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Digital Food TV This book explores the new theoretical and political questions raised by food TV’s digital transformation. Bringing together analyses of food media texts and platform infrastructures—from streaming and catch-up TV to YouTube and Facebook food videos—it shows how new textual conventions, algorithmic practices, and market logics have redrawn the boundaries of food TV and altered the cultural place of food, and food media, in a digital era. With case studies of new and rerun television and emerging online genres, Digital Food TV considers what food television means at the current moment—a time when on-screen digital content is rap- idly proliferating and televisual platforms and technologies are under- going significant change. This book will appeal to students and scholars of food studies, television studies, and digital media studies. Michelle Phillipov is a Senior Lecturer in Media at the University of Adelaide. Her research explores the role of food media in shaping pub- lic debate, media and food industry practices, and consumer politics. She is an author or editor of five books, including Media and Food Industries: The New Politics of Food, Alternative Food Politics: From the Margins to the Mainstream (with Katherine Kirkwood), and Fats: A Global History. Routledge Focus on Television Studies The Evolution of Black Women in Television Mammies, Matriarchs and Mistresses Imani M. Cheers Heroism, Celebrity and Therapy in Nurse Jackie Christopher Pullen Re-scheduling Television in the Digital Era Hanne Bruun Digital Food TV The Cultural Place of Food in a Digital Era Michelle Phillipov Digital Food TV The Cultural Place of Food in a Digital Era Michelle Phillipov First published 2023 by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2023 Michelle Phillipov The right of Michelle Phillipov to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Phillipov, Michelle, author. Title: Digital food TV : the cultural place of food in a digital era / Michelle Phillipov. Description: Abingdon, Oxon ; New York : Routledge, 2023. | Series: Routledge focus on television studies | Includes bibliographical references and index. | Identifiers: LCCN 2022033740 (print) | LCCN 2022033741 (ebook) | ISBN 9781032200323 (hardback) | ISBN 9781032200330 (paperback) | ISBN 9781003261940 (ebook) Subjects: LCSH: Food on television. | Digital television. | Food— Political aspects. | Streaming video. | Internet television. Classification: LCC PN1992.8.F66 P45 2023 (print) | LCC PN1992.8.F66 (ebook) | DDC 791.45/6564—dc23 LC record available at https://lccn.loc.gov/2022033740 LC ebook record available at https://lccn.loc.gov/2022033741 ISBN: 9781032200323 (hbk) ISBN: 9781032200330 (pbk) ISBN: 9781003261940 (ebk) DOI: 10.4324/9781003261940 Typeset in Times New Roman by codeMantra Contents Acknowledgements vii Introduction: Digital platforms and televisual food 1 1 Re-reading televisual flow: The politics of reruns on catch-up TV 18 2 Streaming reality: Neoliberal subjectivities, aspirational labour, and Netflix food programming 41 3 Affect switches: Affective capture and market logics in online food videos 65 4 Technologies of intimacy: Reimagining broadcast food TV in the pandemic 87 Conclusion: Television and the politics of digital food 108 Index 113 Acknowledgements An earlier version of Chapter 2 was published in Communication Research and Practice (vol. 8, no. 2) under the title ‘Loving neoliber- alism? Digital labour and aspirational work on streaming food TV’. Thanks to Alexander Beare and Joanne Hollows for their generous feedback on chapter drafts (Chapters 1 and 4, respectively); to Chris- tine Knight for the thorough edit; and to Karen Gillen for the prepa- ration of the index. Introduction Digital platforms and televisual food After dominating broadcast and cable television schedules for much of the 2000s, food TV has more recently found a range of new lives in non-linear, digital forms of production and circulation. In much the same way that it once provided a salve to struggling broadcast and cable industries (Oren 2013; Phillipov 2017: 2), food content is now proliferating on digital platforms, with both new and old food offerings becoming staples of streaming services, catch-up TV, and social media. Netflix, in particular, has made significant investments in originally produced food programming in recent years (Phillipov 2022), while rerun food content continues to bolster the back catalogues of online streaming and catch-up services. Professional, semi-professional, and amateur food content produced for YouTube, TikTok, Facebook, and Instagram is also booming, with ‘food’ consistently outper- forming most other industry categories for both audience and brand engagement (Cucu 2022). Food television’s shift away from linear schedules to “interactive, curated databases” (Lobato 2018: 243; see also Lotz 2017: 23) has seen food programming take on new forms, with older content— produced in response to earlier industrial conditions and constraints— reappearing in new contexts. These have contributed to (re)shaping the types of food content that are produced and promoted, while changing how the meanings, politics, and affects of this content are to be understood. For example, a YouTube cooking channel may adopt conventions from earlier “stand-and-stir” (Strange 1998) television cookery programs, or a Netflix Original show may mimic tropes that originated in broadcast reality formats—but the industry and audience practices and algorithmic and market logics that underpin newer digital forms mean that the powers and pleasures of individual programs may not necessarily conform to our earlier scholarly under- standings. The sheer proliferation of content online disrupts many of DOI: 10.4324/9781003261940-1