I quite often think of myself as an old-fashioned structuralist (as my 1981 essay on narrative and Coronation Street showed) and am quite embarrassed to think about the number of first year students I attempted to introduce to the wonders of Todorov.

May 13th 2015 marks the ten year anniversary of the cancellation of Star Trek: Enterprise, a series that failed to live up to its own mandate, ‘to boldly go where no one has gone before.’ Barring The Original Series (TOS), which was cancelled after three seasons despite a now legendary letter-writing campaign, each successive series of Star Trek – from The Next Generation (TNG) to Deep Space Nine (DS9) and Voyager (VOY) – lasted seven seasons

The Royal Television Society Huw Wheldon Memorial Lecture recently broadcast on BBC4 and titled ‘Public Service Broadcasting: A House of Cards?’ reflected on the changing landscape of broadcast television in light of developments in digital and internet technologies of content consumption.

The burning question was who goes and who gets left behind. — Former U.S. Army Captain Stuart Herrington in the American Experience’s ‘Last Days of Vietnam’ Award-winning producer-director, Rory Kennedy’s latest documentary, ‘Last Days of Vietnam,’ dramatically recreates the chaotic endgame and resulting moral quandary that accompanied America’s involvement in the Second Indochina War.

‘You Win or You Die’, the seventh episode from the first season of Game of Thrones (HBO, 2011-present), contains a scene that has deservedly gathered attention and acclaim.

In a recent discussion about war on film and television (I probably steer discussions in this direction more often than my friends and family would like), a friend made the point that ‘war is war’.  I have been thinking about this phrase a lot recently.

Last September, an interesting debate played out in the landscape of American media criticism.

The look of the stylish British spy and detective shows, filmed in colour in the 1960s, results from where and how they were made, and pop sensation Cliff Richard had a lot to do with it. The musical The Young Ones (d. Sidney J. Furie), starring Cliff, was shot at Elstree Studios near London in 1961, and a quite extensive backlot town was built for the film.

The 25 ^th of January 2015, the day of the parliamentary elections in Greece, was characterised as a historical turning point for the country after the leftwing radical party SYRIZA swept into power.

Cathy Johnson and Karen Boyle’s recent blog posts on Working Ourselves and Others to Death have generated an animated and, in my eyes, helpful debate that has also allowed me to take stock on where some of my colleagues and myself are in terms of our working patterns.

We’re fortunate in television studies. The exclusively formal, stylistic, and ideological attention paid to texts in literary studies has never been deemed sufficient in our field—the immensely social nature of TV, like cinema, has largely militated against such reductionism. Endless moral panics about learning, lust, and lawlessness have meant that technologies, audiences, and regulations have been necessary components of our agenda.