Lena Dunham’s searingly funny, shockingly honest memoir reveals how Hollywood culture allows pretty much anything, except human frailty.
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To what extent has the line between playful community space and commercial spectacle been blurred?
This month, our experts are loving shows and films from Australia, Canada, the United States and Korea.
Heated Rivalry depicts a sporting world where queer joy, acceptance and belonging is not only possible, but is enthusiastically embraced.
A merger would also have consequences for the New Zealand screen industry if it reduces the number of big-spending foreign productions.
Photography possesses a certain built-in bluntness that can lend itself to images that are destabilizing and dryly funny.
The branding saga of the name of HBO Max offers a clear lesson for marketers: when a rename threatens familiarity, consistency and clear messaging, customers will push back.
The show’s satire of super-wealth is framed through many of Sheakeapre’s great tragedies: Hamlet, Othello, Romeo and Juliet, and King Lear.
A new documentary contains a new theory about the identity of the elusive creator of bitcoin.
A new film adaptation of Stephen King’s ‘Salem’s Lot’ swaps in an owl for the book’s haunting whip-poor-wills, showing how species loss is also tied into cultural loss.
Running for six seasons from 1999 to 2007, The Sopranos is still enjoying a sustained cultural relevancy in 2024 – something other prestige dramas of the same era have not achieved.
The choices of author and illustrator Crockett Johnson during the printing process – as well as his civil rights advocacy – make it entirely within the realm of possibility.
In medieval Europe, vigilantism was rampant. Though there were rudimentary efforts to develop legal frameworks, the precepts could be bizarre, with justice sporadic and unevenly applied.
Larry David has called time on the misanthropic cult TV comedy classic after 12 seasons and 120 episodes.
The deeply flawed but intriguing Tony Soprano opened up a whole new world of complicated relatable characters that drew audiences in their millions.
Like their cable predecessors, streaming companies have lured customers in with low rates and promises of a better viewing experience. Now they’re cashing in.
What does ‘The White Lotus’ sound like? Both seasons 1 and 2 are characterized by an unsettling blurring of boundaries between music and sound design.
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.
Top contributors
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Professor of Media Studies, Queensland University of Technology
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Professor of Strategy, King's College London
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Senior Lecturer in American Studies, University of Sydney
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Senior Lecturer in Management, Bayes Business School, City St George's, University of London
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Reader in Film and Popular Culture, Edge Hill University
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Senior Lecturer, School of Humanities, Griffith University
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Director, Institute for Popular Music, University of Rochester
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Professor of History and Director of the Undergraduate Program in Judaic Studies, Fairfield University
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Associate Professor of Public Health Communication, University of California, Merced
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Senior lecturer in Screen Production and Film and Television Studies, University of Cape Town
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Lecturer, Department of Film and Television Studies, University of Warwick
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Lecturer in Popular Music, University of Kent
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Professor of French and Screen Studies, University of Warwick
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Associate Professor of Psychology, Rose-Hulman Institute of Technology
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Professor of Strategic Management, Lancaster University