We live in capitalism. Its power seems inescapable. So did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art, and very often in our art, the art of words. – Ursula LeGuin, 2014 Science fiction includes a myriad of thematics from futurism, technology, transhumanism, apocalypse, other-worldliness, interspeciality, alterity and to history.

CfP URL: https://www.tmgonline.nl/announcement/#cfpmhen Contemporary research predominantly conceives of ‘new media’—i.e., media worthy of scholarly attention—as digital media and computer technologies (Peters, 2009; Borah, 2017). Media historical scholarship has responded to this in various ways.

Much of the fictional television content targeting children and young audiences is currently made specifically for them, targeting their particular interests and intended to be watched on their private screens or together with friends rather than in the company of parents or other adults.

As we all know by now, Netflix is in trouble. Initial reactions to last week’s news that Netflix lost 200.000 subscribers, the first loss of subscribers reported in a decade, included a drop in share values of 35% in one day. The reasons are complex, as, perhaps, best outlined by Josef Adalion in Vulture . After the gains made in pandemic lockdowns, Netflix lost subscribers once people started to go out again.

In 1971, Nigel contributed a script to the final season of BBC2’s science-fantasy anthology series Out of the Unknown: The Chopper. “It’s a long time ago,” chuckles Nigel. “I don’t really remember it very clearly.

As a writer, does Nigel prefer creative writing to the demanding task of adapting the works of others? “Obviously it’s much more interesting writing your own stuff.

Quite often these days, I’m asked about the possibility of reprinting some of my earlier articles from fanzines and long-defunct magazines… and my instinct is almost always to say ‘no’. And the main reason for this is that I, as a reader, would rather read a new piece on a given subject rather than a rehash of something that was originally written when we only had a fraction of the research materials that we do now.

A BRITISH SOCIETY OF AESTHETICS CONFERENCE   KEYNOTE SPEAKERS Jason Mittell (Middlebury College) Iris Vidmar Jovanović (University of Rijeka) The Aesthetics Research Centre at the University of Kent is delighted to invite paper proposals for ‘Television Aesthetics: Now What?’ (7-8 July 2022), a conference organised with generous funding from the British Society of Aesthetics.

When Inventing Anna debuted on Netflix on 11 February, a familiar debate about the relationship between fact and fiction was ignited. While Anna Delvey’s (Julia Garner) claims to be a German heiress were a web of lies, her extorsions as depicted in miniseries did occur – and the characters that surround her equally exist.

On Monday evening 4 April, the UK Culture Secretary Nadine Dorries tweeted that she intended to push ahead with the privatisation of Channel 4. Twitter is her favourite medium. She also tweeted her decision, before any negotiations, to freeze the BBC’s licence fee for two years, a real terms cut of £2 billion.

With the British government’s latest diktat concerning the future of the public service broadcaster, Channel 4, now fully revealed, it is time to consider the contribution Channel 4 has made, not only to the British media landscape, but to personal and public experiences as a whole over the last 40 years. I say both personal and public experiences because that is how television works, and Channel 4 has been influential in both respects.