A series of psychological experiments found that knowing the end of a story did not diminish readers’ enjoyment.
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Articles on Television
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Studios say the number is unrealistic − that it amounts to actors not assuming any financial risk for content that flops. But actors simply want to adapt existing payout models to changing technology.
With the TV writers and actors strikes leaving networks with little scripted content, the fall 2023 lineup will be saturated with low-cost reality TV shows like ‘The Voice.’
What made the series successful was its ability to tap into contemporary cultural moments.
While it can’t hope to match the brilliance of the original, this reimagined Mother and Son offers a sympathetic, honest portrayal of ageing parents and their harried adult children
Michael Parkinson, who has died at 88, demonstrated the art of the good interview night after night.
Two exhibits share stories of legendary Canadian children’s television. Examining this underappreciated and rich history will help ensure the industry is prioritized in policy decisions.
The seven-minute episodes show characters dealing with difficult emotions like fear and grief through play.
Reagan is the only union leader to serve as US President. Paradoxically, he was also one of the most aggressively anti-union presidents of the 20th century.
The Hollywood actors’ strike is a watershed moment for the entertainment industry, marking a turning point for the future of labour in the arts.
Some of the ways that streaming has transformed the industry are jeopardizing actors’ livelihoods.
The Office Australia launches in 2024. It will be interesting to see whether we understand ourselves well enough to make a compelling new version of this popular show.
How technology is central to the show’s most dramatic and pivotal moments – and how it might define its legacy.
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.
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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Associate Professor and Cinema and Screen Studies Discipline Leader, Swinburne University of Technology
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Senior Lecturer in Communication, University of Technology Sydney
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Former Honorary Research Associate, School of Media and Communication, RMIT University
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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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Senior Lecturer in English Literature, Charles Sturt University
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Lecturer in Journalism, University of Technology Sydney
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Emeritus Professor of Cultural Research, Institute for Culture and Society, Western Sydney University
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Professor & Dean, School of Media and Communication, RMIT University
