SBS’s new four part murder mystery examines Chinese experience on the Australian goldfields during the 1850s.
Packed to the Rafters was an authentic TV show about an ordinary family. The new reboot has family at its centre while touching on issues such as climate change and homelessness.
The pandemic pause on local children’s television content has become policy. Now what for kids’ TV?
In this new SBS series, four Melbourne families must deal with the ghosts of their past – both literal and metaphorical.
A two-week analysis of Australian news and current affairs programs shows they do not represent the make-up of the wider community, either in presenters and journalists or in the stories they depict.
This new NITV documentary captures the power of Country.
With commercial broadcasters threatening to thumb their noses at local content quotas, it’s time government finds new tools appropriate for the 21st century television environment.
Lucy is a millennial having a quarter-life crisis. In Content, a new kind of TV using the selfie as a camera technique, we view her life as it is reflected back at her through her phone screen.
There is no writer working today with better grasp of the contemporary Australian vernacular.
At a time when formulaic factual ‘content’ reigns on our TV screens, a new essay on Australian documentary making is a rallying call for those who believe the genre can effect social change.
School stories hold a special place in popular culture. Stories set in Australian schools have often celebrated outsiders and underdogs, in contrast with their North American counterparts.
Tidelands, is a speculative story about half-human/half-siren beings who live in the coastal Queensland town of Orphelin Bay. Unfortunately, it is not always a success.
As streaming services become increasingly dominant, the relevance of the existing local content quota system is declining.
Amazon this week purchased the global rights to J.R.R. Tolkein’s The Lord of the Rings to turn it into a television series. What are the implications for Australia’s content and its global reach?
Australian TV has been slow to enter the sci-fi genre, but the success of series like Cleverman shows we could have our own distinct brand of local sci-fi.
From a supernatural lesbian drama to lipsynching female comedians to a popular You Tube science show, Australian web series are thriving.
Sam Johnson took home the Gold Logie for his portrayal as Molly Meldrum, in a ceremony that came with all the usual criticism.
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.
Why do so many Australian TV dramas depict the lives of professionals when there is plenty of real drama for those living from one paycheck to the next?
The new motoring series will be used to help launch another video on demand service in Australia. But will consumers find away to access the show and avoid paying another fee?