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This article explores the use of pitch decks in the development process of television series. Pitch decks, which originated in start-up businesses, have become a popular tool in Hollywood for pitching new ideas to networks and studios. The article discusses the advantages and challenges of using pitch decks in the media industry and highlights their increasing importance in securing funding and development deals. It also provides an example of how a pitch deck played a crucial role in Netflix's decision to greenlight the series Stranger Things. Pitch decks like this are important in the development and acquisition process for TV shows and films, but they are rarely seen or discussed outside of those directly involved in the process. [Extracted from the article]

The way we do television studies changes with ongoing innovation; digital media and successive phases of subscription pay TV have complicated our work for the better. Additional contextual complexity in TV delivery, and the related notion of TV as a medium in perpetual identity crisis, contribute to experiences especially vivid in terms of pandemic pressures. This essay shares our collaboration from the Summer of 2020 through January 2021. We synthesize email correspondence and our many Zoom meetings discussing pandemic-inflected topics including sitcom redistribution and sports, weaving these conversations into an "inner-personal archive" combining individual history and notes on experience with in-depth television criticism. The essay explores how we as television scholars refer to the archive, and how we relate to archives that are becoming subsumed into the digital. It uses a conversational format to deconstruct, decolonize, and demonstrate the process of narrating the archive, capturing our struggle to grasp recent changes in television viewing while overwhelmed with loss, betrayal, and pain. [ABSTRACT FROM AUTHOR]

The article discusses the decision made by the Portuguese Competition Authority (PCA) to prohibit Vodafone Portugal's acquisition of Nowo Communications. The PCA raised concerns about the high level of concentration in the telecommunications market, limited diversification of offerings, and the low customer mobility. The article also mentions the potential entry of a new player, Digi, which could disrupt the market. The PCA rejected the commitments proposed by Vodafone to address the competition concerns. The article compares this decision to a similar merger in Spain, where the European Commission approved the merger with certain remedies. The article concludes by mentioning the emergence of potential buyers for Nowo, including Media Capital and Digi. [Extracted from the article]

Original production by subscription-video-on-demand services (SVOD) is often associated with a U.S. model of premium drama, characterized by high production values, edgy storytelling, and narrative complexity. Yet the internationalization of SVOD production in recent years has complicated this assumption, revealing diverse national experiences. In this article, we test the notion of 'SVOD exceptionalism' through a content and production analysis of Australian SVOD originals released by Netflix, Stan, Amazon Prime Video, Paramount+, and Binge (2015–2021). Identifying the characteristic formats, genres, features, and production dynamics of Australian SVOD originals, we explore how these texts connect with the existing patterns of the national production culture. Our findings suggest that SVOD production in Australia has largely extended rather than challenged established storytelling norms, reflecting a production ecology still shaped around broadcast logics. Consequently, we identify the early years of SVOD production in Australia as a period marked less by innovation than by risk mitigation. [ABSTRACT FROM AUTHOR]

Over the last decade, several professionalising amateur Australian content creators making popular web series distributed on multiple open platforms broke into the television industry and have since developed promising professional careers. The limited scholarly research into the career trajectories and sustainability of web series creators has typically been conducted as normative critique of the value of web series labour. In contrast, we look processually and empirically at the career trajectories of 26 creators following their first publicly funded web series between 2011 and 2020. The creators' pathways are varied, but web series facilitated a pathway to career sustainability for roughly three quarters of the cohort. Web series functioned as (1) a calling card for native online creators, (2) a format facilitating career consolidation or acceleration for television professionals and (3) a format enabling career diversification for filmmakers. Overall, they can be a market-tested talent training ground for television, especially broadcaster-video-on-demand or subscription-video-on-demand services. [ABSTRACT FROM AUTHOR]

