In children’s television the saying goes that animated content can be exported to other countries and languages, as character voices can be re-recorded to fit various audiences. However, in order to secure access to all markets, this may also lead to certain conventions during production in terms of subject matter, archetypes and political correctness.
By any objective standards, as a Doctor Who and Star Trek fan I am a failure as a parent. It’s a hot summer evening, and I suggest to my children that we put on an episode of Doctor Who (BBC 1963-1989, 2005-). This is met with polite but firm refusal.
Alongside the important position of Nordic Noir in European crime fiction, it comes as no surprise that Netflix has utilized this subgenre[1] both on the Nordic markets and as part of the streaming service’s transnational ambitions.
Last week I gave my first ever lecture by live online video. Not only was this my debut in a medium that was new to me, but I was also asked to talk about a TV Studies topic I have never taught before, namely the sketch comedy genre.
It’s safe to say that I have been a fan of period dramas since I watched the BBC adaptation of Pride and Prejudice many years ago. As a staple of this genre at large, Jane Austen is not the only party guilty of inherent Whiteness as a pillar of achievement.
There are only two possible conclusions from listening to [Trump’s] folly: either the President actually believes what he is saying, in which case he is crazy, or he does not, in which case he is engaged in the most cynical attack on American democracy ever to come from the White House. — Author, editor, and journalist, Susan B. Glasser, 3 December 2020 ( The New Yorker )
TV viewing has become more important during the pandemic, but a sense of shame still lingers around it. Even TV scholars still use the term ‘guilty pleasures’ to describe their enjoyment of a particular reality TV format or even of series which attract some of the biggest viewing audiences like Strictly Come Dancing (Dancing with […]
Michaela Cole may have started writing I May Destroy You (BBC One 2020-) as a means of overcoming her own sexual assault and trauma, but the by-product of this 12 part, widely acclaimed TV series, has meant numerous others are helped too.
Bear with me. I haven’t thought this one through. And I’ve still not yet worked out if I’ll be able to use the word barquentine in it or not… One of the great things about being in touch with m’colleague Hannah Cooper at CSTonline is that she will flag up things which she thinks you might well be interested in.
I was saddened to hear across the festive period of the death of the writer Philip Martin following a long battle with Leukemia. He was a writer whose television work – particularly his striking series Gangsters (1976-1978) – I enjoyed watching immensely and whom I was delighted to discover in correspondence and on the occasions that we met was as kind and helpful a gentleman as I could wish to encounter.
