How to write about a television programme that you love and that has even moved you to tears? Many years of teaching Film and TV have not really prepared me for this. In the eighties, when I first started teaching, we were largely in the grip of the Screen journal pleasure is suspicious era. (Indeed at PCL it was pretty much required as a critical approach on the MA Film &

N.B. Before reading this blog it is worth stating that my cultish sensibilities frequently draw me to re-evaluate that which is targeted for scorn. During the summer recess period I became mildly obsessed with a television series.

Some of you may have read my previous blog on Comfort Telly, where I pondered if in the end the value of this type of TV Drama is in its actors and performances. (Granted, that the writing is central as well.) Last year ITV resurrected or rebooted their nineties success series Cold Feet (ITV, 1996 -) and with its return this week, I’ve been thinking back on series 6 or series 1 of the reboot.

At the end of the year BBC4 will be screening the third and final series of Detectorists (BBC/Channel X 2013 -), the sitcom written, directed by and starring Mackenzie Crook about a group of metal detector enthusiasts (‘detectorists’) in East Anglia.

Reruns of television series have long been an integral part of the television market. Even though reruns have taken on different forms over the past decades – from television re-broadcasts to DVD box sets to online platforms such as Netflix – the underlying principle of rewatching familiar television content has remained the same.

Contemporary media culture seems to suggest that it is unacceptable for a woman to look her age if she is over twenty-five. Apart from the flood of anti-aging products and procedures advertised to ever younger audiences, another key indicator for this trend can be found in the female faces presented to us in popular television programmes.

The recent death of Andrew Sachs made me feel nostalgic and I re-watched Fawlty Towers . So much has already been said and written about this most celebrated of British television programs, but Sachs’ death renewed discussion of Fawlty Towers ’s success. One point was the reminder that when the program was first pitched to the BBC, a memo was written heaping scorn on the quality of the writing of the pilot script.

Having previously considered the ways in which Alec Baldwin has his character Jack Donaghy run through the gamut of bad actor behaviour and bad acting in the 30 Rock (NBC 2006-2013) episode ‘Jack-Tor’ (1.5), it is now time to address the question previously raised by Martin Esslin: ‘How, in fact, does a good actor act a bad actor?’ (1987: 72) In this follow-up, we will examine the ways in which Baldwin delivers his masterclass on bad

(First Published on 14 December 2012) Back in January America was all abuzz with the largely-media-created controversy over whether or not the quintessentially British Ricky Gervais had gone too far with his humor as host of the 2011 Golden Globe Awards. What can be got away with on the public airways has been a significant question from the beginnings of American television.

Unbreakable Kimmy Schmidt (2015-) is a Netflix comedy produced by Tina Fey and Robert Carlock, and follows the life of 29-year old Kimmy Schmidt (Ellie Kemper) in New York City after her rescue from an underground cult.