Do new perspectives become more shocking the further you get through life?  Unsettling?  Like having a carpet yanked out from under you?  Probably by somebody who is rightly reminding you that you’ve had that carpet since around 1977 and it’s really about time you bought a new one. That happened to me this week. Thanks to a podcast. The podcast in question is called ITC Entertained the World and I think it’s rather brilliant.

In times of “post-truth”, “fake news”, and “alternative facts,” new forms of media and communicative strategies challenge our understanding of how we know something to be true. Most of our knowledge of the world depends on our trust of a reliable source and on the expectations of credibility in different media types, such as newspapers, encyclopædias, novels, documentary and essay films, and social media.

The title of this blog might sound a little bit too catastrophist or even like pure fake news. It is not. It is an appeal to all those interested in ensuring that Europe is able to maintain in the coming decade a diversified and rich landscape of audiovisual content production and distribution. Beyond the body count and the rising notoriety of having been infected – have you heard that Madonna also had Covid?

This article is republished from The Conversation under a Creative Commons license. Read the original article. As we find ourselves largely confined to our homes, it is unsurprising that television viewing has sky-rocketed. Watching live broadcasts in the UK has increased by 17% since the coronavirus lockdown, halting years of decline.

This piece was originally published in Los Angeles Review of Books , April 8, 2020. During this time of Covid-19’s pandemic spread — when worries for ourselves and others can be all-consuming—we need jokes along with much else.

When I attended my first academic television event back in Reading during 2013, it was called Spaces of Television – a wonderful all-encompassing title which allowed vivid and varied discussion about the space in which television was made and which it occupied in myriad meanings.

Editors David L. Palatinus (University of Ruzomberok) Stefania Achella (University of Chieti-Pescara)   The purpose of this special issue of Itinerari would be to tackle the interrelation of Climate, Conflict and Migration, and the ways their pertaining ecological, political, and ethical complexities are construed and circulated via various cultural practices and ways of symbolization.

Alex Garland’s recent miniseries, Devs (20 ^th Television, 2020), takes on many similar themes which have been explored in his previous directorial outputs, including Ex Machina (A24; Universal Pictures, 2015) and Annihilation (Paramount Pictures;

WARNING: The following blog contains no trace of Tony Franciosa, Gene Barry or Robert Stack [i]   My wife and I are rather fond of the very charming children’s animation Clangers (1969-1974) [ii]. These kind, loveable, knitted, whistling, stop-motion aliens are just irresistible and one of those slices of childhood that can be revisited again and again.

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.

Fig. 1: Tiger King (Netflix, 2020) 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.