In times of “post-truth”, “fake news”, and “alternative facts,” new forms of media and communicative strategies challenge our understanding of how we know something to be true. Most of our knowledge of the world depends on our trust of a reliable source and on the expectations of credibility in different media types, such as newspapers, encyclopædias, novels, documentary and essay films, and social media.

The title of this blog might sound a little bit too catastrophist or even like pure fake news. It is not. It is an appeal to all those interested in ensuring that Europe is able to maintain in the coming decade a diversified and rich landscape of audiovisual content production and distribution. Beyond the body count and the rising notoriety of having been infected – have you heard that Madonna also had Covid?

As we find ourselves largely confined to our homes, it is unsurprising that television viewing has sky-rocketed. Watching live broadcasts in the UK has increased by 17% since the coronavirus lockdown, halting years of decline.

During this time of Covid-19’s pandemic spread — when worries for ourselves and others can be all-consuming—we need jokes along with much else.

When I attended my first academic television event back in Reading during 2013, it was called Spaces of Television – a wonderful all-encompassing title which allowed vivid and varied discussion about the space in which television was made and which it occupied in myriad meanings.

Editors David L. Palatinus (University of Ruzomberok) Stefania Achella (University of Chieti-Pescara)   The purpose of this special issue of Itinerari would be to tackle the interrelation of Climate, Conflict and Migration, and the ways their pertaining ecological, political, and ethical complexities are construed and circulated via various cultural practices and ways of symbolization.

Alex Garland’s recent miniseries, Devs (20th Television, 2020), takes on many similar themes which have been explored in his previous directorial outputs, including Ex Machina (A24; Universal Pictures, 2015) and Annihilation (Paramount Pictures;

My wife and I are rather fond of the very charming children’s animation Clangers (1969-1974) [ii]. These kind, loveable, knitted, whistling, stop-motion aliens are just irresistible and one of those slices of childhood that can be revisited again and again. There’s a really nice episode where the Soup Dragon is upset.

An edited collection on graphic medicine and graphic storytelling related to the COVID-19 global pandemic Editors: Alexandra P. Alberda, Anna Feigenbaum, William Proctor As the COVID-19 pandemic continues to infect millions, kill people around the world, dismantle political, economic and cultural infrastructures, and disrupt our everyday lives, we have seen a surge in amateur and professional creative activity in the comics medium.

Good true crime is like an onion: each layer, each episode, revealing more of the complexity of the case, more about the character and behavior of the suspects, more about possible motives and alibis, and more potentially compromising truths. In Netflix’s Tiger King (2020), each layer reveals more, well … crazy.

The first screen portrayal of Ian Fleming’s James Bond was not Sean Connery in Dr No (1962), but on television nearly ten years before. Fleming had repeatedly sought to exploit the character on screen and there were numerous failed approaches made to him about adapting his Bond novels for television, from both US and British producers, during the 1950s.