Borgen is back – worldwide! While the high-end TV series Borgen: Power & Glory (2022) has been available to Danish viewers since February 2022 on Danish public service broadcaster DR, it was not until 2 June that the new season launched on Netflix worldwide.

When, in years to come, my mind flits back to the 2021/22 academic year, it will not so much be global events (which have, let’s face it, been unremittingly depressing) that I recall. Rather, I will look back on this twelvemonth as a period of departures – and returns.

When it comes to television, my wife and I occasionally like to give series second chances. Just because we felt a show stank on its original airing doesn’t mean that we simply caught it at the wrong time for us with where we were in our lives.

Edited by: James Rendell and Kate Egan Submission deadline: 31st July 2022.

Iluminace 1/2023: Television and COVID-19: How to Deal with Global Pandemics While Broadcasting (Extended deadline for abstracts July 15, 2022;

Last month ITV announced that I’m A Celebrity… Get Me Out of Here (2002-) would be returning to Australia.

The research project ’Reaching Young Audiences: Serial Fiction and Cross-Media Storyworlds for Children and Young Audiences’ (RYA) seeks to provide detailed knowledge about the production and reception of film, TV and online fiction for children, tweens and teens through in-depth analysis of the current strategies for creating engaging fiction for young audiences and extensive qualitative case studies of their media use.

A two-day research symposium   Symposium organizers: Prof. Rayna Denison (University of Bristol) and Dr. Cristina Formenti (University of Udine) “On the stroke of 5:15, I happened to be walking into the radio and television department of Harrods and there, on a third of the television sets in the place was Kermit, waving his green arms about. Everybody, customers and assistants alike, paused and edged towards him.

Since its inception, mediatization has been a contested term within media and communication research that includes different perspectives on the interrelation between technological and sociocultural change.

Among the most difficult aspects of videographic criticism is getting started.

I recently attended an online course at Aarhus University titled, “Transnational VoD Cultures”. Aimed mainly at PhD researchers, whose research is in some way affected by the transnational nature of streaming platforms and television today, the course made me think about the transnational nature of television in South Africa, where I live.