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The goal of this article is to introduce and discuss the theoretical approach to an ongoing text production analysis of satirical sketch comedy on Danish public service television. 1 Satirical sketch comedy forms a solid tradition of domestic programme production, but programmes identified as satirical have gone through profound changes during the last 10 years. The aim of this ongoing study, therefore, is to shed some light on the change in culture of this specific field of production, and to understand the driving forces in its development. The theoretical approach suggested will address recent developments in the growing field of media production analysis relevant to this aim, and it will support a genre perspective. Although the study addresses an understanding of changes in the production of satire, the article will argue for the use of socio-cognitive reception theory in the study of these changes. This reception theory provides a description of 'genre' as a dynamic and flexible mental schema that is both individually and socially constructed. A sociocognitive understanding of genre elaborates the concept 'horizon of expectation' derived from hermeneutics of texts used in pragmatic genre theory and links it to social and cognitive psychology. By so doing, it functions as a sort of 'missing link' between the humanities and the social sciences. On the basis of empirical results from the first part of the study of production culture, the article argues that this enhanced genre-sensitive approach is useful in production analysis. Its utility also derives from its methodological advantages. Genre in production analysisRecently, important contributions to research in the growing field of media production analysis have stressed the importance of form, text and genre in

This article presents results from a production study on how the on-air-schedule is changing in the digital era at the Danish public service broadcaster, TV 2. TV 2's multi-channel and increasingly non-linear television portfolio has a profound impact on the production practices involved in order to meet the public service obligations. The analysis shows that the producers develop new ways to secure an audience of scale under these conditions. So far three lessons are learned: First, the work flow of promoting content and the demands on the qualities of the promotional material has changed. Second, an understanding of the interplay between flow and SVOD scheduling is emerging. And third, a renewed focus is put on branding the viewer-provider relationship. The article concludes that the production of on-air scheduling makes the contours of what can be termed 'a third television paradigm' visible in which a distinction between linear and nonlinear television does not apply.

Based on findings from a production study, this article explores and discusses the impact of streaming on television scheduling. Especially within public service television companies, scheduling for traditional linear television is currently transforming into what this article terms trans-programming. This development makes the work of the schedulers more important as well as more difficult than ever. The article argues that this development is a result of the integration of linear channels and non-linear services within the companies’ portfolios, which is leading to a merger between linear and non-linear promotion and distribution strategies for the content. A trans-programme is being produced, and this is becoming the key competitive tool in the current transformation of the television industry. The focus on the trans-programme involve organisational changes, but in train with this it actualises new and familiar issues and dilemmas in the production culture involving commissioning. These issues call for further research.