Discussions of race have been central to television studies in the United States for decades.

While Danish schools have been closed since mid-March and all family members are staying at home in the evenings, new kinds of programming, such as live sing-along broadcasts, are suddenly finding popularity as primetime family content By Eva Novrup Redvall, PI of the research project Reaching Young Audiences

Seeing the request to let us know what we are watching during the REMAIN INDOORS 2020 marathon actually got me stumped. What are we watching? What does that mean? Are we in thrall to any particular series? Can we not wait for the next episode (or just hit the ‘x’ button on the ps4 controller)? And the actual answers are, or at least until two days ago were, nothing much and, uh, no. I think a little context here might help.

Now, those of you who misspent their respective youths as badly as I did will no doubt have immediately spotted the origin of the title of my first blog of 2020 in which I singularly failed to prove that I can make an argument: Is This The Right Room For An Argument? That’s right. It originates in a well-known sketch from Monty Python’s Flying Circus (strictly speaking 1969-1973)… Five points for getting that.

We have emphasized an awful lot these days – and quite rightfully so – about the need for subjects to be communicated by ‘different voices’. Absolutely!  Couldn’t agree more. But I didn’t expect to have the notion brought home to me quite as effectively as when I attended – of all things – Slapstick!, a festival celebrating silent comedy.

Here in Mexico City, the lockdowns that readers are experiencing are not new. Chilang@s had one just a decade ago because of swine flu. But other things are different. Primarily, the current Mexican government is conventionally characterized by the Anglo bourgeois media as a populist left-wing administration. That’s actually nonsense.

The online edition of the Cambridge Dictionary [i] states that ‘cultural appropriation’ is ‘the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture’. And – quite possibly – there’s a lot more of that going on in the way of watching television than there ever used to be. As I think I mentioned before, I’m rather fond of jazz (even if nobody’s ever really

The intersection between nurses and popular media is longstanding. Florence Nightingale died in 1910 and British Pathe’s coverage of her funeral is a very early instance of nurses appearing on film. Nightingale was the subject of a silent film biography by 1915 and thereafter film, television, theatre and live performance and other media have showcased the nurse and the nursing profession. The familiarity of the nurse is inherently visual;

2019 was a watershed moment for queer horror visibility, particularly in cinema: from Shudder’s announcement of their upcoming queer horror documentary to Rue Morgue ’s first-ever ‘Queer Fear’ special issue, and from the world’s largest study about horror-loving queers to the rapid proliferation of queer horror podcasts.

Guest Editors: Associate Professor Gareth Schott (University of Waikato), Dr Margaret Gibson (Griffith University), and Dr Clarissa Carden (Griffith University). Emotionally charged depictions of death play an important role in much contemporary media directed toward teen and young adult audiences.

Two broadly anthropocene concerns—the ‘human’ condition along with the condition of this human planet, Earth—bear on all discursive practices central to contemporary areas of research in humanities, social sciences, and sciences. Both these concerns reconfigure ways in which humans have come to make sense of themselves and of the world which they share with other forms of life.