From a supernatural lesbian drama to lipsynching female comedians to a popular You Tube science show, Australian web series are thriving.
New ABS figures on film, TV and digital gaming show that subscription broadcasters and online content creators are booming. Yet local content quotas only apply to free-to-air broadcasters.
Netflix's biggest hit is the most empowering programme to air in years.
In 1958, Mildred and Richard Loving were arrested in Virginia for the crime of being married. The couple helped spark an effort to strike down laws against interracial marriage in the United States.
Twin Peaks has just hit our streaming services, again, alongside reboots of the X-Files, Gilmore Girls, and more. But, despite our nostalgia, they'll never revive the specific time they were born in.
Given the carnivorous trend of the US presidency, it is unsurprising that food is a significant metaphor in House of Cards.
The ABC's new show Ask the Doctor goes some way to explain the many contributors to obesity. So, why spoil it with the take-home message that willpower is all you need to lose weight?
Oh, what's occurin'?
The show is mostly an effective use of pop culture as propaganda.
In sports media – as in sports – no one is invincible.
The introduction of a new Muppet on Sesame Street represents an encouraging cultural shift in the portrayal of characters with autism. But there is still a way to go.
Sam Johnson took home the Gold Logie for his portrayal as Molly Meldrum, in a ceremony that came with all the usual criticism.
Netflix has seamlessly adapted to new technologies and disrupted existing business models. But unlike traditional media enterprises, Netflix has never tried to attract a mass audience.
Cult TV show Gogglebox is more than light entertainment: it shows the diverse reality of Australian English, going beyond stereotypes about what Australians sound like.
Contemporary television is replete with gruesome tests of survival, charting our obsession with what modern man has lost.
New research suggests his military achievements might have been exaggerated.
Channel Nine has apologised to Gina Rinehart over its mini-series House of Hancock. What implications does this have for screenwriters telling stories about powerful figures?
At the heart of this 20-year-old show is a critique of the quest for absolute power.
The BBC's Taboo is a timely reminder of the violent origins of globalisation, but its villains allow the viewer to disassociate imperial misdeeds from mainstream British history.
Why do alternative histories of a Nazified world again have such commercial and cultural traction?