Tony Ageh, the BBC’s one original thinker, spoke at Royal Holloway earlier this week. Those expecting a standard defence of the ‘BBC licence fee’ were in for a shock. He proposed a complete rethinking of the concept for the digital age. “We used to be broadcast beings. We are now internet beings. We should ask what the Licence Fee buys us when we, as citizens, are under attack from all sides.
How come Television Studies rarely discusses the roles film plays in broadcasting?
Cathy Johnson’s “Working ourselves to death” will go down in CST -history as the blog which nearly brought the system down, so heartily did it resonate with so many of us! In this piece, I want to continue the conversation about overwork and attachment and ask some, potentially uncomfortable, questions about the ways in which self-exploitation becomes discursive justification for exploiting others.
Originally kicked off by Steve Allen half a century ago, The Tonight Show remains iconic television. NBC’s show and format was made most famous by Johnny Carson during his run in the 60s, 70s and 80s, and subsequently infamous by Jay Leno and Conan O’Brien. Leno who was taken on board, dropped, taken back, and dropped again over his 22 years as a host, while O’Brien lasted less than a year.
You have to feel sorry for Broadchurch creator, Chris Chibnall.
I’ve been looking forward to the new Adam Curtis documentary Bitter Lake for some time. He is a provocative, exciting and necessary filmmaker who has the rare capacity and courage to make challenging programmes that openly and directly challenge our ideological, economic and political systems. On the BBC.
A few weeks ago, Amy Poehler and Tina Fey hosted their third Golden Globes Awards, with much being made of their long-standing, real-life friendship in the lead up to the event (see here and herefor some examples). This made me think back to an article that I co-wrote with Karen Boyle in 2012 which looked at the depiction of same-sex friendship between Poehler and Fey’s characters in the film Baby
As part of the AHRC project, ‘Technologies of Memory and Archival Regimes: war diaries afer the connective turn’ (ref. AH/L004212/1), I have spent the last four months at The National Archives in Kew (TNA).
Television’s Daily Bread There will be different reasons for why the routine of viewing television will momentarily leave our day-to-day lives.
As Robert Lindsay notes in his autobiography Letting Go , by the late 1980s, things weren’t looking so well for his career: following an difficult stint in the USA, where he had worked on the film Bert Rigby, You’re a Fool (1989), the actor who was known for roles such as Wolfie Smith in Citizen Smith (BBC1, 1977-1980) and had enjoyed success both in the West End and on Broadway, returned to Britain with little of that
