Trans TV, the name of a Critical Studies in Television series (2018–2020), examined the presence of transgender, non-binary, and other queer individuals in a range of important television programmes. It’s part of television’s fourth stage’s transformation. Trans TV holds that technical revolutions of the industry cannot be separated from the creative modification of television programmes and spectator experiences (Goddard and Hogg, 2018).

This doesn’t imply that all Internet-distributed television is visually advanced, but that these niche-market approaches allow for queerer media representation (Goddard and Hogg, 2018). “Sex Education,” Netflix’s popular comedic programme about teenagers’ sexual health and relationships as they navigate through puberty, shows what may be inevitable and highlights societal issues, notably how gay, young, and diverse individuals are treated. Season three addresses trans and nonbinary discrimination for the first time (Berlatsky,2021).

The audience and fans, as well as the potential of television, are crucial to these changes. Portals like Netflix are defined by their programme content, interface, and viewing capabilities. Different viewers experience portals differently according to their qualities. Access to a tailored material collection, which is constantly accessible for viewing, makes it feasible (Lotz, 2017).

The long Tail approach ensures that these products aim for profit. After its launch, nearly 40 million people streamed “Sex Education.” Lotz (2017) emphasises that a subscriber-funded model determines content differently from advertiser-funded models and that “it allows the makers of television programming to engage with consumers more personally.”

The audience and fans, and the promise of the modern television experience, are crucial to these television revolutions. The modern television experience is getting more personal, mobile, and immediate, as well as new means of generating, transmitting, and viewing it. TVIV is not only a time of excellent TV, a technical and institutional growth of internet-distributed television, Netflix, or binge-watching, but a mix of all these and more in a continuous process.

Reference:

Berlatsky, N. (2021) Netflix’s ‘Sex Education’ Season 3 is joyfully nonjudgmental — if slightly bittersweet. Available on: https://www.nbcnews.com/think/opinion/netflix-s-sex-education-season-3-joyfully-nonjudgmental-if-slightly-ncna1279388

Goddard M. and Hogg C. (2018), ‘Introduction: Trans TV as concept and intervention into contemporary television’, Critical Studies in Television 13:4: https://journals.sagepub.com/doi/full/10.1177/1749602018798217

Lotz, A. D. (2017). Linking industrial and creative change in 21st-century US television. Media International Australia, 164(1),

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