The unprecedented growth of video-on-demand (VOD) streaming platforms has brought both new optimism and new complications to concerns around screen 'diversity'. To what extent have major global and smaller regional VOD platforms invested in screen diversity, at the level of genres, languages, country-of-origin, social representation or creative labour? Just how 'diverse' are the catalogues of VOD services? How is this content represented to audiences and made discoverable through platform interfaces and recommendation systems? How might this vary across the major US-based services, compared with smaller and more niche platforms, or with local broadcaster VODs, or with national public service VODs? This introduction to a special collection on diversity in the streaming era surveys recent developments in screen and media studies scholarship that attempt to address these questions. In doing so, we examine how streaming platforms are addressing diversity at the levels of industry, policy, texts, technologies and audiences. At each level, we observe different definitions, operationalisations, and practices of 'diversity' that are informed by a range of disciplinary theorisations, policy histories and priorities, and national and regional contexts, all of which come to intersect with each other in new and challenging ways in the VOD era. In conclusion, we argue that to properly respond to the problem of 'diversity', research on screen diversity and on VODs must engage with these diverse dimensions of 'diversity'. [ABSTRACT FROM AUTHOR]

The article discusses the evolution of American sitcoms and the emergence of a new subgenre called "unsituated comedy." It explains how traditional sitcoms have followed a formulaic structure, while unsituated comedies challenge conventions by adopting more fluid storytelling, character dynamics, and forms of humor. The authors provide a list of twenty-three American comedies that exemplify the unsituated comedy subgenre, arguing that these shows offer new portrayals of marginalized identities and have the potential to challenge norms and offer social commentary. The article acknowledges that some sitcoms have already challenged norms and offered social commentary, but the post-network era has brought about significant changes that have allowed for the emergence of unsituated comedies. These shows break away from traditional sitcom conventions by exploring different settings, allowing characters to grow, and presenting narratives that are less linear and more open-ended. Unsituated comedies offer a hybrid space between comedy and drama, challenging cultural scripts of normalization. The article emphasizes that unsituated comedies are not necessarily superior to traditional sitcoms, but rather offer new possibilities for exploring power dynamics in communities and everyday life. These shows, such as Scrubs, Modern Family, and The Office, have shifted away from the traditional sitcom format by allowing greater movement and exploring a wider range of characters and settings. They no longer rely on a central space or a limited cast, but instead showcase characters in various locations and introduce new characters from their neighborhoods or communities. Unsituated comedies also delve [Extracted from the article]

Medical television programmes, across their history, have had specific relationships to places and spaces. On one level, they have represented medical and health places, such as, consulting rooms, hospitals, the home, community spaces, public health infrastructures, etc. Television producers have represented these places, in line with the capabilities of television technologies and grammars. Moreover, producers have borrowed their images of medical and health places from other media (film, photographs, museum displays, etc.) and integrated, adjusted and reformulated them into their work. But medical television has also worked spatially in the political sense of being broadcast internationally, nationally, and locally; therein interacting with differing regimes and polities. This facet includes regional and local broadcasting, as well as public-private divides, including pay television, advertisement and audience measurement. On both levels, medical television programmes have served to represent familiar and unfamiliar locations and medical modes to patients and medical or health practitioners. This issue of Media History on medical television follows the conference of the same title, Locating Medical Television, organised in the framework of the ERC funded BodyCapital project and the Science Museum London. It intends to locate medical television more precisely; to engage (medical) TV history with recent questions concerning the relevance of space within and beyond national borders. [ABSTRACT FROM AUTHOR]

A drastic increase in over-the-top (OTT) subscriptions and sales after COVID-19 may threaten the future of pay television (pay TV) in South Korea. This study examines changes in the usage time of pay TV and OTT services, particularly after the COVID-19 outbreak, and assesses whether the termination of pay TV subscriptions (cord-cutting) will occur in South Korea. Empirical results indicate that the more time an individual spent on OTT services, the less time they spent on pay TV, thereby indicating a substitution relationship between pay TV and OTT services. However, the pay TV usage time of OTT service users remained at a high level and did not decrease. In addition, the results confirm that the drastic increase in OTT service usage time, particularly after the pandemic outbreak, was mainly due to the increase in the number of OTT service users, not the increase in OTT service usage time per OTT service user. These findings suggest that massive cord-cutting will not occur in Korea without drastic changes in media market conditions. [ABSTRACT FROM AUTHOR]

