Very honoured to have been nominated as the winner of the @uomhums outstanding teaching award 👩🏼🏫 it’s a privilege to teach such wonderful, inspiring and engaging students 💛 @MCRSociology
I’ve worked on #LoveIsland UK since Series 5, producing Series 5-10, before moving on to Love Island USA and Love Island Australia. I’m incredibly proud to have been part of a show that has become embedded in British culture. The twists, drama, and unforgettable cast members have created some of the best reality television of the last decade.
But if we’re being honest, one issue has persisted for years: casting.
Time and time again, Love Island UK has failed to truly reflect the diversity of modern Britain. Representation matters, and no group has been more consistently let down than Black women. Ironically, Black women have been some of the show’s most loyal supporters, driving conversations online, creating viral moments, and helping keep the show culturally relevant.
Yet year after year, we continue to cast Black women alongside men who openly or implicitly don’t date Black women. The result is a cycle that viewers have watched repeatedly: rejection, exclusion, and disappointment. For young Black girls watching at home, that’s a damaging message. For audiences generally, it’s become predictable and exhausting.
When I left after Series 10, things were improving. Contestants like Tyrique, Ella, Catherine, Whitney & previous series with Dami, Indiyah, Kai, Sanam, Kaz, Samira, Yewande and others helped create some of the show’s most memorable storylines.
However, working on Love Island USA showed me how powerful genuine representation can be. Seeing contestants from different racial, cultural and ethnic backgrounds authentically connect created richer stories, stronger characters, and ultimately a bigger audience.
My role on Love Island was in edit producing, not casting despite my vast experience in casting on other shows I raised concerns about casting throughout my time on the show.
If Love Island UK wants to reverse its ratings decline, it needs to listen to viewers. Audiences are asking for fresher casting, more authentic representation, and a creative reset. If those changes don’t happen, I genuinely worry about the long-term future of a show that so many of us care deeply about.
For the culture.
That was the craziest 5 minutes of #ImACeleb in 25 years. I absolutely love the drama of live TV but David and Jimmy are EMBARRASSING themselves. To have Ant & Dec, the unbiased hosts, telling you you’re chatting shit? Pathetic. David is just a massive high school bully
JADE has said that “This is What We Dance For” from That’s Showbiz Baby: The Encore was written during a rewatch of classic Eastenders episodes and this scene really struck a chord with her and she had to write about it straight away
To all @Sephora fans out there. Time to exercise the boycott. @hudabeauty is your go to. Aside from her great makeup, she has principles. No comparison.
The point of #adolescencenetflix was that the killer was an ordinary teenage boy from an ordinary family (his dad wasn’t abusive, his mum wasn’t an alcoholic etc). There was no trauma in his background, he was just radicalised by the online MRA movement (eg Andrew Tate)
I know the internet has watered down adhd to such a massive degree but god I truly would not wish this on anyone. I feel so trapped in my own head, it’s truly is the most disabling part of my life
BSA announces that Professor Claire Alexander, of @EthnicityUK, is this year’s winner of the Distinguished Service to British Sociology award, given to the person who has contributed most to the discipline by leading an extraordinary life as a sociologist https://t.co/IDbo2Ym3Jn