Flow

Nicole Erin Morse challenges the common understanding of Magic Mike (2012) and Magic Mike XXL (2015) as films that construct a female gaze by examining how the films establish a male homosocial gaze.

Cara Dickason explores the relationship between women’s television and streaming services through the Netflix series, You.

Sarah E. S. Sinwell gives an account of how one art house cinema, the Salt Lake Film Society, managed through the pandemic.

Maggie Hennefeld explores how, as global crises proliferate, the boundaries of the comedy genre begin to break down while their content takes on increasing valence.

Stefania Marghitu reflects on auteur apologism after #MeToo and outlines productive ways for media studies scholars and teachers to refocus conversations about authorship on marginalized artists and creators.

Samantha N. Sheppard examines the televisual politics of Seattle Seahawks running back Marshawn Lynch’s defiant press conference performances and unruly and enigmatic star persona.

Helen Wheatley explores the trend of families in television dramas who grapple with the processes of grief and mourning.