Hollywood has seen this movie before.
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Though Netflix has always cultivated an image as television’s great disruptor, the company has persistently adopted, adapted and copied the conventions of legacy television.
Netflix has announced its planned acquisition of Warner Bros with a deal valued at US$82.7 billion. What will this mean for filmgoing?
US industries have traditionally consolidated into 3 to 5 main players. When it comes to streaming, Netflix, Amazon Prime and Disney are the top trio.
Dating your psychologist, even if you’re no longer a client, is never a good idea, whatever Netflix says.
Stranger Things proves that even in an era filled with sequels, prequels, remakes and reboots, it’s still possible for a new story to launch a major franchise.
Shows like Stranger Things allow us to practice emotional resilience and threat assessment without real-world consequences.
Much of The Beast in me is sensitive, sophisticated storytelling. So why is this sacrificed for a gratuitous depiction of violence against women?
Much remains uncertain about how the legislation will practically affect streamers such as Netflix, Prime Video and Disney+.
Standouts this month include the latest season of The Diplomat, addictive British reality TV and a political thriller starring Rebecca Ferguson.
In their new Netflix series, comedy duo Superwog take on daddy issues and the manosphere.
The show’s representation of Jewish women has slightly improved in series two, but still affords them little nuance.
Longtime mob reporter George Anastasia explains how intensive electronic eavesdropping revealed dialogue that surpassed Hollywood scripts.
As the air begins to warm and the days stretch, the screens get darker — with crime, mystery and noir creeping in.
Ghanaian film-makers struggle to access international distribution.
Food, clothes and familiar locations in Korea are rendered with surprising precision.
Sumptuous cakes provide ample distraction from the weak script.
From a new ABC drama to a Biggest Loser documentary, here’s the best of what’s streaming now.
‘Mo’ uses the comedy-drama format to address difficult and divisive issues such as immigration in America and the Israel-Gaza war in an accessible format.
If a machine creates a video or a song that brings a person to tears, does it matter that the machine felt nothing?
Top contributors
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Associate Professor of Screen Media | Deputy Associate Dean of Learning & Teaching, Victoria University
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Senior Lecturer in Screen Studies, University of South Australia
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Professor of Media Studies, Queensland University of Technology
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Associate Professor, Film Screen & Animation, Queensland University of Technology
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Lecturer, Digital Communication, RMIT University
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Senior Lecturer in Education (Curriculum and Pedagogy), University of the Sunshine Coast
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Senior Lecturer in English and Cultural Studies, University of Canterbury
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Professor of English Literature, University of Southern Queensland
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Vice Chancellor's Fellow and Professorial Fellow, Institute for Human Security and Social Change, La Trobe University
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Professor of Film and Screen Studies, University of Portsmouth
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Senior Tutor in English, University of Canterbury
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Senior Lecturer in Media, University of Adelaide
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Associate Lecturer, Learning & Teaching Innovation, Flinders University
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Lecturer in Communications and Media, University of Notre Dame Australia
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Associate Professor in Media, RMIT University