Before Buffy The Vampire Slayer intrigued academics, shows like I Love Lucy dominated the cultural conversation. This is worth remembering, because Mad Men and The Wire didn’t emerge from nowhere.
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Both Netflix’s Narcos and the documentary Cartel Land fall into the trap of sensationalising violence and in doing so horribly simplify the story.
CSI and its franchise has achieved something unique: making forensics glamorous and sexy and fuelling public fascination with the dead.
If we are to write woman into the history of humanity, we need to listen to those who aren’t ‘exceptional’; those whose voices are harder to access.
This adaptation not only departs from the original text, but also reinforces precisely the traditional values that Lawrence was trying to unpick.
A fractured broadcasting industry is destroying the business model for the giants. There are winners in the wings though, and the BBC could yet be one of them.
Repeated surveys show that people value public broadcasters highly. But the political class isn’t listening.
She might now seem rather light-entertainment, but as the only female act to make a success out of ‘Merseybeat’ and go on to an ITV career as a female powerhouse, she deserves more.
A new BBC drama follows the life and loves of Vanessa Bell, sister of Virginia Woolf and centre of the famous Bloomsbury group.
Why oversharing, the act of sharing “too much information”, is a buzzword in contemporary culture.
What is the statute of limitations on spoilers? When can you comment on what you’ve watched? And at what point is our fear of ruining other people’s television experience hindering our own?
The Appalachia of the West’s gritty landscape is an ideal setting for the popular series’ second season.
If you haven’t watched it yet, it’s time to sit up and take note.
While MasterChef might teach us a lot about food and food trends, it also glosses over some of the harsher realities of the industry that produces this food. What’s the secret to its sudden ratings boost?
With four episodes leaked before the launch of the current Game of Thrones season, illegal downloaders face a quandary: binge now, or hang on and enjoy the weekly water-cooler chats at work.
Narrative power is produced through sophisticated storytelling, as evidenced by Breaking Bad, House of Cards, The Wire, Mad Men and many others.
The arrival of subscription video on demand services Netflix, Stan and Presto have implications for what we call “television” in Australia – and much of the policy detail remains to be hammered out.
Many successful shows spawn sequels. In Better Call Saul, writer Vince Gilligan has created a prequel to his phenomenally successful series Breaking Bad. And it works. So how has he done it?
AMC’s zombie hit The Walking Dead has garnered a huge global audience. As the finale of the series’ fifth season screens, we should pay attention not to the zombies – but to the survivors.
Manipulating the obstructions between the audience and what they know is coming is key to an effective cliffhanger.
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
