Viewers used to be passive but now we are active constantly scrolling, reacting and commenting. Flow is not just media anymore its shaped by tech.

This quote connects old TV schedules to how we now scroll on content across apps and platforms. It shows that flow hasn't disappeared it just changed form. Now we scroll on videos, texts and tik tok.

Instead of seeing "flow" as something outdated from TV schedules, this quote shows how we can still use the concept to understand how information and content move through today's platforms such as Instagram, Facebook and Tik Tok.

This quote explains how TV changed so much that William's ideas about flow don't fully apply anymore. With streaming and on demand people watch on their own time.

William is saying that the system of TV the schedule, the format, how it flows is more important than any one show or genre. It's not just what we watch, but how it's organized that really shapes the experience of television.

This shows how early broadcasting wasn't always smooth. Breaks between shows or segments had to be filled just to prove the service was still working. It reminds us that the flow we expect from TV today had to be built over time.

This quote shows how early broadcasters were figuring out what content worked on TV. They weren't just showing live events they started shaping and arranging things like concerts to fit the broadcast format.

This shows how our thinking is shaped by short bursts of attention, which matches how we watch modern media like Tik Tok and TV. Williams is saying that even our judgement and focus have changed because of the way content is presented to us.

This quote shows how television and media aren't just entertainment they're connected to big social changes. As people become more mobile and consumer based, TV helped spread culture and ideas to different communities.

It shows that our reactions to stories aren't random we bring our past experiences with books and plays into how we understand new ones.

This shows how traditional comedy often ends with everything being fixed and the older generation accepting the younger one. It's like a way of restoring order, but also showing growth, where even authority figures admit they were wrong.

This shows how some critics view sitcoms as less serious or meaningful because they don't fit into traditional "literary" standards. It points out that judging TV through a literary lens can lead to unfair negativity, especially toward popular genres like sitcoms.

The "ritual view'' sees genre as something audiences participate in regularly, like a habit. The ideological approach is deeper it suggests genre can be used to control ideas, values and beliefs. Genre just doesn't entertain it teaches us what's normal or expected through repetition.

This line shows us that genre isn't just about organizing shows or movies it actually plays a role in shaping how we understand and separate different types of people or content.

This part shows how genre isn't a marketing tool it's a space where certain creators can really show their voice. Directors like John Ford in westerns or Vincente Minnelli in musicals were able to use their genre as a way to explore personal themes and emotions.

This shows the tension between standardization and uniqueness in media production. Just as soap is expected to be identical every time, Hollywood films (and by extension TV shows) are industrially produced through a system built on efficiency and repetition.

Critics separating Twin Peaks into an "art" category shows how genre isn't just about content, but also status. This reinforces how genre can be used to signal taste and social class. It's not about what something is, but who it's for.

This shows how quickly TV became seen as a huge business opportunity. Even before most households owned a television, people in the industry were thinking about how much money it could make. Reminds me of when people rush into new tech like streaming apps before their fully developed because of potential profits.

This quote shows us how fast TV became popular especially working with working class people. It became an affordable way to access entertainment, like a "theater for the poor". Even though not everyone had money, they still found ways to invest in TVs.

This part shows how fast commercial TV became dominant. Even though some people thought a public model like the BBC would be better, that idea got shut down once money and success came in fast. It reminds me of how platforms like YouTube or Tik Tok quickly became powerful and pushed out more public or educational alternatives. Sucess in media depends more on money than public value.

Satiric projections were based on the widespread industry admission that the costs of a full television programme schedule in the model of network radio might well be beyond the means of broadcast sponsors.

I didn't realize how slow the start of TV really was in the U.S. This made me think about how new technology doesn't always take off right away like how people weren't sure about VR or electric cars at first. It also makes sense that WWII and economic struggles delayed interest in TV.

This quote is creepy because it shows how TV made people seem more alike by flattening out differences. If everyone is treated as just a "homogeneous mass", then unique voices and cultures can get lost. It makes me think how modern streaming platforms push similar content to everyone through algorithms it still feels like we're being grouped and shaped the same way.

Its interesting that the government actively encouraged women to join the workforce during wartime, but only temporarily. It shows how women's roles were seen as flexible and dependent on men's needs not about empowering women long term. This reminds me of how women are often expected to adjust based on what's happening around them, even today.

This quote shows that women in the 1950s were still dealing with a lot of pressure, even though society claimed they had more freedom. The idea of being the "ideal woman" was actually really limiting expected to do everything and never complain. This connects to how TV reinforced those unrealistic standards.

I think it's important this survey showed women wanted more than just financial security they wanted purpose. This relates to how today people want jobs that feel meaningful, not just to pay the bills.

I think it's important this survey showed women wanted more than just financial security they wanted purpose. This relates to how today people want jobs that feel meaningful, not just to pay the bills.

It is crazy to me how young people used to get married and start families. Compared to today, many people wait until their late 20s or 30s. This shows how much the idea of adulthood and responsibility has shifted since then.

Hall points out that absence can be just as meaningful as presence. What isn't shown or said in media still carries significance. This makes me think about how silence of omission in representation can reinforce power.

Hall points out a common confusion in cultural studies if meaning is created through language, does that mean nothing exists outside of language? He clarifies that things exist physically, but their meaning is only produced through representation.

Hall states that language isn't just for communication it makes meaning public and collective. By externalizing our ideas, language turns private thoughts into social facts, showing how deeply representation is tied to culture and interaction.

Hall reminds us that even our private fantasies and imagined worlds feel real because they're shaped by culture and language. What we dream about, or imagine, is not separate from representation it's another way meaning is constructed and shared.

Hall is pushing back against the idea that media just mirrors reality. Instead, he's saying representation is more complex it shapes how we interpret meaning rather than simply copying it.

This shows how CSI uses fear as a narrative tool. By telling people watching that crime is random and unpredictable, the show creates anxiety about safety. At same time it offers science and law enforcement as the solution. This combination makes CSI feel both scary and reassuring, giving its science more authority than it deserves.

This is an important critique because CSI often avoids talking about bigger social issues like poverty, racism, or sexism. Instead, it focuses only on individual "bad guys." This makes science look like the only necessary solution, while ignoring the deeper causes of crime.

This line reflects how CSI presents the world as unpredictable and dangerous. That exaggeration creates fear but also reassures viewers that science and the police can restore order. It is another way the show builds moral authority through drama even if reality is more complex.

This line points out how language creates authority. On CSI, complicated jargon gives the impression that the investigators know everything even though in real life science is uncertain. It connects the professors note about automatic captioning being more accurate for white speakers the technology sounds advanced, but in practice it still has bias and limits.

This line points out how language creates authority. On CSI, complicated jargon gives the impression that the investigators know everything even though in real life science is uncertain. It connects the professors note about automatic captioning being more accurate for white speakers the technology sounds advanced, but in practice it still has bias and limits.

The authors show how props like microscopes and beakers are not really about science, but about credibility. This makes the audience trust the CSI team even when their methods are exaggerated or unrealistic. It reminds me of how modern shows hype up technology like AI to make it seem more powerful than it actually is.