Much has been written about the way in which social media has reinvigorated live television, particularly from the perspective of the audience (for example, Liz Evans, Sheryl Wilson, or Inge Sø renson). But much less is known, or written, about how the liveness of social media has affected the production of a range of forms of live television that have made increasing use of platforms such as Twitter, Facebook, Periscope, Instagram and

It is quite a joy to discover one of your personal fetishes on the internet. Indeed, I was beginning to feel that I was the only one with a dark, long-term fascination in sitcom studio floorplans, but in recent years there have been one or two articles that have started referencing similar fascinations.

British television fans need no convincing of James Corden’s smiley, shiny, naughty wonderful. From host to writer to actor to bloody nice singer and dancer, he’s annoying good at many showbizzy things (plus, he seems just annoyingly nice generally). Gavin and Stacey was when I really got to know him.

Since 2015 various news outlets have been reporting plans for Steven Spielberg to create a new television adaptation of the 1932 novel Brave New World and since 2013 a film adaptation by Ridley Scott has been in the pipeline. The book by Aldous Huxley was last adapted for TV in 1980 and filmed in 1998.

Somewhat tentatively , I set off for the gigantic 2016 Society for Cinema and Media Studies (SCMS) conference in Atlanta in early April.

Two things have made me think about the role of television in the current wave of disaffection from politics.

Back in December, Cathy Johnson wrote a CST blog outlining the differences between TV Online and Online TV. Where TV Online represents the extended distribution of broadcast-first programmes across online platforms, Online TV refers to the way the overall television service uses both internet and television to make and distribute content that cannot be accomplished via traditional broadcasting practices.

For his portrayal of Jack Donaghy, GE Vice President of East Coast Television and Microwave Oven Programming, in NBC sitcom 30 Rock (2006-2013), Alec Baldwin has won a (to use the technical term) smorgasbord of accolades, including two Primetime Emmys, three Golden Globes and seven Screen Actors Guild Awards. In our view, he would pretty much deserve this acclaim on the strength of his work in the episode ‘Jack-Tor’ (1.5) alone.

Netflix’s Jessica Jones and the BBC’s Happy Valley, on the surface, may seem to provide different viewing experiences, yet they share certain distinctions beyond the obvious element of both series depicting leading female detective/crime-solving characters.

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.