We've never been so interested in TV shows - but we aren't watching TV. Instead, we're turning to online video - whether it's Netflix or YouTube. But new technology isn't solely responsible – a wider shift in lifestyles is creating a natural path towards hyper-diversification.
Video content for smartphones is often the same stuff designed for TV – but squashed onto a smaller screen. Cartoon Network is changing this with the world's first 'micro network' – transforming what it means to be a TV network for the next generation of digital natives.
Netflix's foray into original programming didn't just reinforce a trend of 'binge watching' by making entire TV seasons available all at once – it's also triggered viewers to come up with ways of rethinking and editing its content.
Political drama House of Cards premiered in February 2013, exclusively through Netflix. The streaming giant's first purpose-made series, it reflects the growing power of digital channels and points towards new kinds of viewing behaviour.
Buzz around TV shows like Breaking Bad is leaving non viewers feeling left out, spurring them to catch up on services like Netflix (often in marathon sessions) just in time for the broadcast finale. What does marathon viewing mean for television?
Combining old and new media stars with plenty of hype, YouTube Comedy Week is the site's first attempt at creating a live broadcast event. But can YouTube close the gap between internet success and its equivalent in the mainstream media?
Piracy is still a major problem for the entertainment industries, but media producers are inventing new ways to share their creations. Breaking Hollywood tradition, A Field in England will launch in cinemas, on TV, online and on DVD simultaneously.
As transmedia content becomes increasingly popular, Jane Austen’s classic novel Pride and Prejudice has found a new audience through The Lizzie Bennet Diaries, a real-time drama that unfolds across multiple platforms.