Entertainment-education has been touted as a potent delivery channel for health education campaigns. Yet, there is little evidence of its causal effects. This paper aims to fill the gap in the literature by using a field experiment in India to study two questions on the efficacy of health entertainment-education. First, can health entertainment-education, particularly through films that show role models and draw on emotions, lead to lasting, positive change in health knowledge and behavior? Second, can financial incentives for ex-post health literacy boost the effectiveness of health entertainment-education? The results show that health entertainment-education successfully increased health knowledge (e.g. knowledge about cleanliness and hygiene) by 16 percent. These gains persist almost one year later, although there were no observed impacts on health behaviors. Further, financial incentives do not appear to have any effects. These insights contribute to our knowledge of what works for health education in low-income settings, so that future education campaigns can be crafted with more meaningful impact. [ABSTRACT FROM AUTHOR]

Vaccination rates are likely to reflect the expected benefits and drawbacks for individuals. As a larger share of the population gets vaccinated, individuals have more incentives to free ride and benefit from the positive externalities of a high vaccination rate, while not being affected by the potential harms of receiving vaccination. Using Covid-19 vaccination data at the municipality level in the Italian region of Lombardy, we show that communities with a higher level of civic capital were able to overcome this collective action problem. An indirect measure of the willingness to contribute to a public good (i.e. the share of residents paying the TV licence) proves to be particularly useful to predict the success of vaccination campaigns. [ABSTRACT FROM AUTHOR]

The consolidation of digital television via subscription video on demand (SVOD) services has created an unprecedented increase in the consumption of serialised TV shows, which has had direct consequences on the content production sector. Faced with an increasingly demanding, hyperconnected and discerning audience and a supply of content never previously seen, television production and distribution strategies are involved in a process of change and adaptation. This paper seeks to analyse the production of Spanish television series created to be distributed on SVOD platforms. The aim is to know the role that production companies play in the creation of television series for SVOD so as to identify strategies and cooperative alliances between production companies and platforms and to detect possible patterns and trends in the operations of the audiovisual market. Using a mixed methodology that combines quantitative study with qualitative data analysis, the 88 Spanish TV series and miniseries that premiered on SVOD platforms from 2016 to 2021 are analysed, taking as a starting point the year in which these platforms began operating in Spain. The results confirm a trend towards cooperation between independent production companies and the platforms themselves, while no presence of in-house production is observed. Likewise, the atomisation of the role of production companies in the context of SVOD is shown, a phenomenon that already existed in generalist television production. [ABSTRACT FROM AUTHOR]

This article asks how the rise in use of SVOD in the United Kingdom during 2020 impacted people's expectations of public service television (PSTV). Drawing on 56 qualitative interviews with 28 UK participants conducted in 2019 and 2020, the article uses the COVID-19 lockdown to explore how disruption to the context of viewing might shape the cultural meanings people attach to PSTV. Challenging dominant approaches that measure audience assessments of public service media (PSM) against normative criteria, this article focuses instead on the processes through which people's cultural meanings about PSTV are formed. Examining the interplay of their encounters with, expectations and evaluations of television, it reveals the divergent meanings our participants brought to linear and on-demand television. The article concludes by examining the implications of these expectations for PSM policy and for the ways in which we research people's viewing experiences and choices amidst the rise of VOD. [ABSTRACT FROM AUTHOR]

The vertical merger of AT&T and Time Warner combined one of the largest multiple video program distributors (MVPDs) in the United States with one of the largest providers of pay-TV programming. This study evaluates the potential competitive effects of the transaction by considering changes in the equity valuations of the respective upstream and downstream competitors to the merging parties when news of their proposed merger became public. Consistent with the government's central theory of harm, it appears that financial markets expected the proposed transaction to result in Time Warner increasing its carriage fees to AT&T's and DirecTV's MVPD rivals. Market reactions to the announcement of AT&T's commitment to enter into binding arbitration when negotiating future carriage fees for Tuner content provide further support for this inference. The results are difficult to rationalize in terms of the various efficiencies and synergies that AT&T claimed it would realize from the merger. [ABSTRACT FROM AUTHOR]

