Argues that the emergence of new narrative temporalities means that TV drama should be approached through the lens of narrative time
Examines a wide range of narrative temporalities and key texts, including real-time (24), acceleration (Prison Break), non-linear time (Lost), prolepsis (FlashForward), and slowness and retrospection (Mad Men, Rubicon)
Situates US television programmes in a transnational context, and examines contemporary narrative form and the temporal regimes of an increasingly global industry
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