Why this work is in the frame
A frame that forgets how it found something cannot be audited. These are the routes that admitted this work.
Bibliographic record
Abstract
This is an accepted article with a DOI pre-assigned that is not yet published.[A] The business dynamics of scripted drama and comedy production have changed considerably in the last two decades. Once based in domestic-first sectors, the business has become predominantly international in ownership (Chalaby 2005) and in terms of imagined audiences (Athique 2017; Lotz 2025). This special issue collects accounts that analyse these changes from different markets around the globe to identify patterns and underlying conditions that account for differences among experiences. Although the pattern toward drama reach is global, the implications of this industrial change vary significantly market to market and can best be understood by accounts specifically grounded national dynamics (see Lotz and Lobato 2023; Lotz and Kang 2024; NB both these collections foreground streaming whereas this special issue explores the dynamics of drama/comedy production and its ties with national culture). The articles present an account of how scripted drama production has changed in the last two decades and the implications of those changes for different national industries, systems of regulations, and public service traditions. The introduction to the section will frame the general industrial changes and provide analysis that places the individual articles in conversation in order to uncover patterns in experience and identify their causes. The articles explore factors such as: · How have levels of production changed relative to historical norms? · What is the role of streaming services in commissioning drama and how has the role of linear television channels changed as a result? · To what extent are international collaborations and co-productions being used and how is this different from previous norms? · What is the state of advertising spending in the market and what implications have decreases had on the sustainability of existing ad-reliant services, such as commercial television? Has drama/comedy commissioning been particularly affected by shifts in the ad-funded television business? · What narrative trends and innovations in drama made for linear and streaming services have emerged? Can they be tied to shifting industrial conditions? · What is the role of public service broadcasters in national storytelling in the market, and how is that role evolving relative to broader shifts? · To what extent can changes be tied to whether dramas are addressing the demand for culturally diverse and inclusive representation on screen and behind the camera? · To what extent can regulatory and funding circumstances that support drama made first and foremost for domestic audiences be identified to influence developments? [B] We organized a well-attended workshop for the Media Industry Conference 2024 on this topic and have first invited those panellists to submit articles. Depending on the number of commitments, we will invite other submissions from colleagues known to work on this topic with an aim of adding further diversity to the markets explored (geographically; in terms of a history of national drama/comedy production; professional rank of authors). Our preliminary invitations will lead to articles on Australia, Canada, Denmark, Norway, South Korea, and the UK. We have subsequent contributors with expertise on Brazil, Bangladesh, Poland, Turkey, Spain, and Japan in mind, with an aim of 8-9 articles. We are aware of the costs involved with more than 35,000 words. We would target June 2025 as a submission date for review of the articles.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.025 | 0.006 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it