer on HYBE. Corporate power does not need a fandom, y'all.

Less than two weeks until *Critical Approaches to Transmedia Storytelling in K-Pop* is out—and I just hit “send” on the follow-up volume, *The Cultural Politics of Transmedia Storytelling in K-Pop.* Editing overlapping collections was intense, but 2026 is the year of transmedia scholarship in K-pop.

Text graphic encouraging readers to buy the book for themselves or a friend and to recommend it to their academic library, emphasizing library orders as key to classroom use, syllabi, and future research, followed by the hashtag #CriticalKPop.

If this thread speaks to your interests or your work, I hope you will grab a copy for yourself (or a friend). Please also consider recommending it to your academic library. Library orders are often how edited collections make their way into classrooms and future research. Share widely! #CriticalKPop

Promotional image for BTS Universe Story showing illustrated versions of the seven BTS members sitting together on a rooftop at night, with a glowing city skyline and starry sky in the background.

Chapter 11 (Kathryn M. Frank): *BTS Universe Story* makes the boundary between sanctioned and unsanctioned immersion visible. Transmedia participation is structured by permission, even as fans push against it through remix, edits, and collective play. #BTS #CriticalKPop

Concept photo for aespa’s “Black Mamba” showing the four members posed in a luminous, fantasy-like environment filled with pastel corals and glowing lights, wearing ornate, iridescent outfits.

Chapter 10 (@qingyuesun.bsky.social): “SYNK” and “KWANGYA” are not just lore. Emerging technologies and platform design shape what K-pop transmedia can be, tying immersion to data, infrastructure, and the conditions of participation. #aespa #CriticalKPop

Concept photo for aespa’s “Next Level” showing the four members standing in a futuristic, glowing portal-like setting, wearing sleek, high-fashion outfits with sci-fi and fantasy styling.

Chapter 9 (Wonseok Lee): “Next Level” is not just a comeback; it is a storyworld argument. This chapter shows how aespa’s narrative matters culturally, reworking idol identity through avatars, doubles, and the friction between human and virtual selves. #aespa #CriticalKPop