“█████ turns up in series ███ doesn’t he?” “Oh… for hump’s sake!” [ii] “Sorry… I thought you know.” That was a brief domestic conversation with my wife last night. We’re well-suited and very lucky and very █████ed in that respect.

At this time of crisis because of the COVID-19 pandemic, our ability to physically touch is severely restricted, in order to protect ourselves and others from illness as well as police intervention. This has resulted in an even bigger shift to digital technologies and online interaction with hashtags such as #togetherapart encouraging more culture and connection on the internet in lieu of in-person events and meet-ups.

Given the opportunity to talk about Veronica Mars, you’re going to have to stop me by the third hour. I’ll thrust my DVD boxset onto anyone and everyone. I was jumping out of my seat at the announcement of season 4, and then quietly pretending it never happened.

Described as a “make-under” reality show, Snog Marry Avoid has been subject to scholarly debate and public criticism for equating “middle-class taste with a ‘natural’, desirable state of being” (Murphy, 2012, p.1). This blog will explore if transformational makeover TV enforces Western beauty stereotypes on a diverse British audience, with particular reference to industrial contexts and feminist readings of the texts.

Terry Gilliam is not only popular for being part of the Monty Python-troup but also for the movies he has directed in his own style, such as Time Bandits (1981), Brazil (1985), The Fisher King (1991), 12 Monkeys (1995) and The Imaginarium of Doctor Parnassus (2009). From dystopian to fantastic and magical settings, and worlds often populated by bizarre figures, Gilliam’s movies are united by their

Adaptations have played a significant role throughout the history of Nordic cinema, from Victor Sjöström’s reverential silent adaptations to Aki Kaurismäki’s quirky take on world literature. To this day, adaptations remain of utmost importance to Nordic film and television, as the multi-media phenomenon of Nordic noir conclusively establishes.

Editors: Páraic Kerrigan, Anne O’Brien, Florian Vanlee   As the field of queer production studies continues to grow and develop, much of the European context remains relatively absent from research.

The Great Pottery Throwdown (More4, BBC2, 2015-) is, with its playful filth and flair, the very best of British television. It is unrelentlessly joyful, a triumph of quaint skill and beauty, and a simple celebration in the delight of hobbies. The show’s format derives straight from the giants of GBBO, but whereas the smells and taste of baked goods are trapped by television, pottery makes the perfect on screen subject.

“Excuse me, is it Andrew Pixley?” Yes. Hello. “I hope you don’t mind me coming over, but I just wanted to say how much I enjoyed your books –” Viewing notes. “- sorry, viewing notes for the Monty Python’s Flying Circus (1969-1974) [i] blu-rays.

Can I be honest? Despite the fact that I’ve watched it for as long as I can remember, and have spent a considerable amount of cash on its various related merchandise over the years, I don’t really like to identify as a Doctor Who fan.

My last paper described the teaching and learning experiences of a new module I introduced to level 6 students on factual TV. It primarily dealt with the first half of this new module – Informational factual TV programming. Informational programming includes TV genres such as Current Affairs, History and Science TV, and Wildlife TV. As described in my last post, the module is built around two fundamental premises.