An edited collection on graphic medicine and graphic storytelling related to the COVID-19 global pandemic Editors: Alexandra P. Alberda, Anna Feigenbaum, William Proctor As the COVID-19 pandemic continues to infect millions, kill people around the world, dismantle political, economic and cultural infrastructures, and disrupt our everyday lives, we have seen a surge in amateur and professional creative activity in the comics medium.

Good true crime is like an onion: each layer, each episode, revealing more of the complexity of the case, more about the character and behavior of the suspects, more about possible motives and alibis, and more potentially compromising truths. In Netflix’s Tiger King (2020), each layer reveals more, well … crazy.

The first screen portrayal of Ian Fleming’s James Bond was not Sean Connery in Dr No (1962), but on television nearly ten years before. Fleming had repeatedly sought to exploit the character on screen and there were numerous failed approaches made to him about adapting his Bond novels for television, from both US and British producers, during the 1950s.

Dear Mx Leeds and Mx Harvard, I feel it only right to send this apology to you over the fact that previously on this blog I got a bit – um – disrespectful concerning the example given online of how to cite a television broadcast, i.e.: Desperate housewives, Episode 16, Crime doesn’t pay . 2009.

Journal: The Australasian Journal of Popular Culture **Special Issue: Nostalgia and Popular Culture  ** Abstract submission deadline: 10 May 2020 Full article (6,000-7,000 words) submission deadline: 19 July 2020 Issue Guest Editors: Carmel Cedro (Auckland University of Technology) and Blair Speakman (Auckland University of Technology) Nostalgia is a pervasive part

Date of pre-conference: 2 October 2020 Call for papers deadline: 15 May 2020 Notificiation: 1 June 2020 Organisers: João Carlos Correia, University of Beira Interior  (jcorreia@ubi.pt) Pedro Jerónimo, University of Beira Interior

Edited by Stuart Price and Ben Harbisher Media Discourse Centre, De Montfort University, UK (Early Publication Date tbc – needless to say, we seek polished, well-referenced material that will help us meet our editorial deadlines – method of referencing will be Harvard, blended with our ‘house style’) Overview of CfC and suggested topics The Media […]

You find yourself amidst the worst public health crisis for a generation. The muddled thinking at the heart of government is not engendering confidence. The spectre of mass deaths and possible chaos in an under-funded health service hangs over ministerial indecision. Politics has become laughable. Comedy has become political. Great satire troubles the comfortable and consoles the afflicted.

The Covid-19 lockdown means that there’s a lot more TV viewing going on. Those TV scholars who are obsessed with Netflix and binge-watching will be missing the resurgence of broadcast TV. In Easter week, 6-12 April, “viewing to BARB measured TV grew by 23% in all time, 34% in daytime and 12% in 7pm-10.30pm peak, compared with the same, non-Easter week in 2019” according to Broadcast magazine.

The television scholar Alan McKee once asked the rhetorical question ‘is Doctor Who Australian?’, a question he immediately pondered may be a stupid one as everything about the program (cast, writers, place of production, as well as many themes) were so emphatically British. The question though, is a perfectly sensible one, and was meant in terms of audience, reception, and impact.

Look, there’s something really good I want to tell you, but I don’t quite know how I need to express it in an academic manner.