The Ultimate Fighting Championship (UFC) utilizes a unique pay-per-view (PPV) product distribution structure, and relies heavily on social media to promote its events. Yet, no research has examined how UFC fans' social media motivation influences their consumption. Using uses and gratifications theory and a mixed-method design, this study qualitatively explored the themes of UFC fans' social media motivations and identified five themes (i.e., information, convenience, social interaction, entertainment, and economic). Based on these themes, this study developed the Scale of Social Media Motivation through quantitative analyses and further investigated how Scale of Social Media Motivation factors would affect consumption behavior by incorporating fan identification as a mediator. The findings revealed that the factors were positively associated with purchase intentions when fan identification serves as a partial mediator. Discussions are focused on utilizing the social media motivation factors and nurturing fan identification to promote UFC consumption. [ABSTRACT FROM AUTHOR]

This article discusses the rise of French television series and their increasing popularity on streaming platforms. It highlights the historical significance of French television and its influence on filmmakers. The article argues that French television is now competing with American and British productions and positioning itself as a major player in the international televisual landscape. It also explores the impact of streaming platforms on French television and the increasing collaboration between film and television in France. The article concludes by emphasizing the need for further research and analysis of French television series. [Extracted from the article]

This study examines viewers' characteristics and operational dynamics of football viewing centres (FVCs) in Agege, Lagos Megacity, Nigeria. It anchors on the "theory of happiness" and the microeconomic vitality of FVCs using a mixed-methods approach. The results of the descriptive and inferential statistics revealed that most viewers can afford subscriptions for digital TV in their homes, yet patronize the FVCs. Factors attributed to patronage are happiness, excitement, and other social opportunities, with some perspectives of leisure and microeconomic vitality benefits. Finally, the study suggests a new policy direction to mitigate the negative effects of unplanned areas resulting in the proliferation of FVCs. [ABSTRACT FROM AUTHOR]

The evolution of Internet technology is closely mirrored by the innovative business and profit models emerging within the platform economy. Integrating this economic framework, online video platforms are dynamically refining their pricing strategies to optimize profit margins. This paper, anchored in the theoretical construct of second-degree price discrimination, selects the Chinese online video platforms iQiyi and Tencent Video for in-depth case studies. It charts the progression of its pricing strategies and juxtaposes these with those of prominent international online video sites to highlight both congruities and divergences. The synthesis of theoretical models with real-world case studies culminates in strategic recommendations to foster the growth of Chinese online video platforms in the global Internet arena. [ABSTRACT FROM AUTHOR]

Copyright of Middle East Journal of Communication Studies is the property of Middle East Journal of Communication Studies (MEJCS) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper considers some of the most relevant productive and cultural reasons behind the adaptation of scripted formats in Italian television. According to the principle that locally produced tv series often score better rates than imported/adapted series, the practice of adaptation of foreign scripted formats has been infrequent until the 2000s. From then on, the Italian television scenario radically changed, because of the debut of satellite pay TV in 2003 and of Netflix in 2015, which modified the market of tv series and forced Italian broadcasters (mainly Rai) to cope with the delicate and complex process of adaptation, with alternate results. [ABSTRACT FROM AUTHOR]

This Article examines the prospect of college athletes being paid for their appearances on television, streaming video, and related services. It explores the different vehicles of payment, including litigation, collective bargaining, and representation by SAG-AFTRA. The Article recommends the NCAA and member institutions collaborate with athletes on solutions instead of waiting for a judicial order that would command a change. [ABSTRACT FROM AUTHOR]

A display serves as a projecting mechanism that presents video content to the user through technologies such as cathode ray tube (CRT), liquid crystal display (LCD), light-emitting diode (LED), Organic light-emitting diode (OLED), or other projection methods. The global demand for intelligent displays has witnessed a substantial rise, primarily fueled by the increasing popularity of OLED-based devices and technology. Concurrently, the worldwide digital TV subscriptions surpassed one billion in 2017. In our investigation, we aimed to assess the awareness levels among individuals in both rural and urban areas regarding TV display technology. The findings reveal that approximately 79% of urban residents and 44% of rural inhabitants utilize a TV display compatible with their TV subscription. [ABSTRACT FROM AUTHOR]

