Twin Peaks has just hit our streaming services, again, alongside reboots of the X-Files, Gilmore Girls, and more. But, despite our nostalgia, they’ll never revive the specific time they were born in.
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Given the carnivorous trend of the US presidency, it is unsurprising that food is a significant metaphor in House of Cards.
The ABC’s new show Ask the Doctor goes some way to explain the many contributors to obesity. So, why spoil it with the take-home message that willpower is all you need to lose weight?
Oh, what’s occurin’?
The show is mostly an effective use of pop culture as propaganda.
In sports media – as in sports – no one is invincible.
The introduction of a new Muppet on Sesame Street represents an encouraging cultural shift in the portrayal of characters with autism. But there is still a way to go.
Sam Johnson took home the Gold Logie for his portrayal as Molly Meldrum, in a ceremony that came with all the usual criticism.
Netflix has seamlessly adapted to new technologies and disrupted existing business models. But unlike traditional media enterprises, Netflix has never tried to attract a mass audience.
Cult TV show Gogglebox is more than light entertainment: it shows the diverse reality of Australian English, going beyond stereotypes about what Australians sound like.
Contemporary television is replete with gruesome tests of survival, charting our obsession with what modern man has lost.
New research suggests his military achievements might have been exaggerated.
Channel Nine has apologised to Gina Rinehart over its mini-series House of Hancock. What implications does this have for screenwriters telling stories about powerful figures?
At the heart of this 20-year-old show is a critique of the quest for absolute power.
The BBC’s Taboo is a timely reminder of the violent origins of globalisation, but its villains allow the viewer to disassociate imperial misdeeds from mainstream British history.
Why do alternative histories of a Nazified world again have such commercial and cultural traction?
As the series draws to a close, it will leave in its wake controversy and debate.
TV manufacturers have turned their backs on 3D technology. But there’s a new technology hoping to win over viewers, and you don’t need to buy a new TV.
The Riverdale gang have gone from squeaky clean 40s hijinks, to bizarre Punisher cross-overs in the 90s, to a Twin Peaks-lookalike murder mystery today.
In a universe of infinite possibility, why is Doctor Who always a man? Peter Capaldi’s forthcoming retirement from the role means it’s surely time to hand the sonic screwdriver over to a woman.
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
