In 2006, when I started out in television studies, the discipline was reckoning with the impact of HBO’s entry into the marketplace for television drama.  Academics tended to avoid words like ‘revolution’ but journalists flung them about with abandon, and contentious debates about ideas like ‘Quality’ (McCabe and Akass, 2007) and ‘Complexity’ (Mittell, 2006) were driving much of the conversation in TV studies.

During this year’s season of The Last Leg the usually neat and tidy Adam Hills declared he would “grow his beard til Brexit”. Beginning as a stunt, it became a weekly metaphor for the promise, and increasing disarray, the UK seemed destined for. Ein Fehler ist aufgetreten. JavaScript kann nicht ausgeführt werden. A developing beard makes for strangely captivating television.

The media coverage of the Brexit Referendum in 2016 focused disproportionately upon the notion that Britain close its borders and reduce immigration if the country left European Union.  Media discourse on the issues of immigration, race and ethnicity are best described as negative, whilst Government policies on immigration, appear to promote a hostile environment in order to deter potential immigrants.

This blog is a coming together of two papers presented firstly at the State of Play: Television Scholarship in ‘TVIV’ Conference, 5 ^th – 7 ^th September 2018 Edge Hill University, UK, and second, Watching the Transnational Detectives Conference , 8 ^th – 9 ^th November 2018, University of London.

Doctor Who (BBC 1963-89, 1996, 2005- ) has attracted much attention on this blog (see here, here and here for recent examples). In this post, I’m going to engage with the series to push back against TV Studies’ implied ‘zone of liveness’ by analysing one episode as a case study – ‘Dinosaurs on a Spaceship’ (2012) – for the purpose of demonstrating how employing emergent and alternative theoretical perspectives can prompt re-evaluation

Historically, female filmmakers’ work in television has functioned as a form of invisible labour, with television being seen as definitively distinct from cinema, the site of ‘real’ and hard-won work.

So… Annihilation (dir. Alex Garland, 2018) is now on DVD and Blu-ray and can be purchased on Amazon Prime… anyone else noticed this? As of 1st April 2019, Annihilation is available on DVD and Blu-ray in the UK and USA. No, I have not been commissioned by Amazon or Alex Garland to promote this fact.

Hi, my name is Elke and I am a compulsive overworker. When I say ‘compulsive’ I literally mean I cannot help myself. I am ‘acting from a compulsion’ as the Oxford English Dictionary defines it. When I work less than 10 hours I feel guilty, after all there is always more to do, more to learn, more to improve. Even going down to 10 hours has been a bit of a struggle: before having children, I was regularly working 12 hours a day.

ITV News at Ten, Wednesday 26 March, 24 minutes into the bulletin: Tom Bradby, the senior presenter, suddenly starts giggling.

In November 2017, Variety magazine published an open letter in which 18 women from the cast and crew of US teen drama series, One Tree Hill (The WB/CW, 2003 – 2012) accused the programme’s showrunner, Mark Schwahn, of sexual harassment.

The Eighth Annual Screen Industries in East-Central Europe Conference (SIECE) is following up with the previous year’s topic by providing a forum for discussing the online strategies of public service broadcasters and their possible transformations into a new kind of media services.