Dead Lucky tackles issues around worker exploitation, gambling, international students and domestic violence. But it is let down by underdeveloped characters.
Academic rigour, journalistic flair
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Ninja Warrior is the latest attempt to appropriate an ancient artform for a mass audience. But the ancient ninja moved in silence. Anonymous, he never bothered to develop signature dance moves.
The ABC’s reality TV show Everyone’s A Critic puts ‘everyday’ Australians in galleries. It is a compelling premise for an art show, but a tad disappointing.
A scholar of the media business tries to make sense of the flurry of merger news lately, and why the contested tie-up between AT&T and Time Warner will profoundly reshape the American media landscape.
RuPaul’s Drag Race, now in its tenth season, is an extraordinary success. But the show valorises a specific form of masculinity and is still grappling with a rapidly changing discourse around gender.
The HBO series was a big hit in 2008, but is it still relevant two decades on?
The decision to cancel the series – and remove it from air in Australia – demonstrates there is a clear line that even money can’t cross.
When it debuted in 1988, Roseanne was a breath of fresh air against the conservative middle class family sitcoms then on air. Its reboot in 2018 feels just as relevant.
In the much awaited second season of the TV series, Offred is more openly defiant than she was in Margaret Atwood’s novel. Still, the first two episodes remain true to the themes of Atwood’s book.
Employable Me is being touted as the feel good TV series of 2018. But will it make any difference to how employers approach jobseekers with disabilities?
BBC’s Call the Midwife is a celebration of working class women’s labour. In its frank, but sweet, discussion of childbirth, it has much in common with fairy tales.
ABC’s The New Legends of Monkey puts a fresh spin on the ‘80s cult classic Monkey’ continuing a long tradition of culture crossing.
The new TV show Britannia dramatises the second Roman invasion of Britain. It captures the core elements of the story (despite inaccuracies) but recent archaeological finds offer thrilling insights into this time.
Stan’s remake of the 1992 film Romper Stomper swaps skinhead culture for the complexities of contemporary Australian extremist politics. In doing so, it highlights disillusion with mainstream politicians and media.
We need media literacy not only to help us detect hoax and fake news but also to read the interest of media owners behind the news.
Disney recently announced a forthcoming streaming service, leading some to wonder if the company is gearing up for a battle with Netflix. But not all streaming services are locked in a death match.
This is what it’s like going to the cinema when you can’t see the screen.
Should you be worried that tech giants are making huge investments in cultural content?
There are more people of Middle Eastern heritage on Australian commercial TV than ever before - in drama, cooking, and Gogglebox.
The FCC has made it even easier for broadcast media conglomerates to focus on making money. The public – who own the airwaves those companies depend on – will suffer as a result.
Top contributors
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Senior Lecturer in Communication, University of Technology Sydney
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Professor of Media Studies, Queensland University of Technology
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Associate Professor in Literary Studies, Monash University
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Senior Lecturer in American Studies, University of Sydney
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Former Honorary Research Associate, School of Media and Communication, RMIT University
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Professor of Film Studies, Bangor University
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Research Fellow, Media & Communications, RMIT University
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Dean of Research (Creative), University of South Australia
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Scholar in Media and Cultural Studies, Macquarie University
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Professor of Television & Media Studies, University of Leeds
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Senior Lecturer in Media, Film and Cultural Studies, University of Sussex
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Senior lecturer in Screen Media, Victoria University
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Senior Lecturer, University of the Sunshine Coast
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Senior Lecturer in Screen Studies, University of New England
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Associate Professor of English and Writing, University of Newcastle
