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This new collection of essays seeks to focus on three areas where television has recently been in an intriguing state of flux. Taking as our background the emergence of multimedia conglomerates and cash-rich cable channels, we look at the way old national

After decades in which television has been marked as more banal than bewitching, recalling the "magic of television" is more likely to evoke a sense of wonder for the perceived innocence of an earlier televisual audience than for television itself. With TV offered on demand, captured with DVRs, downloaded or watched streaming on the Web, purchased as DVD sets, miniaturized for private screenings, jumbo-sized for public spectacles, monitored in closed circuits, and accessed for open forums, once-mysterious television flows have flowed to new media forms, giving TV an appearing/disappearing, now-you-see-it/now-you-don't magical act of its own. Has TV disappeared, or has it multiplied—redoubled each time it's sawed in half, replicating like rabbits pulled out of a hat? Is it still TV or something else when programs are screened (as if through a magic curtain) via today's delivery systems?

In three studies, the liking for various types of television content within adventure programs was examined In studies one and two, measures of college students' personalities were used to predict liking for program content varying on four dimensions: violence, action, realism! and conflict. In study three, families from diverse socioeconomic backgrounds were shown adventure shows that were high or low in violence and matched on other content dimensions. The findings from these studies suggest that the average viewer somewhat dislikes the typical violence portrayed in adventure shows; however, conflict seems to enhance liking for adventure shows.

In order to be able to raise the question of the "world" today in an effective way, we have to reactivate the Goethean categories of Weltliteratur and Weltschmerz for a critique of our own historical moment. We need to understand the phenomenon of Weltschmerz as a symptom of the impossibility of Weltliteratur. Going beyond the context of the original formulation of these categories, we could argue that something akin to the historical phenomenon of Weltschmerz emerges every time the ideological constitution of the world threatens to fail. Today, we live in an age of a generalised state of cultural disorientation that has produced its own Weltliteratur, which includes a wide range of discourses about the "world" – from officially endorsed theories of economic globalisation, to scientific treatises on the Anthropocene, environmental protest movements, philosophical pamphlets, all the way to world-historical conspiracy theories. Yet, an anxiety concerning the impossibility of world-formation in general is also recorded in these documents. In order to be able to capture our contemporary Weltschmerz, the article turns to the young Walter Benjamin's suggestion that the task of this age is to produce an "objective" (rather than subjective) Weltschmerz. However, the most effective tools to conceptualise this objective Weltschmerz come from the traditions of philosophical acosmism. It is a notable philosophical development of our times that some elements of the acosmic tradition have recently resurfaced in speculative realism. Thus, speculative realism could be described as a possible site of our contemporary Weltschmerz: its acosmic metaphysics is repeatedly tamed by a mournful longing for the world.