“You know what you want Andrew,” said Richard Marson to me sagely, “You want PrimeTime .” He was probably right. I mean, Richard’s brilliant. Go and buy his book The Blue Peter Diaries (2017) about his time as editor on this Big BBC Brand. Best eighteen quid we’ve spent on a book in a long time.

In this concluding post on Sam Esmail’s Mr. Robot , a critical evaluation of the series’ final scenes as well as its wider cultural, political and ideological importance will be provided. In accordance with previous posts, this analysis will draw from the work of Todd McGowan in order to provide a final precis on the significance of the gaze as used in the series.

Location: Central London (UK), more details TBC. 2020 marks 100 years since the publication of Sigmund Freud’s “Beyond the Pleasure Principle.” A turning point in Freud’s psychoanalytic theory, the essay complicated the pursuit of pleasure led by the sexual instinct or libido, ushering in a second, competing desire that moves life in the opposite direction and down a path of negativity and destruction, articulated by Freud as the

https://transnationalpopculture.weebly.com/ Call for Contributions Changing minds changes lives. Popular culture has enormous discursive power which creates meaning through storytelling and performance, and can thus be used as a political tool for social change. Arts and Humanities put the human at the centre of analysis and provide a methodological framework for cultural, social and economic critique.

This conference aims to forge interdisciplinary links between those working in Television and Media Studies, Modern Languages and Gender Studies. Television and media research is changing, the rapid evolution of this medium has been theorised in terms of the technological advances that changing modes of distribution bring, its textual, narrative and aesthetic developments, and its role as a mediator of cultural identity.

CALL FOR PAPERS: The Female Detective on TV MAI: Feminism &

HORROR, CULT AND EXPLOITATION MEDIA IV: A WORKSHOP FOR PHD STUDENTS AND EARLY CAREER RESEARCHERS Northumbria University, UK, 7 May 2020

Hidden Figures of Screen Music and Sound One-day conference Tuesday 23 June 2020 Royal Holloway, University of London Deadline for proposals: Friday 27 March 2020 Much current academic and cultural discourse is rightly devoted to questions of representation, and to exposing structures of inequality.

There are lots of ways to interpret and answer this deceptively simple question. Being asked what we make of something is often an idiomatic invitation to discuss how we think or feel about it. It invites a sharing of opinion and opens up a process of evaluation. In broad terms, who the ‘*we’* is in this question determines what we make of the television archive.

So, in conclusion, I don’t think the order really matters. Do you?

In what follows, I wish to draw away from broader criticisms of Mr. Robot’s narrative consequences, and focus on a particular scene from Series 4, Episode 10, ‘ 410 Gone ’. Importantly, the following analysis will serve to elucidate upon a number of important significances related to the series and its conclusion (this will be discussed next week). Before reading the below, however, it is worth watching the scene in question: