The movie is more than a metaphor for climate change. It is a metaphor for where 40 years of neoliberal economic policies have left us.
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Some viewers purposefully seek out spoilers, others skip scenes with characters they don’t like. The advent of streaming has made viewers more actives and producers should take note.
There may be no shortage of offers after such a dramatic season.
Squid Game alludes to anti-worker violence that has permeated South Korean labour history, and reminds viewers of the need to overcome real inequalities.
In the hit Korean Netflix show ‘Squid Game,’ players are required to sign dubiously ethical contracts as their lives are assigned monetary value.
The flamboyant big-cat aficionados of the Gilded Age weren’t strangers to fierce competition, threats and bizarre drama.
Research shows that adults, even without kids, have used lockdown and the advent of streaming services, to revisit the shows they enjoyed as children.
‘Cowboy Bebop’ drew international viewers with its genre-bending fusion of American mafia movies, Italian westerns, Japanese cyberpunk, Hong-Kong style martial arts and its eclectic soundtrack.
Teens deserve to be empowered by knowledge of the pleasures of sex.
Growing up is never easy, but visualising complex ideas can help. Animation and character design allow us to put a metaphorical mirror up to society.
The unanticipated popularity of the Korean show ‘Squid Game’ highlights our relationship to debt and capitalism, but the contradictions extend beyond the show itself.
Children are being exposed to aspects of Netflix’s gory and dark drama Squid Game, but it’s most likely not from the streaming service itself.
Streaming platforms have introduced to thousands of hyper-specific categories and genres that shape our tastes.
Rising household debt in South Korea is crippling many and Squid Game speaks to this very real horror facing many in the country.
Squid Game is the latest South Korean television show to highlight vast socio-economic inequality and the brutal trap of capitalism.
To witness South Asian representation on a global platform is liberating, but what one is being represented for is of more importance, if not the most.
The third season of Aziz Ansari’s Master of None explores the complexities of a lesbian relationship. It is like nothing the show has done before.
A stage musical adaptation is just the newest addition to the cottage industry which is Round The Twist nostalgia.
Global spending on product placements is expected to top $23 billion in 2021, about a 14% increase over the previous year.
The #MyOrthodoxLife movement challenges both mainstream and ultra-Orthodox media to tell more nuanced and complex stories about Jewish women.
Kontributor teratas
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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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Professor of Film and Screen Studies, University of Portsmouth
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Senior Lecturer in Writing, Literature and Culture, Deakin University
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Associate Professor, School of Media and Communication, RMIT University
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Senior Lecturer in Screen Studies, University of South Australia
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor of English, Flinders University
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Senior Lecturer & Research Fellow, La Trobe University
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Associate Professor, Film Screen & Animation, Queensland University of Technology
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Associate Professor in Cinema Studies, RMIT University
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Dennis Altman adalah Sahabat The Conversation.
VC Fellow, La Trobe University
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Senior Lecturer, University of the Sunshine Coast
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Associate Professor, University of the Sunshine Coast
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Senior Lecturer in Media, RMIT University
