Television was heralded as a catalyst of European solidarity when satellite technology arrived, but financial failure, regulatory barriers and contrived cross-border stories – defamed as ‘Europuddings’ – quickly stifled this enthusiasm. This article reconsiders television as a medium for narratives of European solidarity within today’s TV industry, policy and culture. The crime drama The Last Panthers (2015), co-produced by Sky and Canal+, serves as a case study of the interplay between economic, political and cultural Europeanization in contemporary TV production. The analysis builds on Jürgen Habermas’s reflections on crisis dynamics in late capitalist societies (1980, 2005), which informs his response to the crisis of the European Union (2012). The case study shows how the pressure of global competition on European broadcasters, the European Commission’s support for distribution of audio-visual media, and the lessons learnt from the Europudding years have created a fragile window of opportunity for narratives of transnational solidarity.

中文翻译：

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犯罪伙伴：跨国电视在欧洲团结叙事的出现和传播中的作用

当卫星技术出现时，电视被誉为欧洲团结的催化剂，但金融失败、监管障碍和人为的跨境故事——被称为“欧洲布丁”——很快扼杀了这种热情。本文重新考虑电视是当今电视行业、政策和文化中欧洲团结叙事的媒介。由 Sky 和 ​​Canal+ 联合制作的犯罪剧《最后的黑豹》（2015）是当代电视制作中经济、政治和文化欧洲化之间相互作用的案例研究。该分析建立在 Jürgen Habermas 对晚期资本主义社会（1980 年、2005 年）危机动态的反思之上，这反映了他对欧盟危机（2012 年）的反应。案例研究显示了全球竞争对欧洲广播公司的压力，