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?
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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.
Everything is in place for a spending spree this January, but some data crunching shows successful spending is elusive.
There are whispers of crisis around the 53-year-old series.
Next year Hulu and Google will introduce their own bundled channel services. Will it spark an online TV revolution or simply lead to more of the same?
The traditional TV schedule is still more important than we might think.
The Strictly Come Dancing final looks to be somewhat dull – all glitter, no Balls.
Star Wars offshoot Rogue One was originally intended to be darker – but it looks like it might be rather vanilla.
The Logies are fantastically daggy, but they let us compare audience and industry definitions of achievement. Looking back, it’s clear the public celebrates new, diverse and varied television.
Trump must now find a way to mitigate national anxieties in the wake of millions of dollars of TV and radio ads that played on voters’ fear and anger.
Netflix’s most ambitious and expensive original drama is historical fiction at its most lavish.
The subtlety laced with satire that graced earlier shows has been replaced by a brash, carelessness. And Homer, while always loud-mouthed, is now positively abusive. After 28 seasons, is it time for The Simpsons’ creators to call it a day?
The Fall writer Alan Cubitt is ‘hurt and upset’ at being accused of misogyny. But maybe misogyny isn’t the point.
On screen violence against women is increasingly detailed, intimate and frighteningly authentic – but there’s often just no need.
Top contributors
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Associate Professor in Media, University of Technology Sydney
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Lecturer, Digital Communication, RMIT University
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Professor of Media Studies, Queensland University of Technology
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Professor of Television & Media Studies, University of Leeds
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Reader in Modern Political History, Loughborough University
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Associate Professor in Literary Studies, Monash University
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Senior Lecturer in Media, Film and Cultural Studies, University of Sussex
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Senior Lecturer in Korean Studies, University of Sheffield
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Former Honorary Research Associate, School of Media and Communication, RMIT University
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Dean of Research (Creative), Adelaide University
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Professor of Film Studies, Bangor University
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Scholar in Media and Cultural Studies, Macquarie University
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Senior Lecturer in English and Cultural Studies, University of Canterbury
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Associate Professor of Screen Media, Victoria University
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Senior Lecturer in American Studies, University of Sydney