Starting work on the three year AHRC project ‘The History of Forgotten TV Drama in the UK’ at Royal Holloway has led me to think a lot about to what extent I remember television myself, and the reliability of my own memory. A widespread false memory syndrome can afflict even programmes that are ostensibly well remembered.

This blog is primarily inspired by Christine Geraghty’s recent CST post ‘Re-Appraising the Television Heroine’ and also what Douglas Howard refers to as the ‘crossroads’ that has been reached in US quality television.

Television. So often derided or adored for its alleged properties of distraction or pleasure. Blamed by pediatricians for making children weigh more than is fashionable in evidence-based public policy. Criticized by some cultural critics for diverting the young, the middle-aged, the firm, and the infirm from attending to real matters of state or heart. Valorized by corporations as a guaranteed source of revenue.

Horror is not a genre often traditionally associated with television, although as Helen Wheatley, Stacey Abbott and Lorna Jowett have pointed out television has a long history of telling horrific tales. It’s also not a genre with which I have much affinity or experience, being much too terrified to be able to watch most horror cinema.

Outside a cold wind is blowing; the rain batters my window pane, and the shades of night are falling fast. All of which can mean but one thing: autumn has arrived, and with it the Saturday tea-time schedule. Yes, I’m aware that weekend programming is not exactly suspended for the rest of the year, but I always feel there’s something rather special about the run-up to Christmas;

Internalising emotions, keeping secrets from friends and family, stalking men at night, and leading a double life. No, this is not Queer as Folk (2000-2005); this is Dexter (2006-2013) – a popular TV series that just reached its rather lackluster climax at its highly anticipated eighth season.

It was the recent conference at Hastings, ‘Raymond Williams and John Logie Baird – Television, Technology and Cultural Form’, organized by Professor Deborah Philips of the University of Brighton, which sent me back to Bill Brand (Jack Shepherd), hero of Trevor Griffiths’ 1976 series, who, as newly elected Member of Parliament for Leighley, wrestled with the question of whether the House of Commons was the best place to make a push for his brand

Jo Brand and Lee Mack were part of a panel discussing current issues in the profession at the launch of a new Centre for Comedy Studies Research.  Dr John Roberts, chairing, posed the first question; what should a

I have spent most of the last week worrying about my upcoming turn on the CST rota. Like Kim Akass my TV viewing habits have gone awry, mine in the inevitable balancing act of work/life/kids where at present I am wedded to watching entertainment programming mostly as it is scheduled – how passe.

At times, the television landscape can be a source of irritation and chagrin for avid fans of certain series due to the falling axe of unceremonious cancellation. If the viewing figures do not match the economic requirements of the corporate body, then, more often than not, the proverbial guillotine is brought forth to routinely dispatch the offending article from the schedules.

It turns out that Washington isn’t the only place where ideas go to die  .  .  .  Watching the derivative and uninspiring fare served up last week by the networks to woo advertisers, I was flummoxed at the lack of creativity and modernity  .  .  .  I asked one media big shot what he watches.