It’s the year 2021 and the UK finally seems to recognise the urgency of climate action. It seems to be everywhere: local councils declare climate emergencies and commit to net zero emission by 2030, the British government gives out funding to councils to improve walking and cycling infrastructures in order to change the way we – the average citizens – travel from A to B, and people start talking about electric vehicles and heat pumps.

I wonder how many fellow television researchers have had something published and, only when seeing it locked into the pages of a journal or a book, have realised that their thinking has already developed. Indeed, whilst television and the scholarly endeavours surrounding it are ‘to be continued…’ in perpetuity (at least, I hope so), the dominant publishing mechanisms currently at our disposal to facilitate such endeavours remain less dynamic.

**Special Issue of Journal of Popular Television ** It’s a Sin belongs to the HIV/AIDS retrovision genre (Kagan, 2018), dramatising the early years of the pandemic. Audiences are shown what reality was like before and immediately after the outbreak of HIV/AIDS.

he XXVIII Visible Evidence Conference will take place at the University of Gdansk between 10 and 14 August 2022. The event is conceived as an “in person” event, and we warmly invite everybody to make every effort physically to attend the sessions.

The editors of a forthcoming volume are seeking concise essays of approximately 5,000 words about any aspect of *Star Wars *storytelling that has emerged since Disney’s acquisition of Lucasfilm in 2012. We are seeking pieces that are academically rigorous, but accessible to the general reader. The volume aims to cover the full range of transmedia forms that now comprise the *Star Wars *shared universe.

Digital environments have quickly become major catalysts in our shifting conversations about the ways narratives and stories are told across the media ecology. While scholarship on legacy media storytelling has traditionally been shaped by frameworks of text, audience, and industry, discourses of digital media storytelling show signs of growth and expansion as production and distribution of digital stories continue to rise in the 2020s.

Rise Up! Reconnect. Rebuild.

The 31st International Screen Studies Conference, organised by the journal Screen , will be programmed by Screen Editors Professor Karen Lury and Professor Alastair Phillips.

Online (Teams) Television has been widely theorised in relation to the everyday, the habitual and the repetitive. But there are a lot of phenomena that are surprising, and that require TV scholars to provide nuance to these observations. Take Squid Game (Netflix, 2021) which was supposedly the streaming hit of the year 2021 in the UK and elsewhere. But as an example of a Korean TV drama, it is highly unusual.

*The twentieth century began with utopia and ended with nostalgia. * —Author, cultural theorist, and artist, Svetlana Boym (2007: 7)   It’s impossible to overstate how original the Beatles looked and sounded when they seemingly arrived out of nowhere during the early Sixties.

About two years ago on this very blog, I ruminated on the disproportionate distribution of books and television series, and while attempting to celebrate some of the very tomes that had been issued over the year, I also grumbled about many other important series that had been overlooked. ‘[W]hy can’t I get a decent book about Moonlighting (1985-1989)?’ I moaned about a third of the way down the text.