In 2014, the U.K. science-fiction television series Black Mirror premiered on Netflix worldwide, quickly learning to be a hit with U.S. audiences. Like other beloved United kingdom imports, this series piqued People in america’ interest with hints of dark humor, smart plotlines, and six-episode months that left viewers frantic to get more. In Transatlantic Tv Drama, volume editors Michele Hilmes, Matt Hills, and Roberta Pearson team up with leading scholars in Television studies and transnational television to about Transatlantic Tv Drama: Industries, Programs, and Fans take a look at how serial dramas like Dark Mirror captivate U.S. audiences, and what this reveals about the ways Americans and Brits relate to each other on / off the screen.

Focusing on creation strategies, performance styles, and target audience reception, chapters delve into some of the most widely-discussed programs over the transatlantic circuit, from ongoing series like Game of Thrones, Downton Abbey, Orphan Black, and Sherlock, to those with lengthy histories of transnational circulation want Masterpiece and Doctor Who, to others whose transnational achievement speaks to the process of exchange, adaptation, and cooperation such as for example Rome, Parade’s End, Broadchurch, and Gracepoint.