What do druglords, corrupt politicians, failed states and distopias, mental disorders, scamming practices and feminism have in common? They all are actors and products of the complex intersections between money and crime that not only permeate our daily lives, but also produce worlds and narratives within their respective cultural products. From Hollywood dystopias to Netflix and TV series about Wall Street and Brazilian and Mexican politics, to fetishism and conspiracy to mental disorders in the workplace, the contributions to this volume explore the complex relations of neoliberalism and crime. The main objective of the publication is to examine such cultural and medial productions in order to differentiate the discourse about them and to enable a concrete picture of the underlying constituents.

I was never alone except in the toilet, where I soon found that locking myself into a cubicle was not much protection from hearing myself talked about by young men standing at urinals. ("Jesus, he's looking rough." "And it's only Monday.") Reviews for Clive James's fourth volume of memoirs, North Face of Soho, included several that specifically requested a further volume; Clive James duly obliged and here, in all its glory, is 'Unreliable Memoirs V', otherwise known as The Blaze of Obscurity. Perhaps his most brilliant memoir, The Blaze of Obscurity tells the inside story of his years in television: it shows Clive James on top form. 'In the case of many people who attempt an autobiography even a single volume is one too many . . . In the case of Clive James, the volumes now in existence are too few. If the final tally puts him up there with Marcel Proust, so much the better.' - Financial Times.

Follow the wisdom of Buffy, Willow, Xander, Spike, and others with this beautifully illustrated tarot deck inspired by the beloved series, Buffy the Vampire Slayer. In every generation, there is a chosen one--explore your destiny like Buffy the Vampire Slayer with this magical and bold take on the traditional 78-card tarot deck. This set features the heroes you love, casting Buffy, Willow, Angel, Spike, Xander, Giles, and more in gorgeous original illustrations based on classic tarot iconography. Featuring both major and minor arcana, the set also includes a helpful guidebook explaining each card's meaning and simple instructions for easy readings. Packaged in a sturdy, decorative gift box, this alluring tarot deck is the perfect gift for the Buffy the Vampire Slayer fan or tarot enthusiast.

With this singular book Nataniël tells the story of a childhood in three small towns and one large suburb, in an era during which rules were seldom questioned and of a young boy’s overwhelming fear of the ordinary. Look At Me is Nataniël's first full-length memoir. 

This timely collection examines representations of medicine and medical practices in international period drama television. A preoccupation with medical plots and settings can be found across a range of important historical series, including Outlander, Poldark, The Knick, Call the Midwife, La Peste and A Place to Call Home. Such shows offer a critique of medical history while demonstrating how contemporary viewers access and understand the past. Topics covered in this collection include the innovations and horrors of surgery; the intersection of gender, class, race and medicine on the American frontier; psychiatry and the trauma of war; and the connections between past and present pandemics. Featuring original chapters on period television from the UK, the US, Spain and Australia, Diagnosing history offers an accessible, global and multidisciplinary contribution to both televisual and medical history. -- .

Television was one of the forces shaping the cultural revolution of the 1960s and 1970s, when a blockbuster TV series could reach up to a third of a country's population. This book explores television's impact on social change by comparing three sitcoms and their audiences. The shows in focus - Till Death Us Do Part in Britain, All in the Family in the United States, and One Heart and One Soul in West Germany - centered on a bigoted anti-hero and his family. Between 1966 and 1979 they saturated popular culture, and managed to accelerate as well as deradicalize value changes and collective attitudes regarding gender roles, sexuality, religion, and race.

Most horror film fans are familiar with the classics, from the early Universal archetypes to the Hammer landmarks-all of which have been celebrated in countless books and magazines. But what about the parallel universe of television horror? The series, made-for-TV-movies and specials? With detailed coverage of shows from Britain, America and Europe, this book chronicles the small-screen appearances of Dracula and Frankenstein's monster, adaptations of stories by Edgar Allan Poe and M.R. James, performances of stars like Boris Karloff and Vincent Price, groundbreaking series like The Television Ghost, Lights Out andDark Shadows, and such memorable movies as The Night Stalker, The Norliss Tapes and 'Salem's Lot, along with unearthed gems like The Ghost of Sierra de Cobre and Mrs. Amworth. The work of such key directors as Dan Curtis and Lawrence Gordon Clark is examined.

This volume examines and discusses selected Bible documentaries and academically informed dramatizations of the Bible. With a major focus on recent productions in UK mainline television within the past 15 years, the contributors also engage with productions from the USA. After a critical introduction by Helen K. Bond, charting and reflecting on the use of the Bible on television in recent years, the book falls into three sections. First, a number of influential filmmakers and producers, including Ray Bruce and Jean- Claude Bragard, discuss their work in relation to the context and constraints of television - especially religious television - programming. The volume then moves to reflections of various academics who have acted as 'talking heads', historical consultants and presenters, allowing discussion of different aspects of the process, including the extent to which they had influence and how their contributions were used. Finally, a number of scholars assess the finished products, discussing what they tell us about the modern reception of the Bible, with additional consideration of how these productions influence biblical scholars and contribute to the scholarly agenda.

