Production Managers (PMs) in television production are mainly female, and as in other industries this ‘feminised’ role is typically afforded lower status than those predominantly performed by men. In our recent study, we explored the experiences of PMs in the UK industry, a group of workers who are often rendered invisible, both within the industry and in television scholarship.

“Chilling,” “a dark delight,” “magnificent,” “triumphant,” and “explosive” are all words that have been used to describe the British police crime thriller Happy Valley.[1]  First screened in 2014, it reached an audience of over 8 million and became a hit with critics and the audience alike.

Backstage and background While attending the 2024 CST Conference: Sustainability and Television, which ran from 24 ^th June to the 4 ^th of July, the question of representation of British Asians in relation to equality and diversity arose. Equality and diversity are further elements of the UN’s sustainable development goals.

IAMHIST is an international organisation of scholars, filmmakers, broadcasters and archivists dedicated to historical inquiry into film, radio, TV and other media. The study of film and media histories has long been dominated by western, often Eurocentric perspectives, in terms of content, theory and methodology.

In this blog, I offer an autoethnographical account of what it means for TV scholars to take part in the conference continuum, which I argue is both familiar and strange in every iteration. Whether you are an ardent follower of certain large-scale conferences, or a serial “dipper in” to a plethora of small-scale events, you might not realise how to “find your fit” – when you turn up, dust off your boots, and reach for the microphone or

Disclaimer: This blog post is derived from the conference presentation titled “(A)Sexual or (De)Sexual (Re)presentations of Childhood: Tracing Split Attraction Model in Big Mouth (2017-2024)”, at the Queer Children’s Film and Television Symposium 2024.

This seminar aims to explore TV-series at their intersection with philosophy. As a newer sibling to the sub-discipline of film-philosophy, TV-philosophy neither reduces television series to illustrations of pre-existing ideas, nor does it simply offer a ‘philosophy of’ a given series by exploring it from a range of philosophical angles. It rather sees TV series as capable of expressing thought through their specific forms.

CFP: Continuity and Change in Media Representation The Velvet Light Trap, Issue 96 (to be published Fall 2025) Special Issue Theme Representation matters has become a popular idiom conveying the transformative power of media representation to reframe cultural narratives and material conditions, often for historically underrepresented groups.

A stretch too far? Discussing climate change alongside The Handmaid’s Tale (Hulu 2017-) is unorthodox but offers an alternative and marginalised perspective. Typically, when thinking of climate change, David Attenborough, Britain’s national treasure, comes to mind.

As a currently-peripatetic academic, I often live and travel in areas that are meteorologically interesting. Between growing up somewhere that can give residents all four seasons in a single day (not to mention metres of snow at a time)[1] and then living in a series of deserts, tropical savannahs, highlands and seasides, listening to or watching local weather forecasts has long been an integral part of my daily life.

This seventh iteration of the Women’s Film and Television History Network conference will foreground transnational and transmedial approaches to histories of women’s work in and across film, television and related media. The conference seeks to expand women’s film and TV histories by exploring cross-border and cross-medial relationships.