Journal of Popular Television, The - Volume 13, Issue 2, 2025

Though arguably an ensemble series, BBC spy drama Spooks (2002–11) often focused upon a single character as its ostensible lead. As such, this article focuses upon one of those leads, Tom Quinn, who was the leader of Section A from Season 1, Episode 1, to Season 3, Episode 2 (with a brief appearance in the series finale; Season 10, Episode 6). I will argue that the series uses Gothic tropes throughout these episodes to illustrate and make intelligible to the audience Tom’s increasing moral injury which takes him from the series’ initial moral compass to his final diegetic appearance as an ‘outside agency’ about to commit an assassination at MI5’s unofficial order.

How does one partner’s television consumption impact their romantic partner? While romantic relationships often centre on shared values and interests, media preferences – particularly television shows – are not always mutually embraced. This study explores the concept of ‘second-hand fanship’, a phenomenon in which one partner adopts fanship behaviours based on their significant other’s enthusiasm for a fan object, such as a television show, without ever directly engaging with the content themselves. Television, as a central and enduring form of popular media, often serves as more than entertainment – it becomes a part of daily conversation, routine and identity. When one partner deeply connects with a television series, their passion can influence the relational environment, prompting the other partner to respond in ways that mimic fanship: learning character names, referencing plot points or expressing emotional investment, even in the absence of first-hand viewing. Second-hand fanship plays a pivotal role at the intersection of media studies and interpersonal communication by illustrating how television’s cultural reach extends beyond individual screens into the intimate spaces of romantic partnerships. Through a survey-based design of open-ended questions, this study examines 283 individuals in long-term romantic relationships. The findings demonstrate that aspects of fanship can be transferred interpersonally, not through media exposure but through emotional connection and communication. Yet, the study also uncovers avoidance behaviours among some partners, highlighting that media influence can foster both connection and tension within relationships. Ultimately, this research offers a new lens for understanding how television’s influence transcends individual viewers, shaping relational dynamics and fanship culture. Future work should investigate how second-hand fanship functions in other interpersonal contexts, including friendships and family systems.

Creating an inclusive TV industry requires intentional adaptation of production practices to support the participation and success of Deaf and hard-of-hearing (DHH) actors. This article explores strategies for fostering accessibility and equity on TV sets, with a particular emphasis on high-production environments like those involving visual effects (VFX). Through the lens of a case study interview with Amy Murray, a Deaf actor who starred in the fantasy series The Witcher: Blood Origin (2022), the research examines real-world challenges and solutions for enhancing accessibility and integrating VFX workflows with inclusive practices. Murray provides insights into her experiences, including navigating communication barriers, the use of on-set interpreters and the importance of visual aids, written cues and pre-visualization tools during the production process. The article highlights how the production team of The Witcher: Blood Origin implemented inclusive practices, such as hiring sign-language interpreters, providing captioned scripts and fostering an inclusive work culture while collaborating with VFX teams. Key to their success was the use of visual storytelling tools and technologies, including VFX pre-visualizations and accessible digital interfaces, to ensure Murray and other team members could effectively visualize and interpret scenes involving complex effects. Murray’s reflections underscore the significance of authentic representation, noting how her presence as a deaf actor enriched the storytelling and brought depth to her character within the highly visual medium of VFX-heavy productions. The article calls for a collective shift towards a more accessible, equitable and visually inclusive TV industry.

Star Trek (ST), with millions of fans and recognized as one of the longest-standing science-fiction franchises, offers numerous opportunities for scholarly examination. This article draws on a range of ST episodes to explore international relations, particularly questions related to human nature, power dynamics and global governance. It argues that the United Federation of Planets’s actions closely mirror the principles of power politics, positioning it as a prominent player in the multipolar landscape of the ST universe. The selected episodes also offer insights into the feasibility of compromise in situations where conflict seems inevitable. Additionally, they highlight that idealism and realism are two sides of the same coin. In other words, while it is possible to prevent war and achieve world unity, as suggested by liberal assumptions, humanity must still navigate power politics within the context of new geopolitics and realist policy preferences. Ultimately, the analysis identifies smart power as a crucial policy tool due to its capacity to enable the Federation to both optimize and sustain a dominant position within the multipolar context.