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This study investigates how the concept of ‘quality TV’ is evolving in the age of streaming video on demand (SVOD) platforms, using reviews of two Israeli TV series on Netflix – Fauda and Shtisel. In accordance with Pierre Bourdieu’s view of journalistic reviewers as social agents and intermediaries with the power to enshrine cultural artifacts in an artistic canon, the study is based on a qualitative analysis of reviews of these two series published on major Anglo-American journalistic platforms. The analysis shows how the reviewers take part in constructing the Netflix brand of ‘a ‘foreign-language quality TV’ series.

This study aims to explore Palestinian-Israeli actors’ and actresses’ experiences in the Israeli TV market and their understanding of the rationalization/racialization processes taking place in the global television industry, which is dominated by Streaming Video On Demand platforms. The study is based on observations and interviews. The observations were conducted on the set of the internationally successful action drama Fauda during its second season. Fauda is a co-production of Netflix and the Israeli satellite conglomerate YES. It portrays the Palestinian-Israeli conflict in a way that some see as Zionist and hegemonic. The interviews were conducted with the Palestinian-Israeli actors and actresses. Our analysis of their experiences on the set of Fauda shows a dialectical and complex reality in which self-exploitation, which results in justifying playing terrorists and villains for the sake of money or art, resolves itself into an antithesis of subversion.

BACKGROUND: Janus kinase (JAK) inhibitors approved for myelofibrosis provide spleen and symptom improvements but do not meaningfully improve anaemia. Momelotinib, a first-in-class inhibitor of activin A receptor type 1 as well as JAK1 and JAK2, has shown symptom, spleen, and anaemia benefits in myelofibrosis. We aimed to confirm the differentiated clinical benefits of momelotinib versus the active comparator danazol in JAK-inhibitor-exposed, symptomatic patients with anaemia and intermediate-risk or high-risk myelofibrosis.METHODS: MOMENTUM is an international, double-blind, randomised, controlled, phase 3 study that enrolled patients at 107 sites across 21 countries worldwide. Eligible patients were 18 years or older with a confirmed diagnosis of primary myelofibrosis or post-polycythaemia vera or post-essential thrombocythaemia myelofibrosis. Patients were randomly assigned (2:1) to receive momelotinib (200 mg orally once per day) plus danazol placebo (ie, the momelotinib group) or danazol (300 mg orally twice per day) plus momelotinib placebo (ie, the danazol group), stratified by total symptom score (TSS; FINDINGS: 195 patients were randomly assigned to either the momelotinib group (130 [67%]) or danazol group (65 [33%]) and received study treatment in the 24-week randomised treatment period between April 24, 2020, and Dec 3, 2021. A significantly greater proportion of patients in the momelotinib group reported a 50% or more reduction in TSS than in the danazol group (32 [25%] of 130 vs six [9%] of 65; proportion difference 16% [95% CI 6-26], p=0·0095). The most frequent grade 3 or higher treatment-emergent adverse events with momelotinib and danazol were haematological abnormalities by laboratory values: anaemia (79 [61%] of 130 vs 49 [75%] of 65) and thrombocytopenia (36 [28%] vs 17 [26%]). The most frequent non-haematological grade 3 or higher treatment-emergent adverse events with momelotinib and danazol were acute kidney injury (four [3%] of 130 vs six [9%] of 65) and pneumonia (three [2%] vs six [9%]).INTERPRETATION: Treatment with momelotinib, compared with danazol, resulted in clinically significant improvements in myelofibrosis-associated symptoms, anaemia measures, and spleen response, with favourable safety. These findings support the future use of momelotinib as an effective treatment in patients with myelofibrosis, especially in those with anaemia.FUNDING: Sierra Oncology.

This article contributes to the theorization of hope in the cultural industries in conflict zones. Although the merits of hope in explicating the behavior of creative workers in cultural production in western countries has won some attention, the literature has fallen short of addressing the impact of conflict on the meaning of hope for minority creative workers in this field. To fill this lacuna, we explore the experience of Palestinian creative workers in Israeli cultural industries, which are very functional in national identity making and branding. Our evidence is helpful in illuminating the temporal dimension of hope, as a resource and a form of passive action that takes place in the present in order to keep the horizon open for a better future, also when this future does not entail a clear referent. It also sheds light on the affinity of hope with ethical agency claiming in the cultural industries.

Our study seeks to compare attitudes towards family life and gender roles between Generation X and Generation Y, focusing on the ages of 18-29, a period regarded as that of emerging adulthood. Most...

The cultural industries are major fields of producing, distributing and reflecting national icons and norms. They form major sites of contestation and conflictual self-categorization, especially in...

