Strategic pleasure: Gendered anger as collective emotion in WANTED

Much current television analysis focuses on the impending demise of the medium,[1] in which audiences are conjectured to splinter into ever more fragmented, minute bundles of viewers, in the aftermath of a proliferating multi-channel environment and as we move further into the digital era with its ever-enhanced viewing options. However, one of the advantages of digitalisation, in the current environment that forces program providers to compete for proportionately harder-to-come-by content to offer consumers, is the increasing availability of international series. Audiences are no longer necessarily – albeit, in the US still dominantly – confined to national fare, but can seek out programming that originates beyond once largely restricted borders. A pressing issue, then, is how to account for characters and narratives that global viewers engage with and come to care about despite differences of geography and other sociocultural factors.