This symposium draws attention to the current debates on media’s role in shaping and popularizing contemporary feminisms ranging from celebrity feminism to neo-liberal and post-feminism (Rottenberg et al 2020). It underscores the role of popular culture and media as sites of feminism and (subversive) feminist struggle.

We are living in turbulent and increasingly dangerous times which are in large part defined and influenced by the very thing we study and research, namely media, communication infrastructures, algorithms, and data. Faced with an uncertain future, we can discern both dystopian and optimistic scenarios. In terms of the former we need critique, as well as ethical norms and values to validate those critiques.

Squid Game (2021-) is yet another successful export from South Korea, demonstrating the transnational mobility of Korean popular culture, and further cementing its status as a soft power juggernaut. The series has widely been framed in terms of neoliberalism and precarity. However, Squid Game ’s popularity has come at the expense of its mistreatment of female characters (as well as the other minority characters in the show).

It’s been said many times, not least by my PhD supervisor, that creativity loves constraint. A prompt such as Ariel Avissar’s TV Dictionary is a prime example of how working within rigid parameters can enable new discoveries about a particular media object, even one with which we consider ourselves familiar.

As it has come to Channel 4 recently, I’d like to talk about Hulu’s The Great (2020-). It’s a bit of an oddball in the current television landscape. The Great fictionalises Catherine the Great’s rise and rule over Imperial Russia; it’s an out-and-out comedy, cramming as many laughs a minute as it can get. The fantastic thing about The Great is that it works with, and even against, history.

Here you are. Here’s a cracker. One for the teenagers [1]: This is from The Grinning Man, the New Year 2009 special episode of the comedy-mystery series Jonathan Creek (1997-2016) and it shows the eponymous magic/crime consultant meeting the character who will become his new colleague for his next few cases.

‘A shortage of properly trained television workers is creating a serious skills gap and threatening to undermine the future business performance of the entire broadcasting sector’.  A quote from a recent ScreenSkills Assessment perhaps? In fact, no.  This was Maggie Brown writing in The Guardian in November 2011.

Nothing else but ‘NADA’? Be it bingeing, the business of streaming or trends in audiovisual storytelling, much of our understanding of video-on-demand cultures builds on research about US-American platforms; particularly Netflix.

**Collaborative Creativity in Film and Television ** Edited by Lucy Brown, Rosamund Davies and Funke Oyebanjo Abstract submission deadline: Friday 7 ^th October 2022 Film and television are highly collaborative sectors of creative production. They rely not only on the talent and skills of individuals, but on the particular forms of collaborative creativity that emerge from individuals working together.

DEMOSERIES invites proposals for the International Symposium “What is a good series?” that will take place November 21 and 22, 2022 at the Université Panthéon-Sorbonne.

Submissions for a special issue of IJFMA Vol. 8 No. 2 (2023) are now open “Precarity and the Moving Image” Audiovisual Arts (both in their intra-cinematic elements and through its extra-cinematic contexts) have always been a vehicle to display and discuss precarity, as well as affected by it in their modes of production. The notion of Precarity, however, in itself, is also a very open and problematic concept.