I’ve spent the last year or so researching how television was domesticated in Britain from 1946 until 1976. Following Lynn Spigel’s approach (in a U.S. context) in Make Room for TV (1992), I’ve been using domestic magazines as one of my main sources.

My PhD research examines how television is viewed in the family context, with a particular focus on technology and parenting.

It’s been over a year since I took up my post as Lecturer in Media Theory at the University of Salford, so I thought that this week I might say a little something about the gleaming edifice in which I now live and work: MediaCityUK. No, that’s not a typo; there is no space between ‘Media’ and ‘City’, and if you think there should be you are simply displaying your ignorance. We who operate at the heart of the media know best.

Several of my previous blogs have dealt with female villains on television, and have mentioned the phenomena (by no means exclusive to TV) of ‘evil cleavage’. For some time I have promised myself I will write on this topic at more length, and was prompted to finally do so by some recent work I’ve been doing on older female characters and actors, and by several news items in the last few months about aging female actors.

I’m enjoying watching the Women’s Twenty20 World Cup on television in Australia, where I spend seven weeks a year mentoring junior faculty and giving guest lectures when professors want to escape Perth, elude the responsibility of entertaining the great unwashed, or save their souls from preparing one more PowerlessPointless slideshow because today we are all 1970s art historians who just lurv Malevich.

After many happy years basking in its warm, electronic glow, my once-reliable television set recently emitted its final diodes of light. An ominous dark patch in the upper left corner of the screen had been growing larger over the past year or so, like some slow but inevitable illness. It seemed to vary in its severity but on particularly bad days it had become difficult if not impossible to decipher what was happening in that area of the image.

It’s been one of those days. The Christmas holidays had been lurking around the corner, and finally I had some free time on my hands, between the formal end of the academic calendar of 2015, and the big celebration rush that we tend to throw ourselves into, meeting up with family and long-time friends.Free time – priceless. And somewhere, somehow, I had come across an announcement that a new SciFi show would be airing on SyFy;

Mad Men [is] arguably the dominant TV drama of its time. — Time critic James Poniewozik, 24 June 2015

Episode 4 of the Icelandic drama Trapped (2015), currently showing on BBC 4, finished with a spectacular avalanche. The avalanche had been predicted by one of the characters who then triggered it in the hope of diverting it away from the town. But the event itself generated hardly any suspense about the fate of characters who might be caught in its path.

Jenji Kohan’s Orange is the New Black (OITNB) (2013 –) has gained a reputation for unabashedly screening female faces and body-types that centric media often overlooks. From its opening sequence, OITNB spotlights a vast array of female bodies.

In our ‘post-television’ age when the appearance of television drama and film, both shot on digital camera, is increasingly homogenous, ‘old’ multi-camera studio drama must seem like more of an oddity than ever before.