From 1968 to 1974, US airlines experienced 130 hijackings. But it was Cooper’s hijacking-as-extortion plot that captured the public’s imagination – and inspired a copycat crime wave.
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Mullets, perms and neon clothes are all back – but Gen Z can’t be nostalgic for an era they never experienced.
Season Four of ‘Stranger Things’ shows how easily people are influenced when they’re clamouring for answers during times of uncertainty.
The latest season of Stranger Things features a town in the grip of a ‘Satanic Panic’. This reflects the very fears that existed in 1980s America, which still exist in different forms today.
The Danish drama has become popular around the globe.
Netflix and TikTok were both first-movers, but unlike larger businesses they haven’t diversified their services very much. It seems they’re starting with gaming.
LGBTIQ people watching Heartstopper are reporting feeling anger, grief, and sadness as they compared the show to their own relatively painful adolescence. Here’s how to navigate those feelings.
Older women and gay men both rarely see themselves reflected on the small screen.
In focusing on Savile as an individual, this investigation downplays the role Britain’s major institutions played in producing his celebrity icon mask.
Netflix’s subscription losses are a worrying shift for a business that had previously only seen sustained growth since 2011 – however there’s more nuance to the issue.
The ‘fool the eye’ cakes hearken back to popular paintings from another period in American history when there was anxiety over fakes, fraudsters and misinformation.
Archive 81 on Netflix uses “found footage”, a film technique beloved by the horror genre, in ways we haven’t seen before.
Romance readers would be familiar with the idea of romantic serialisation - now, Netflix’s Bridgerton brings the format to television, which is why season 1’s Duke of Hastings is nowhere to be seen.
Depicted as a restrictive and painful undergarment, the corset is often depicted as a symbol of women’s oppression in period dramas.
The allusive artist continues to fascinate as a series of new productions try to understand the man behind the work.
What exactly goes into that perfect “reality” television?
Zombies in horror are often a stand-in for our collective anxieties, manifesting our fears. All Of Us Are Dead continues this grand tradition.
What is it about Anna Delvey and Simon Leviev and how do gender and gender relations play a role in their schemes?
Inspired by the sensitive, handsome men they see on TV in their favorite K-dramas, they travel abroad in pursuit of a ‘soft’ masculinity they say they can’t find at home.
The mud rarely sticks.
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Senior lecturer in Screen Media, Victoria University
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Professor of Media Studies, Queensland University of Technology
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Dennis Altman is a Friend of The Conversation.
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Senior Lecturer in Media, RMIT University
