Last week, I was in the incredibly privileged position of attending a panel discussion on the future of the BBC in the House of Lords, brought together by the British Broadcasting Challenge, a group of academics and industry insiders who’d like to see the continuation of the BBC, though they recognise that some reforms are […]

Before going into detail on APV and localisation, I want to first focus on how Netflix has approached the topic. On the one hand, this means investment in so-called ‘local language’ self-produced originals. These texts are constructed in specific ways to appeal to a broad, transnational audience.

The above quote, spoken by MI5 agent Tom Quinn to CIA agent Christine Dale (Megan Dodds), illustrates a key plot point in episode 2.6, but also illustrates a key point in the interplay between geopolitics and international co-productions.  That interplay, here between the UK and US, permeates not only the episode but the characterisation and aesthetics across the run of the series.

Two of the most beloved gen-x writer heroines have been widowed in recent years: Carrie Bradshaw (Sarah Jessica Parker) and Bridget Jones (Renee Zellweger). With the death of Big in the series premiere of And Just Like That (2021-2025) and Darcy in Bridget Jones: Mad About The Boy (2025), audiences who have grown up alongside […]

Slow conference: 6-17 July 2026 This slow conference will run over two weeks online to avoid Teams fatigue and allow people to schedule the conference around other commitments.

I am pleased to announce a call for papers for the first edited volume devoted to the Netflix limited series Ripley (Zaillian, 2024). Perspectives on Netflix’s Ripley seeks to explore the myriad ways in which this striking adaptation reimagines Patricia Highsmith’s iconic character for a new era of streaming television.

International conference hosted by the Metropolitan University in Prague and the School of Arts and Humanities, University of Lisbon/ULICES 6-7 March, 2026 | Online This online conference will focus on the representation of violence in contemporary audiovisual production, specifically in television series.

At this point, it may be prudent to ask what Amazon wants from streaming, other than the kinds of films and series it produces. Unlike other streaming platforms, APV is part of a massive company that sells far more than ‘just’ film and TV, but, well, everything.

What is Amazon Prime Video (APV)? I’ve been asking myself questions about what streaming is and where continuities and differences to other media forms lie, and how to make sense of it all for over a decade.

One of my favourite words in any language is one I learnt during my seven-plus years living in Wales: hiraeth.  A rough translation – Welsh speakers, feel free to post a refined one in the comments!

While my feelings about it are somewhat mixed, Murderbot (Apple TV, 2025-), the streaming adaptation of the wonderful The Murderbot Diaries series by Martha Wells, expands upon one of the key elements of the book series: the serial-within-the-series called The Rise and Fall of Sanctuary Moon (SM). For those unfamiliar with any of these texts, […]