Brook Rushton/Amazon Prime
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.
ABC/Nine News/Ten News/7 News/WIN
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 spends much of her life living through her phone screen – what happens when we are let into this vantage point?
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.
Chris Lilley as Gavin: an Instagram lord.
There is no writer working today with better grasp of the contemporary Australian vernacular.
A still from Dennis O'Rourke’s 1988 documentary Cannibal Tours. O'Rourke was part of a surge in Australian documentary making during the 1980s and 90s.
Institute of Papua New Guinea Studios
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.
Bruce Beresford’s 1977 film The Getting of Wisdom.
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.
Elsa Pataky and Marco Pigossi in Tidelands (2018)
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.
Sean Keenan in Australian sci-fi drama Glitch. The show’s second season was a co-production between ABC TV and Netflix.
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?
Shows like Cleverman and Tidelands are showing how Australia can work as a sci-fi setting, but where has it been until now?
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.
Starting from … Now! tells the story of four women in Sydney. It’s one of many successful web series transforming the TV landscape.
Starting from ... Now!
From a supernatural lesbian drama to lipsynching female comedians to a popular You Tube science show, Australian web series are thriving.
Sam Johnson won the Gold Logie and Best Actor for his portrayal of Molly Meldrum.
AAP Image/Tracey Nearmy
Sam Johnson took home the Gold Logie for his portrayal as Molly Meldrum, in a ceremony that came with all the usual criticism.
Gogglebox, where you watch people watching TV.
AAP Image/Foxtel, Nick Wilson
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.
How often are stories about wealthy lawyers and surgeons told? Marta Dusseldorp in ABC’s Janet King.
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?
Jeremy Clarkson, Richard Hammond and James May, and some very fast cars for The Grand Tour.
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?
Adaptations are a learned skill – can Australian cinema do it successfully?
The Dressmaker/Universal Pictures
With the success of films like The Dressmaker, book adaptations are giving a much needed boost to the Australian box office. So why are there so few? And why isn’t adaption a compulsory part of screen studies?