My last paper described the teaching and learning experiences of a new module I introduced to level 6 students on factual TV. It primarily dealt with the first half of this new module – Informational factual TV programming. Informational programming includes TV genres such as Current Affairs, History and Science TV, and Wildlife TV. As described in my last post, the module is built around two fundamental premises.

Had to throw out some humping salad from the fridge the other day. We could probably have got away with it, but it was a tad beyond its “best before” date and why take the chance?

‘Of course we don’t pay a licence fee’ says Barbara vehemently as we sit round the table for Jennifer’s graduation celebration dinner. My friend Barbara is doctor and her eldest daughter has just graduated in creative art.  Everyone is there – aunts, uncles, cousins, Jenny’s brother and sister.  Her Nana is especially proud as Jenny is the first grandchild to graduate.

Today I am here to share something with you that I’ve always wanted to share with you one day, but under my own circumstances. It looks like that chance has been taken away from me, so today I am taking back my own power. – NikkieTutorials in her YouTube video ‘I’m Coming Out’, January 13, 2020   Television and connected cross-media content are a main source for stories about our reality.

One of the loveliest places that my wife and I like to visit when we have a spare morning or afternoon is Astley Book Farm.

“You know what you want Andrew,” said Richard Marson to me sagely, “You want PrimeTime .” He was probably right. I mean, Richard’s brilliant. Go and buy his book The Blue Peter Diaries (2017) about his time as editor on this Big BBC Brand. Best eighteen quid we’ve spent on a book in a long time.

In this concluding post on Sam Esmail’s Mr. Robot , a critical evaluation of the series’ final scenes as well as its wider cultural, political and ideological importance will be provided. In accordance with previous posts, this analysis will draw from the work of Todd McGowan in order to provide a final precis on the significance of the gaze as used in the series.

There are lots of ways to interpret and answer this deceptively simple question. Being asked what we make of something is often an idiomatic invitation to discuss how we think or feel about it. It invites a sharing of opinion and opens up a process of evaluation. In broad terms, who the ‘ we’ is in this question determines what we make of the television archive.

So, in conclusion, I don’t think the order really matters. Do you?

In what follows, I wish to draw away from broader criticisms of Mr. Robot’s narrative consequences, and focus on a particular scene from Series 4, Episode 10, ‘ 410 Gone ’. Importantly, the following analysis will serve to elucidate upon a number of important significances related to the series and its conclusion (this will be discussed next week). Before reading the below, however, it is worth watching the scene in question: