The deeply flawed but intriguing Tony Soprano opened up a whole new world of complicated relatable characters that drew audiences in their millions.
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For All Mankind is set in an Apollo era transformed by the inclusion of women, characters of colour and LGBTQ+ protagonists.
The series should be praised for recognising that it’s not just white, middle-class girls who experience eating disorders.
Evidence confirms that minimum-force policing is safer and more effective than the style of policing so colourfully depicted in US crime shows and movies like Die Hard.
The latest version of the Gothic vampire chiller is brought to you with the trademark humour of writers Steven Moffat and Mark Gatiss.
Tune in, Donald Trump: it might just save a lot of lives.
What’s with all the sausages in Killing Eve? It’s a thriller that gives butchery a new meaning.
For all its queer characters, Westeros is a gender binary world.
Embracing change is the theme of Doctor Who’s fizzing series opener.
Many viewers think that the recent adaptation of Vanity Fair plays fast and loose with Thackeray’s novel. But the writer was surprisingly modern.
Cast as some unworldly young woman who wrote a 19th-century romance, Emily Brontë is more powerful and relevant than she is given credit for.
A new Channel 4 drama has drawn criticism from social workers for its representation of the profession.
Stranger Things is re-writing the ‘reference’ book on homage and intertextuality.
“Gritty,” “authentic” are words of praise often used for TV director David Simon: No less so with The Deuce, his new series about the rise of the porn industry in New York City in the 1970s.
BBC sitcom Fleabag rewrites the rules on depicting women in drama, freeing the female character from the mindless stereotyping that has straitjacketed women for so long.
Police drama Happy Valley beat off the challenge of high-profile streamed dramas to carry off the big prize.
The problems and how we might fix them.
The East India Company offered men untold travel and riches – if they survived.
Dennis Potter’s 1986 story of a writer in need of psychological renewal rewrote the TV drama rulebook.
Principais colaboradores
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Professor in Media, Glasgow Caledonian University
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Associate Professor, Criminology, Deakin University
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Professor of Literature and Culture, Lancaster University
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Honorary Fellow, Deakin University
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Lecturer in Contemporary Literature and Culture, Edinburgh Napier University
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Professor & Head of School for Film, Media & Performing Arts, University for the Creative Arts
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Senior Lecturer in English Literature, Lund University
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Senior Lecturer in Modern History, Bangor University
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Doctoral researcher in Audio Engineering and General Sir John Monash Scholar, University of Salford
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Lecturer in Media and Journalism, Glasgow Caledonian University
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Professor, Gender and Sexuality Studies, University of Calgary
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Social Work Researcher and Teacher, Keele University
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Postdoctoral Fellow, Tulane University
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Senior Lecturer in English Literature, De Montfort University
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Lecturer/Tutor, Coventry University