In this book, Curt Hersey explores the history of U.S. media, demonstrating how news parody has entertained television audiences by satirizing political and social issues and offering a lighthearted take on broadcast news. Despite shifts away from broadcast and cable delivery, comedians like Samantha Bee, Michael Che, and John Oliver continue this tradition of delivering topical humor within a newscast format. In this history of the television news parody genre, Hersey critically engages with the norms and presentational styles of television journalism at the time of their production. News parody has increasingly become part of the larger journalistic field, with viewers often turning to this parodic programming as a supplement and corrective to mainstream news sources. Beginning in the 1960s with the NBC program That Was the Week That Was, the history of news parody is analyzed decade by decade by focusing on presidential and political coverage, as well as the genre's critiques of television network and cable journalism. Case studies include Saturday Night Live's "Weekend Update;" HBO's Not Necessarily the News; Comedy Central's original Daily Show, The Daily Show with Jon Stewart, and The Colbert Report; and HBO's Last Week Tonight with John Oliver. Scholars of media history, political communication, and popular culture will find this book particularly useful.

This book provides an in-depth examination and analysis of the film and television adaptations of Lope de Vega's theatrical dramas that have appeared on Spanish screens since the mid-twentieth century. Using a multidisciplinary approach, Allen draws on critical media literacy studies, film and adaptation studies, literary theory, cultural studies, and cultural historiography in his analysis. Allen argues that, given the problematic reception of Lope's works in Francoist Spain, the canonical author never held a privileged position in the dictatorial propaganda machine. In fact, adaptations of Lope's theater productions were subject to the same rigorous scrutiny, if not more, than any other screenplays that landed under censorship's microscope. Allen analyzes adaptations produced during and after the nearly forty-year dictatorship and questions whether the adaptors of the democratic era created films and television shows that can sufficiently demonstrate how the spirit of Lope's life and works can resonate with modern audiences. Scholars of film and television studies, adaptation studies, and history will find this book particularly useful.

This book examines The Wire's authenticity and its establishment of the series realism. Along with tracing creator David Simon's onscreen critique of numerous failed American institutions, the book focuses on the connection between authenticity and realism in three distinct areas: language, character, and location. While it is shown that The Wire is indeed authentic, the study examines occasions where the language, characters, and even the location are 'curated'. Yet, while we can witness these moments of curation, it is The Wire's unflinching focus on authentic dialogue, authentic characterisation, and an authentic location that makes the series the most realistic, and arguably the best, television show of all time.

"This book engages with key theoretical and analytical issues in the field of media, communication and cultural studies. Using case studies of radio, internet, text messaging and photojournalism, it deploys Bourdieu's ideas to reveal how language in the media is implicated in broader social patterns of "symbolic violence." --

The first sustained examination of the depiction of American suburbia in gothic and horror films, television and literature from 1948 to the present day. Beginning with Shirley Jackson's The Road Through the Wall , Murphy discusses representative texts from each decade, including I Am Legend , Bewitched , Halloween and Desperate Housewives .

This collection examines the peculiarly modern phenomena of voyeurism as it is experienced through the digital screen. Violence, voyeurism, and power populate film more than ever, and the centrality of the terrified body to many digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. The essays in this book examination the machinations of voyeurism in the digital age and the realization of power through digital visual forms. They look at the uses of power over the female body, at the domination and repression of women through symbolic violence, at discourses of power as they are played out onscreen, and at how the digital realm might engage the active/passive dichotomy in new ways.

This volume is the first book to take a deep dive into the philosophical, social, moral, political, and religious issues tackled by Seth MacFarlane's marvelous space adventure, The Orville. Far more than just "Spaceballs for Star Trek," the episodic sci-fi adventure combines humor and philosophy to create a narrative that both engages fans and sheds light on the realities of today's world. These essays explore what The Orville has to say on everything from climate change, artificial intelligence, and sexual assault, to gender, feminism, love, and care. Divided into six "acts" (just like every episode of The Orville), with the show as its backdrop, the book asks questions about the dangers of democracy and social media, the show's relationship to Star Trek and the puzzle of time travel. It features a foreword by The Orville writer and co-executive producer Andre Bormanis.

This volume addresses the relationship between irony and popular culture and the role of the consumer in determining and disseminating meaning. Arguing that in a cultural climate largely characterised by fractious communications and perilous linguistic exchanges, the very role of irony in popular culture needs to come under greater scrutiny, it focuses on the many uses, abuses, and misunderstandings of irony in contemporary popular culture, and explores the troubling political populism at the heart of many supposedly satirical and (apparently) non-satirical texts. In an environment in which irony is frequently claimed as a defence for material and behaviour judged controversial, how do we, as a society entrenched in forms of popular culture and media, interpret work that is intended as satire but which reads as unironic? How do we accurately decode works of popular film, literature, television, music, and other cultural forms which sell themselves as bitingly ironic commentaries on current society, but which are also problematic celebrations of the very issues they purport to critique? And what happens when texts intended and received in one manner are themselves ironically recontextualised in another? Bringing together studies across a range of cultural texts including popular music, film and television, Isn't it Ironic? will appeal to scholars of the social sciences and humanities with interests in cultural studies, media studies, popular culture, literary studies and sociology.

