One thing is for sure: World War 1 is not going to disappear from our screens any time soon. It’s there on all channels from CBeebies and BBC3 to ITV and the more specialist Discovery and History channels. The BBC has entered into full public service mode with over 130 new commissions and over 2,500 hours of programming across four years.

Lorna Jowett’s recent blog for CST on ‘Children, Television, Nostalgia and Audiences’ helped me think through some questions I’d had around my own enjoyment of a contemporary children’s show: Girl Meets World (2014 -). Girl Meets World has caught my attention for numerous reasons, but mostly because, as a child-free viewer in her late twenties, it places me in an odd position;

I want to talk about Some Girls . Some Girls is a teen comedy on BBC Three about four 16 year old girls (as they begin the first series) who attend the Greenshoots Academy in South London, all play for the school football team and live on local estates.

Here’s the problem. The licence fee is a cheap and elegant way of funding public service TV. It’s far cheaper than a Sky subscription and yields far more original UK production. However, a lot of people wriggle out of paying it, so prosecutions of licence fee defaulters clutter up the courts.

It’s been almost one year and a half since the abrupt closure of the Greek Public Broadcaster (ERT) and five months since the launch of the new official Public Broadcaster of Greece (NERIT), and the audience in Greece is still on a perpetual quest to find the true meaning of the role of Greek public television.

“I know you, I love you, and I can be your friend, I could follow you anywhere, even through solid air.” John Martyn, *Solid Air * The holding onto air moment occurs when the scene set before one is so resolutely, ethically and morally ghastly, or is so uncomfortable to view, that one feels the need – the unstoppable, thoughtless urge – to reach out and hold onto the nothingness before one.

Which children’s programme, made on no budget in a single room, attracts over 2 million viewers per daily episode? The YouTube videos of ‘Stampylongnose’ (or ‘Stampylonghead’ or just plain ‘Stampy’), devoted to the hugely popular computer game ‘Minecraft’, have gone from targeting a niche gaming fan base to capturing a large audience of children.

In case you had missed it: Scotland voted no. Marginally, but they did. For some of us who were watching from afar, this came as a massive shock, largely because the politically outspoken world we had engaged with (via Twitter, Facebook and blog pages such as Wings over Scotland and Bella Caledonia ) seemed at least to be 80% on the yes side.

Normal for Norfolk or NFN – a pejorative shorthand allegedly used by local GPs to explain medical peculiarities that were deigned unexceptional for the county – has since, for some at least, become a term of endearment used to encapsulate the eccentricities of the region and its kin.

In July 2014 the BBC announced that it would be ending its exclusive promo production deal with Red Bee Media when the contract runs out in December 2015. Since 2005 Red Bee Media have been producing the majority of the BBC’s promotion and marketing content, from idents for its television channels to trailers for its programmes and apps and other forms of interactive promotional content.

In today’s exciting world of the prosumer, readers become writers, listeners transform into speakers, viewers emerge as stars, fans are academics, and vice versa . Zine writers are screenwriters. Bloggers are copywriters. Children are columnists. Bus riders are journalists. Coca-Cola hires African Americans to drive through the inner city selling soda and playing hip-hop.