How technology is central to the show’s most dramatic and pivotal moments – and how it might define its legacy.
Academic rigour, journalistic flair
Articles on Television
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Though abortion is appearing in more plot lines, many programs still aren’t accurately depicting what the reality of abortion access looks like in America today.
The way many Americans think about racial identity today is hard to map onto the complex history of ancient Egypt and ancient Nubia.
Though we desire the Succession ending we want, we long for something that violently prevents us from getting it at the exact same time.
Composer Nicholas Britell festoons earnest Romantic music with sounds that gleefully desecrate it, underscoring the show’s emotional core: a lust for power joined by immense self-loathing.
In the end, nobody gets what they want – but they do, arguably, all get what they deserve.
From the first frame of the theme song, it is clear craft and imagination are deeply valued throughout the show’s entire soundtrack.
While derision and mockery permeate airwaves and social media feeds, satire holds the key to creating a more informed, engaged electorate.
Hip hop’s swaggering braggadocio acts as a counterpoint to the Roy family’s rarefied worlds of high finance and plutocratic untouchability.
Unlike Logan, the Roy children appear to have a surface level perception of Scotland as Roman scoffs at “Scottish kicky-ball” and Kendall exclaims: “Dundee in the mother fucking house!”
The 90s sitcom featuring Jerry Seinfeld influenced the type of cinematic television we are so familiar with nowadays.
This Australian/UK coproduction tells a story which has received too little attention – but it overlooks some of the more difficult parts of Australia’s migrant history.
Safe Home attests to the ways violence is insidious and ingrained in systemic structures of power.
What does secondhand embarrassment say about your own anxieties and biases?
The writers strike lays bare all the ills of working on one of the lowest rungs of the entertainment industry.
In the competitive media landscape of the early 1990s, seizing audience attention was a priority. What better way to do it than with a cheaply produced show that appealed to viewers’ basest instincts?
Crimestoppers was originally founded in 1988 and now receives more than half a million reports each year.
As ‘The Jerry Springer Show’ climbed the ratings ladder, the censorship bleep, which masked the slew of insults lobbed by warring guests, became a star of the show.
Children learn more science when they watch an AI-powered cartoon character than with a regular Mickey Mouse or Dora the Explorer, a new study finds.
Scholars, preservationists, archivists, museum educators and curators, fans and the public are meeting in late April in the nation’s capital to figure out how to preserve broadcasting’s history.
Top contributors
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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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Former Honorary Research Associate, School of Media and Communication, RMIT University
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Senior Lecturer in Communication, University of Technology Sydney
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Associate Professor and Cinema and Screen Studies Discipline Leader, Swinburne University of Technology
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Senior Lecturer, School of Media, Film and Journalism, Monash University
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Research Fellow, Media & Communications, RMIT University
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Senior Lecturer (Media Studies and Production), University of Southern Queensland
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Associate Professor of Sociology, University of Texas at Arlington
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Professor of Political History, University of Nottingham
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Senior Lecturer in Sport Management, Deakin University
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Lecturer in Journalism, University of Technology Sydney
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Senior Lecturer in English Literature, Charles Sturt University
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Emeritus Professor of Cultural Research, Institute for Culture and Society, Western Sydney University
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University of York