Hit show "Paranormal State" chronicles the extraordinary life of Ryan Buell and the other members of the Paranormal Research Society (PRS) as they seek to find the truth behind terrifying real life mysteries, hauntings, and ghosts. Stone-cold investigators of the supernatural and seekers of the unknown, they have dedicated their lives to working beside countless amounts of families who seem to suffer from the effects of paranormal experiences. In this behind-the-scenes look, Ryan takes readers inside the cases from the show. Revealing new facts, and discussing never-before-seen cases, "Paranormal State" explores the intriguing mysteries surrounding each case and the difficult decisions faced by Ryan and PRS in the field, as well as their struggles with faith (their own and that of those they're helping). Readers and die-hard fans will finally get to see how Ryan and PRS have evolved, both from the beginning and through the advent of the show. Connecting the dots and finding out why these 'hauntings' may occur in the first place, Ryan and his team have saved families. "Paranormal State" is the official guide to their fascinating and frightening endeavours.

This book is the first comprehensive research conducted on the pan-Arab TV station al-Mayadeen - an important representative of the post-2011 generation of Arab satellite news media. Likewise, it is an investigation of a growing political trend and ideological discourse in the Arab world, which the book identifies as The New Regressive Left. The book sheds light on overlooked parts of the Arab population, which neither identified with the vision of the young activists initiating the uprisings, nor with the ambition of the growing Islamist tendency that followed. Rather it voices a grouping of Shia Muslims, religious minorities, parts of the Arab Left, secular cultural producers, and supports of the resistance movements brought together by their shared fear of the future. Drawing on a wide variety of programmes from the station's first four years and on interviews with staff members, the book captures how a TV station can play a role in the production of ideology through e.g. its composition of programmes, collaborations, events, iconization of cultural figures, choice of aesthetics, as well as through its recycling of cultural heritage and already existing ideological concepts. Overall, four ideological core concepts emerges, namely: the support of the resistance, the rejection of Sunni Islamism, the acceptance of authoritarianism, and the challenging of neoliberalism. Taking seriously a media outlet such as al-Mayadeen and the worldview driving an ideological discourse such as The New Regressive Left seems more acute than ever if we want to grasp the developments in a post-2011 Arab world.

In this funny true story, Caplan tells of his experiences on various game shows, the celebrity hosts he met, and the money he made.

From Jerry's kitchen to Monk's cafe, food is central to many of Seinfeld's most memorable moments, and this official cookbook teaches fans to prepare favorite dishes from the show right in their own homes! Stash the takeout menus and cancel reservations at Mendy's, it's time to stay in for a taste of New York City as only Seinfeld: The Official Cookbook can deliver in this collection of more than 60 recipes inspired by the hit '90s sitcom. For a show about "nothing" one constant throughout Seinfeld's nine seasons is food! Jerry, Elaine, Kramer, George, and the whole gang are always talking about food, shopping for food, or grabbing a bite in Monk's coffee shop! There are contemplations on the black and white cookie, the Big Salad, proper (or improper) shrimp cocktail etiquette, an irresistible soup stand, lobster revenge omelets, the proper ranking of babka varieties, mouthwatering mackinaw peaches, and so much more. Now these culinary comedy classics are celebrated with a variety of recipes that will help any Seinfeld fan relive their favorite moments. Seinfeld: The Official Cookbook offers a variety of recipes for chefs of all levels. From appetizers to main courses and from drinks to desserts, each chapter includes delicious show-focused food that will have diners raving, "It's like a circus in your mouth!"

Focused on two networks, Al-Jazeera and BBC Arabic, this study provides an in-depth quantitative and qualitative analysis of different media strategies employed in the coverage of Covid-19. The author draws primarily from Critical Discourse Analysis, supplemented by an analysis of corpora from both Al-Jazeera and BBC, comprising news items, documentaries and discussion shows. An array of key topics are examined for their language and lexis, including political leaders and governments, the public and victims of Covid-19. The two networks' coverage of these topics are closely compared and contrasted, with both employing strategies of exemplification, nominalisation, functionalisation, naming and labelling. The analysis shows that the two networks have displayed a solidarity discourse throughout the pandemic, emphasising the need to fight the disease. In addition, the networks have consistently stressed the gravity of the pandemic, urging adherence to local regulations. It is ultimately argued that examining the coverage of Covid-19 from a dialectical perspective will enable us to unravel the social, cultural, political, and ideological motives behind the production of pandemic media discourse. The book will appeal to students and researchers in linguistics, media and communications, and Middle Eastern studies, as well as to general readers interested in conflict and pandemic response.