Perkins, C.Brooks, J.Loreck, J.Tan, P.Ford, J.Sheehan, R.J.2024-04-122024-04-122023Australian Feminist Studies, 2023; 38(117):231-2470816-46491465-3303https://hdl.handle.net/2440/140555Published online: 28 Nov 2023In a move that has now been thoroughly documented, the Anglophone West of the past decade or so has become an environment in which feminism is popular. Film and television, and the discourses around them, have been central to this development, with productions from Eternals (Chloé Zhao, 2021) to Fleabag (2016-2019) to Barbie (Greta Gerwig, 2023) prompting an infoglut of commentary that foregrounds and debates the feminist credentials of a wave of new media content that centres women as both characters and creators. But what does it mean to label this content ‘feminist’? Focusing on screen culture and education, the short reflections in this forum consider the tensions of this moment from a variety of perspectives – teaching, screen production, criticism, history and the academy.en© 2023 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. The terms on which this article has been published allow the posting of the Accepted Manuscript in a repository by the author(s) or with their consent.Feminism; popular feminism; film; television; genreJournal article10.1080/08164649.2023.22872052023-11-29677364Ford, J. [0000-0002-7258-8224]