Eric Deggans is NPR's first full-time TV critic.
Deggans came to NPR in 2013 from the Tampa Bay Times, where he served a TV/Media Critic and in other roles for nearly 20 years. A journalist for more than 20 years, he is also the author of Race-Baiter: How the Media Wields Dangerous Words to Divide a Nation, a look at how prejudice, racism and sexism fuels some elements of modern media, published in October 2012, by Palgrave Macmillan.
Deggans is also currently a media analyst/contributor for MSNBC and NBC News. In August 2013, he guest hosted CNN's media analysis show Reliable Sources, joining a select group of journalists and media critics filling in for departed host Howard Kurtz. The same month, Deggans was awarded the Florida Press Club's first-ever Diversity award, honoring his coverage of issues involving race and media. He received the Legacy award from the National Association of Black Journalists' A&E Task Force, an honor bestowed to "seasoned A&E journalists who are at the top of their careers." And in 2019, he was named winner of the American Sociological Association's Excellence in the Reporting of Social Justice Issues Award.
In 2019, Deggans served as the first African American chairman of the board of educators, journalists and media experts who select the George Foster Peabody Awards for excellence in electronic media.
He also has joined a prestigious group of contributors to the first ethics book created in conjunction with the Poynter Institute for Media Studies for journalism's digital age: The New Ethics of Journalism, published in August 2013, by Sage/CQ Press.
From 2004 to 2005, Deggans sat on the then-St. Petersburg Times editorial board and wrote bylined opinion columns. From 1997 to 2004, he worked as TV critic for the Times, crafting reviews, news stories and long-range trend pieces on the state of the media industry both locally and nationally. He originally joined the paper as its pop music critic in November 1995. He has worked at the Asbury Park Press in New Jersey and both the Pittsburgh Post-Gazette and Pittsburgh Press newspapers in Pennsylvania.
Now serving as chair of the Media Monitoring Committee for the National Association of Black Journalists, he has also served on the board of directors for the national Television Critics Association and on the board of the Mid-Florida Society of Professional Journalists.
Additionally, he worked as a professional drummer in the 1980s, touring and performing with Motown recording artists The Voyage Band throughout the Midwest and in Osaka, Japan. He continues to perform with area bands and recording artists as a drummer, bassist and vocalist.
Deggans earned a Bachelor of Arts in political science and journalism from Indiana University.
The question that hung over the show's final episode was a simple one: Would Saul ever grow a conscience? Would he ever let himself feel real regret?
The docuseries seems to be a pointed riposte to the more freewheeling scripted drama about the Lakers on HBO.
Executive producer, writer and director John Ridley says he tried to take an unbiased view of this new Apple+ drama based on what actually happened.
The movie's gritty, authentic depiction of street life and its flamboyant lead character created archetypes that have inspired legions of future storytellers and musicians.
The late night comedy scene is changing and that could be trouble or an opportunity for emerging talents.
The streaming service had forecast that it would lose 2 million subscribers. The less severe loss, combined with a projection of growth in July to September, helped lift Netflix's battered stock.
There's been record TV production this year - so why were so many categories dominated by performers from a handful of shows?
The characters' relationships develop and they face an array of surprises and complications in the bustling storyline that closes the fourth season.
Obi-Wan Kenobi star Moses Ingram shared the hateful messages she's received online. But why didn't Disney do more before she got them?
How do you keep up the suspense in a story, when the audience already pretty much knows how it ends?