Around the globe, the trend of cutting cable cords in favor of over‐the‐top media platforms has been rising tremendously. Further, the influx of different content is disrupting media consumption behavior. Underpinning the choice theory, this study investigates the effect of the availability of content choices on over‐the‐top platforms on users' subscription intention. Insights from the triangulation of marketplace evidence and interviews reveal that the availability of content choices leads to the willingness to pay for the content, which further leads to the subscription intention. The conceptual framework suggests that content affinity, reviews, and recommendations play a moderating role in suggested relationships. The three experimental studies validate that the role of content choices on subscription intention is mediated by the higher willingness to pay for the content only in the absence of negative platform‐related reviews and recommendations. Further, this study presents content strategies and suggested matrices for practitioners and paves the way for academicians to explore digital adoptions using choice theory for future research. [ABSTRACT FROM AUTHOR]

The U.S. pay television service market was dominated by cable operators until the nationwide entry of satellite operators in the early 1990s. The latter have been consistently growing their footprints since. This study documents the role of television advertising to explain satellite operators' success. Using data on U.S. households' subscription choices and operators' advertising decisions, the authors document both demand- and supply-side conditions conducive to the growth of the satellite operators. First, the authors find that consumers in this market were sensitive to advertising, and especially so to that of the satellite operators (ad elasticities of about.05–.06 for satellite operators vs..02 for cable operators). The authors employ a border strategy to demonstrate advertising-elastic demand and discuss its robustness to potential threats to identification. Second, the authors provide suggestive evidence that a form of asymmetric cost efficiencies in television advertising benefited the entrants more than the incumbents. Specifically, the unit costs of local advertising tend to be higher than those of national advertising, which likely allowed the satellite operators to better leverage their national presence with (cheaper) national advertising. Overall, this study highlights the interaction between advertising efficiencies and the scale of entry in explaining the competition between market incumbents and entrants. [ABSTRACT FROM AUTHOR]

The security of information has been a significant part of human civilization since the ancient era. In the information society, the protection of information becomes increasingly crucial for humankind, and new technologies are progressing in an unending stream. Cryptography is one of the greatest methods intended for protecting the transmission of messages and the security of data. For instance, digital commerce, electronic telecommunications such as mobile phone networks, sending personal emails, commercial transactions, paying television, the security of bank cards, cryptocurrency, etc affect many areas of our everyday lives. Cryptography enables secrecy and protection for secret information by concealing it. It is made through a mathematical method. In this study, we built a new mathematical technique for cryptography in which we applied the Laplace transform (L-Transform) for the Mittag-Leffler function (or E-function) to plain text for encryption and the correspondent inverse L-Transform related to the E-function for decryption. Eventually, we use the Monobit test and correlation test for measuring the security level of encryption and the Python programming language for easily attaining cipher text, the original message, and computations of statistical tests. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Sociological Context / Sosyolojik Bağlam Dergisi is the property of Journal of Sociological Context and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The streaming industry has seen rapid growth worldwide in recent years with intense competition among the major international providers. In Germany, streaming services and pay TV providers achieved a turnover of over five billion euros for the first time in 2022. The number of users subscribing to services such as Netflix, Disney+, and RTL+ has also doubled in the last five years and currently stands at 21.2 million people with one or more subscriptions. In the midst of this competition, this study examines the differences in usage habits, preferences, and user perceptions regarding content offer, user experience, brand perception, and pricing between media libraries and subscription video-on-demand (SVOD) providers in Germany. The study draws on STP theory (segmentation, targeting, positioning) to show how German TV companies can effectively use their resources and differentiate themselves in the competitive market. Based on 1,726 responses from an online survey of German students, empirical significance tests were conducted. These show that SVOD and media library users prefer different program types and that media libraries have a clear need to catch up, especially with regard to personalized recommendations and brand perception. [ABSTRACT FROM AUTHOR]

