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.
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?
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.
TV manufacturers have turned their backs on 3D technology. But there’s a new technology hoping to win over viewers, and you don’t need to buy a new TV.
The Riverdale gang have gone from squeaky clean 40s hijinks, to bizarre Punisher cross-overs in the 90s, to a Twin Peaks-lookalike murder mystery today.
In a universe of infinite possibility, why is Doctor Who always a man? Peter Capaldi’s forthcoming retirement from the role means it’s surely time to hand the sonic screwdriver over to a woman.
The Logies are fantastically daggy, but they let us compare audience and industry definitions of achievement. Looking back, it’s clear the public celebrates new, diverse and varied television.