This book examines the creative strategies, narrative characteristics, industrial practices and stylistic tendencies of complex serial drama. Exemplified by shows like HBO’s The Sopranos, AMC’s Mad Men and Breaking Bad, Showtime’s Dexter, and Netflix’s Stranger Things, complex serials are distinguished by their conceptual originality, narrative complexity, transgressive lead characters and serial allure. As a drama form that continues to expand and diversify in today’s television, HBO’s Boardwalk Empire and Game of Thrones, Netflix’s Orange Is the New Black and Hulu’s The Handmaid’s Tale provide further examples. Dunleavy investigates the strategies that underpin the innovations, influence and success of complex serial drama, giving students and scholars a nuanced understanding of this contemporary TV form.

This edited collection examines a new phase in the creation of transnational high-end drama in television’s current multiplatform era. Fuelled by the wider international exposure that internet distribution has brought to TV shows, this phase for high-end drama is one of unprecedented budgets and costs, frequent transnational coproduction and increased cultural diversification. While this drama continues to be facilitated by national broadcasters, fuelling the above trio of influences upon it has been the commissioning activity of multinational subscription-video-on-demand (SVoD) providers. This book showcases leading examples of transnational TV drama, produced outside the US, yet involving collaboration with US-owned SVoDs. It foregrounds some new potentials for drama creation in the context of its strategic importance to providers as different as national broadcasters and multinational SVoDs. This book helps to explain why today’s high-end dramas are demonstrating new elements of cultural specificity despite their common objective to engage a diverse international audience.

Difficult Women on Television Drama analyses select case studies from international TV dramas to examine the unresolved feminist issues they raise or address: equal labor force participation, the demand for sexual pleasure and freedom, opposition to sexual and domestic violence, and the need for intersectional approaches. Drawing on examples from The Killing, Orange is the New Black, Big Little Lies, Wentworth, Outlander, Westworld, Being Mary Jane, Queen Sugar, Vida, and other television dramas with a focus on complex female characters, this book illustrates how female creative control in key production roles (direct authorship) together with industrial imperatives and a conducive cultural context (indirect authorship) are necessary to produce feminist texts. Placed within the larger context of a rise in feminist activism and political participation by women; the growing embrace of a feminist identity; and the ascendance of post-feminism, this book reconsiders the unfinished nature of feminist struggle(s) and suggests the need for a broader sweep of economic change. This book is a must-read for scholars of media and communication studies; television and film studies; cultural studies; American studies; sociology of gender and sexualities; women and gender studies; and international film, media and cinema studies.

Seeing It on Television: Televisuality in the Contemporary US 'High-end' Series investigates new categories of high-end drama and explores the appeal of programmes from Netflix, Sky Atlantic/HBO, National Geographic, FX and Cinemax. An investigation of contemporary US Televisuality provides insight into the appeal of upscale programming beyond facts about its budget, high production values and/or feature cinematography. Rather, this book focuses on how the construction of meaning often relies on cultural discourse, production histories, as well as on tone, texture or performance, which establishes the locus of engagement and value within the series. Max Sexton and Dominic Lees discuss how complex production histories lie behind the rise of the US high-end series, a form that reflects industrial changes and the renegotiation of formal strategies. They reveal how the involvement of many different people in the production process, based on new relationships of creative authority, complicates our understanding of 'original content'. This affects the construction of stylistics and the viewing strategies required by different shows. The cultural, as well as industrial, strategies of recent television drama are explored in The Young Pope, The Knick, Stranger Things, Mars, Fargo, The Leftovers, Boardwalk Empire, and Vinyl.

Drawing upon the existing scholarship of period drama and emerging research into new media ecologies, instigated by television streaming services such as Netflix, this book establishes a critical framework for understanding the representation of nationhood and cultural identity in television drama. By formalising the term ‘post-heritage’ the book proposes a methodology which recognises the interplay of traditional and innovative elements within period drama productions. The book applies this critical perspective to popular British period drama productions from the 2010s, with examples including The Crown, the ‘society dramas’ of Upstairs Downstairs and Downton Abbey, Steven Knight’s Dickens adaptations, and Stephen Poliakoff’s recent oeuvre, to demonstrate the benefits of evaluating period drama as part of twenty-first century television’s developments. It challenges the assumptions around characteristics and ideological purpose that period drama discourse often contends with, and offers new perspectives on understanding the past through televisual representations. This book will be important reading for students and scholars of television studies, film studies and cultural studies.

This comprehensive textbook, now substantially updated for its fourth edition, provides students with a framework for understanding the key concepts and main approaches to Television Studies, including audiences, representation, industry and global television, as well as the analytical study of individual programmes. This new edition reflects the significant changes the television industry is undergoing in the streaming era with an explosion of new content and providers, whilst also identifying how many existing practices have endured. The book includes a glossary of key terms, with each chapter suggesting further reading. New and updated material includes: Chapters on style and form, narrative, industry, and representation and identity Case studies on Bon Appétit’s YouTube channel, Insecure, British youth television, ABC and Disney+, fixed-rig observational documentary, streaming platforms' use of data to shape audience experience, Chewing Gum, Korean drama and The Marvelous Mrs Maisel Sections on medical drama, YouTube creators, Skam and scripted format sales, the global spread of streaming platforms, prestige TV and period drama With individual chapters addressing television style and form, narrative, histories, industries, genres and formats, realities, production, audiences, representation and identity, and quality, this book is essential reading for both students and scholars of Television Studies.

This book explores adaptation in its various forms in contemporary television drama. It considers the mechanics of adaptation as an ever-more prevalent form of production, most notably in the reworking of literary sources for television. It also explores the broader process through which the television industry as a whole is currently making necessary adaptations in how it tells stories, especially in relation to important concerns of equality, diversity and inclusion. Offering and analysing 16 original interviews with leading British television producers, writers, directors, production designers, casting directors and actors, and with a particular focus on female and/or minority-ethnic industry perspectives, the book examines some of the key professional and creative approaches behind television adaptations today. The book connects these industry insights to the existing conceptual and critical frameworks of television studies and adaptation studies, illuminating the unique characteristics of television adaptation as a material mode of production, and revealing television itself as an inherently adaptive artform.