Squid Game (2021-) is yet another successful export from South Korea, demonstrating the transnational mobility of Korean popular culture, and further cementing its status as a soft power juggernaut. The series has widely been framed in terms of neoliberalism and precarity. However, Squid Game ’s popularity has come at the expense of its mistreatment of female characters (as well as the other minority characters in the show).

Last month ITV announced that I’m A Celebrity… Get Me Out of Here (2002-) would be returning to Australia.

Two years ago, I wrote a provocation for CST about the problems that the continued tendency to priorities research on a particular kind of television creates for the academy. I argued that all we do is underpin existing hierarchies of gender and race in the academy and that a solution could be that we look at other television.

Organised by the ECREA Media Industries and Cultural Production Section Streaming media content, live or recorded, has experienced exponential growth during the COVID19 pandemic. Streaming, understood as the digital transmission and reception of files over the Internet, refers to text, audio and video content.

It’s the year 2021 and the UK finally seems to recognise the urgency of climate action. It seems to be everywhere: local councils declare climate emergencies and commit to net zero emission by 2030, the British government gives out funding to councils to improve walking and cycling infrastructures in order to change the way we – the average citizens – travel from A to B, and people start talking about electric vehicles and heat pumps.

Is it just me, or do you currently want to spend a lot of time sticking your head in the sand? I live in the UK, and if you live elsewhere, less Johnson-or-similar-run, you will probably not have quite that urge. But… it’s COP26, the world leaders came together, and you could feel them heating the atmosphere with their speeches. The sense of having only hot air delivered as policy is frustrating;

Wow, what a year it’s been. If, before the pandemic, people thought television was dead, now we all know how much we rely on it. Television, as Michael Wolff wrote, is the new Television. And in the UK, the years of 2020 and 2021 came with some astounding television: I May Destroy You (BBC, HBO, 2020), Small Axe (BBC, Amazon, 2020), It’s a Sin (Channel 4, HBO Max, 2021) and many more.

Inclusion is not our biggest challenge, but our greatest untapped opportunity

I have finally watched Hannibal (NBC, 2013-2015). I binged it in less than a week. If you think that is a good sign, think again. I just wanted to get past it. There was no savouring going on or getting addicted. No. On the contrary: I wanted to finish it as quickly as possible. I thought the programme was utterly – and excuse my lack of a better technical term – naff.

“[W]hen women in the movement use herstory , their purpose is to emphasize that women’s lives, deeds, and participation in human affairs have been neglected or undervalued in standard histories,” wrote the feminist activist Casey Miller and activist/linguist Kate Swift in their publication Words and Women (1976: 135). 40 years later, the goals for equality that second wave feminists like Miller and Swift fought for are far from