The internet-based broadcasting has led to emergency of a great number of broadcasting channels that offer subscribers with more choices ubiquitously. Understanding of the determinants for customers' subscription to a particular broadcasting channel becomes important. This study analyzed factors influencing online Television (TV) Subscription in Tanzania. Specifically, the study assessed the influence of information quality, video quality and online TV technology ease of use on online TV subscription in Tanzania. A questionnaire was used to collect data from 241 online TV subscribers in Dar es Salaam. A multiple regression analysis of the data collected revealed that, information quality and online TV technology ease of use influence significantly online TV subscription in Tanzania. However, the findings of the study established that video quality influence Online TV subscription insignificantly. This implies that, the video quality did not matter most for online TV subscription. The study recommends that, Online TV service providers should focus on improving content quality of the information shared. The platforms for accessing Online TVs should be ease to use including making it easy to access and use online TV programs in a more cost effective manner. Besides, subscribers should be easily enabled to access and view TV programs and/or recorded videos faster than it is with traditional TVs. Doing that would attract more subscribers and hence generating more revenue through subscription-based and ad-supported models. [ABSTRACT FROM AUTHOR]

This article explores Netflix's changing business strategies to diversify its catalogues, examining the practices of 'direct commissioning' and genre adaptation. The case study of Queen Sono, the first Netflix African Original, reveals how the spy thriller conventions are leveraged to attract a Western audience even as the series is adapted to the African context. Although Queen is portrayed as a female spy with clear moral impulses, I argue that her agency is constrained by the male-dominated spy thriller conventions and the transnational postfeminist sensibility of the series which Netflix paradoxically needs to utilise to attract both African and transnational subscribers. [ABSTRACT FROM AUTHOR]

This institutional-industrial analysis evaluates how Netflix's post-2016 rebranding efforts resulted in its ongoing transition from a centrally-managed multinational corporation, based mainly in Silicon Valley, to a more decentralised transnational operation with multiple interconnected headquarters worldwide. Utilising a blended macro-micro critical perspective, Netflix's October 2015 debut in Spain is examined as an inflection point for this subscription video on demand (SVOD) change agent, Spain's then-traditional TV infrastructure and the transnational television industry. Netflix's eventual integration into the Spanish television landscape and its transnational distribution of La casa de papel [ Money Heist ] (2017–21) serve as a two-fold object lesson into how glocal relations occur during TVIV. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, we present novel ultra large size organic light emitting diode (OLED) display technologies with high image quality for premium televisions (TVs) using an advanced coplanar oxide thin film transistor (TFT) backplane, microlens array (MLA)-based OLED, small size gate driver in panel for narrow bezel, and pixel charging enhancement method with external compensation. Using these technologies, we improved the luminance efficiency about 20% and reduced the integrated gate driver design area to 40%. We have achieved the life time of the gate driver in panel longer than 100,000 h in reliability test. The pixel charging ratio is more than 80% in all gray levels. Using the developed OLED display, we have successfully developed up to ultra large size 88-in. 8K and 97-in. 4K OLED TVs. [ABSTRACT FROM AUTHOR]

This study analyses the news coverage of suicide on Spanish public television since the beginning of the confinement, produced as a preventive measure in the face of the COVID-19 pandemic. A mixed methodology has been used. The technique used is the analysis of the content of the information transmitted in the news programmes. The results show that public television pays attention to the subject of suicide by including it in its news agenda, focusing mainly on completed suicides. No relevant link between suicide and the COVID-19 pandemic as a triggering factor is perceived in the news programmes. [ABSTRACT FROM AUTHOR]

Copyright of Question (1669-6581) is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the past decade, there has been a significant rise in urban women-themed TV dramas in China, some of which have generated substantial public discourse on femininity. While Western women-centred TV and cinematic productions have been discussed intensively, much less attention has been paid to Chinese TV series and their audience reception. This article highlights the usefulness of studying audience response to the women-centred TV series produced in China over the past decade, especially those focusing on single women as main characters. By examining these widely-viewed TV series and their audience interpretation, this article aims to investigate the ordinariness and everydayness through which a postfeminist sensibility manifests in a non-Western context. As the research shows, these women-centred TV series reveal the diverse dimensions of urban women's everyday lives. However, Chinese audiences express strong opposition to masculinised hypercorrection and the fetishisation of the gynandroid in such TV series. Many Chinese viewers prefer to see a realistic representation of Chinese women who have autonomy and the right to be imperfect. The findings shed light on gender-related debates in China today and contribute to discussions about the everydayness of postfeminism from an audience's perspective. [ABSTRACT FROM AUTHOR]