In the past three decades, side-by-side with the growing precariousness of the global television industry, a distinction between “quality” TV and “trashy,” commercial TV has been established in man...

This article explores the complexity of minority creative workers in the media industry. It challenges the common notion in the literature that minority creative workers are fully submissive to the dominant power structure and examines whether such workers could still be conceived as active agents by resisting submission and marginalization even when they cannot influence their own representation in hegemonic media texts. To answer this question, it explores the performances of minority creative workers in a hegemonic cultural industry. To determine whether one can speak of subaltern agency and, if possible, examine how it manifests itself in reality, it addresses the daily performances of Palestinian creative workers during the production of the second season of the Israeli television series, Fauda. Observations conducted during production demonstrate that since in such contexts minority creative workers cannot avoid being projected in negative roles in the media text, they adopt creative subversive practices of passing and transgressive mimicry, resisting full compliance with the production, without endangering their own position. By doing so, the article contributes not only to the emerging field of creative entrepreneurship in cultural production, but also enables determination of common practices of creative subversion in the cultural industries.

Cultural industries, television among them, are industries that exemplify harsh working conditions and precariousness. Recently, there has been greater attention paid to the specific experiences of...

Reality TV is a highly popular but much criticized television genre. However, little has been written about the attitude of state broadcasting authorities toward this genre and the degree to which it is regulated and controlled in different countries. In this article, we focus on the Second Authority for Television and Radio, the public body that oversees commercial broadcasting in Israel, and look at how it controls the volume and content of reality TV programs while considering factors that are unique to Israeli economics and politics. The findings of this article indicate that in Israel, reality television is legitimized de facto despite perception of its moral shortcomings.

‘Reality’ television is a global and highly popular television phenomenon. Despite its public and academic critique as cultural ‘trash’, the genre enjoys great economic legitimacy. In recent years, other ‘trashy’ television genres, such as soap operas, have gained aesthetic-artistic legitimacy alongside their economic legitimacy. Taking a Bourdieusian approach and using the discourse about Israeli ‘reality’ shows as a case study, this article addresses the question of whether a similar process is evident in television critics’ attitudes towards reality television. Using quantitative and qualitative content analysis of reviews of ‘reality’ shows between 2003 and 2014, the article shows that the main question debated in such reviews is the genre’s morality rather than its aesthetic value: for Israeli critics, it is the moral attributes of these shows, not their aesthetic or artistic worth, which determine their ‘quality’.

This article discusses the properties of ‘quality television’ as constructed within the field of television production. It does so by analyzing the discourse of television creators and critics in two countries, Israel and Flanders, taking a theoretical approach based in part on Bourdieusian theory. Most academic work about ‘quality television’ concentrates on Anglo-American television drama series. In this paper we offer a different perspective by focusing on two small but prosperous television markets outside of the Anglo-American world. Our findings suggest that the quality discourse in both countries contains autonomous-artistic alongside heteronomous-capitalist ideological elements, apparently under the influence of the Anglo-American discourse of quality. Our findings also suggest that both ideological elements contribute to the cultural legitimation of the television drama series in both countries, though the capitalist discourse plays a more evident role among creators than among critics. Finally, we also discuss the differences between the Flemish and the Israeli discourses of ‘quality television.’

The current study focuses on the social construction of definitions of quality in the field of the television drama series in Israel. By doing that, this work challenges Pierre Bourdieu’s claim that since artifacts of ‘popular culture’ industries are not regarded as ‘autonomous’, according to the autonomy-of-art ideology, they cannot be consecrated as works of art. Bourdieu’s thesis was challenged before, but the television field has not yet been extensively studied from this point of view. My study of the broad empirical corpus, including television reviews and interviews with acclaimed Israeli television creators, reveals that artistic quality and commercial appeal show less tension than Bourdieu had suggested. Furthermore, my findings indicate that the autonomy-of-art ideology can be reconfigured to accommodate commercial (e.g. capitalist) considerations. Within this reconfiguration, the ‘quality’ television series can be redefined to include elements of ‘autonomous’ art, such as authenticity, innovation and the input of ‘genius’ creators, alongside such capitalist requirements as profitability.

Cultural taste, an enduring topic of concern for cultural sociologists, is predominantly studied through strategies that reinforce ‘methodological nationalism’. Moreover, the study of taste remains confined to Western Europe and Anglophone countries, while being blind to transnational dynamics. This special issue expands these debates, focusing on center-periphery dynamics not necessarily centered around Western Europe and North America. This, while situating the study of class and culture within more inter-sectional analyses including race, migration, nationality and ethnicity. Thus, our special issue reveals the power of global inequalities across different cultural fields.