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Television critics play a central role in the interpretation of cultural forms, objects, and productions. In contrast to critics in elite art worlds, the role and status of television critics are less institutionalized and less well understood. One indicator of the degree and status of the institutionalization of critics’ roles is the codification of evaluative criteria and critical practices. Our research examines whether critics in television draw upon a recognizable set of evaluation criteria, and if so, whether that repertoire of aesthetic concepts increasingly parallels criteria employed by critics in elite art worlds. Using multidimensional scaling to delineate television criticism over the last two decades, a period of considerable transformation in the industry, we find that television criticism attends to a core set of conventional criteria. These include appraisal of formal aesthetic elements, signaling increased attention to television as an art form, while retaining consideration of factors such as entertainment value that are of interest to audiences and business constituencies alike.

The purpose of this paper is to illustrate the hostility many young women who are also mothers experience within their everyday lives.

The paper will draw on qualitative research, incorporating a narrative approach, to illustrate the hostility many young mothers experience on a daily basis. The research design included a focus group, semi-structure interviews and participant observations.

The paper reports the findings of a study that explored the experiences of young women who are also mothers. The author presents the findings that indicate that many young women, who are also young mothers, experience hostile reactions and interactions as part of their everyday lives.

The small sample size means that this study cannot be generalised, but it does contribute to the growing body of qualitative evidence in relation to young mothers.

The findings suggest that there needs to be more recognition and acknowledgement of the hostility young women experience. Such hostility could have deleterious consequences on the young women, their parenting ability and also on the children.

This paper documents the experiences of young women who are also mothers and how they experience hostility as a daily occurrence. The hostility ranged from verbal to non-verbal and how they felt they were being treated, inferences about their sexuality to stereotyping.

The purpose of this paper is to discuss what kinds of messages about the risks of polydrug use are mediated in YouTube video blogs and on what kinds of norms and values do the vloggers base these messages.

The data consist of 12 YouTube videos where vloggers share their own experiences of the risks and harms of polydrug use. In the analysis, the actantial model of Greimas’ theory of structural semiotics was applied.

Two main types of videos were identified – sobriety and controlled use – where polydrug use has different meanings. In sobriety videos, polydrug use is presented as the heavy use of multiple substances. In the videos dealing with controlled use, polydrug use is taken as the combining of certain substances. Whereas the sobriety videos emphasized total abstinence from all substances due to their destructiveness, the videos about controlled use emphasized risk awareness when combining substances. Despite modern digital media and a new generation operating in this space, the messages of the risks of polydrug use mainly repeat those of familiar discourses.

This paper offers an analytical insight into the ways in which the risks of polydrug use are conceptualized in a YouTube context that is increasingly gaining a foothold among the youth. Greimas’ actantial model offers a fruitful tool to find semiotic meanings that hide under the surface. The model has not been applied in previous drug research.