Those of us who are captivated by new television, often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in it.

This article presents Hannah Arendt's novel conception of evil, arguing that what animates and undergirds this conception is an understanding of human agency, of what it means to be a person at all. The banality of evil that Arendt theorizes is exactly the failure to become a person in the first place—it is, in short, the evil of being a nobody. For Arendt, this evil becomes extreme when a mass of such nobodies becomes organized by totalitarianism. This article focuses on (...) the connection between Arendt's understanding of personhood and her conception of evil, showing how Arendt falls into a Kantian tradition of prioritizing apperception— thinking—as central for human agency. In this way, the article shows that thinking—being a person—is central to Arendt's work, thereby prioritizing and making sense of her claim in _The Human Condition_ that one is never “more active” than when thinking. (shrink)

Lockdown has given us an occasion to discover new television series and to revisit others. TV series accompany us in our ordinary lives, but they can also be a resource or refuge in extraordinary situations. As the enduring success of Friends proves, they provide us with universes of comfort. TV series provide strong common cultural referents, which populate both ordinary conversations and political debates. TV series, by virtue of their aesthetic format, the attachment they inspire to their characters, the democratization (...) and diversification of modes of viewing them, make possible a specific form of education and constitution of a public. TV shows are hence a medium for political and ethical discussion. The article studies two series, Homeland and The Bureau, which are paradigmatic examples of a genre that has grown exponentially since the beginning of the century, and which we refer to as the “security series” genre. These series are great works of art and can also be seen as powerful tools for educating and informing the public. (shrink)

As a work of art, the show Fleabag prompts differing kinds of judgements by critics. But as a project that reflects life in capitalist society, its gimmickry models the existentially fraught dynamics of despair. Informed by Sianne Ngai’s Theory of the Gimmick, this article explores three sets of gimmicks in relation to despair, where each holds differing pedagogical stakes for viewers: being alone; being a bad feminist; being smitten with a priest. Gimmickry, as a technique within the show, puts viewers (...) on the hook for judging gimmicks as wonders or tricks. Gimmickry as an object of criticism, in turn, brings into view the political and existential significance of Fleabag for viewers. (shrink)