The media and entertainment landscape underwent notable evolution during the year 2024, offering audiences a kaleidoscope of highs and lows. While global media industry broadened its horizons and endeavoured to diversify their content portfolio, a glaring deficiency persisted; the insufficient and oftentimes skewed, representation of minorities on screen. Despite an ever-increasing demand for inclusivity, many creators failed to rise to the occasion, leaving this critical issue as an urgent frontier for reform and introspection.

As another year draws to a close and everyone gears up for the future, let us not forget the total lack of representation in mainstream media of those who filmed genocide live for all to watch. There was not a single film or series dedicated to the Palestinians on any of the major streaming platforms while Surviving October 7th: We Will Dance Again and Screams before Silencekept the fake Israeli narrative alive and served as grounds to continue the assault on Gaza. Israel’s spread of false information regarding the events of October 7 incited widespread violence, leading to a genocide that went largely unreported. Instead of providing balanced coverage, streaming giants amplified the distorted narrative through films that perpetuated misinformation and ignored the realities on the ground. This absence of a live streamed genocide illustrates how the society is heading down a troubling and uncertain path. Which leads us to this question about art: is it the truth or a tool used to spread propaganda?

Let’s dive into the rest. Bad news before good; right? Colleen Hoover’s book It Ends with Us made it out of the pages and onto the screens. The drama was endless. Book fans were upset as the character’s representation was perhaps the worst in history but lively and won the hearts once again. She then proceeded to hose away the theme of the book entirely by promoting it as a rom-com. This was followed by her suing her producer and co-star for workplace harassment and running a smear campaign against her just in time before the year closes.

On the bright side, there were some good book adaptations including A Good Girl’s Guide to Murder, Disclaimer and A Man in Full. The latter two shared thematic similarities in their exploration of power, identity and moral ambiguity. Both series featured complex, flawed protagonists—Catherine, a TV journalist grappling with the revelation of her past in Disclaimer and Charlie, a wealthy real estate mogul facing a crumbling empire in A Man in Full—who must confront their personal demons. Each show examined the impact of power on their characters’ lives, with Disclaimer critiquing the media and A Man in Full offering commentary on race, class and societal dynamics. Ultimately, both series explored themes of redemption and self-discovery as their protagonists navigated moral dilemmas and external chaos. A similar concept also came in the form of Expats.

Fictitious content had a fairly stable year, but it just wasn’t one for the books. Audiences enjoyed a wide variety of shows and movies, yet the year didn’t deliver groundbreaking masterpieces that would be etched into cinematic history. Many offerings felt humdrum—competent but not remarkable. Overall the quality deteriorated over the year.

Action comedies like Only Murders in the Building, Murder Mindfully, The Gentlemen and Mr And Mrs Smith continued to charm audiences with their relatable humour and emotional depth. Meanwhile, thrillers such as Black Doves, Ripley, Eric, American Nightmare, Can I Tell You a Secret?, Don’t move, Sector 36, Griselda, Baby Reindeer and Uglies maintained their grip on fans, ensuring the genre’s popularity remained intact.

Dramas such as Geek Girl, The Life You Wanted, Ashley Madison: Sex, Lies & Scandal, The Life You Wanted, Midsummer Night, The Perfect Coupleand Maxton Hall — The World Between Us kept everyone hooked. The age-old dramas that never seem to outgrow in any year, famous sitcoms, book adaptations and new productions from the old franchises such as Marvel stayed in the charts.

Verdict: 2024 was not a landmark year for media and entertainment, but it wasn’t a disappointment either. The industry delivered plenty of engaging content, from beloved comedies and thrilling spin-offs to visually stunning blockbusters. Yet, the year also highlighted areas that require attention, particularly in terms of inclusivity and representation. As we look ahead to 2025, one can hope that filmmakers, screenwriters and producers will take note of these gaps and rise to the occasion.

The spin-offs that sparked conversation in 2024 included Georgie and Mandy’sFirst Marriage keeping the all-time favourite Sheldon in the loop.The other would perhaps be Agatha All Alongappearing in the timeline after WandaVision, proving that there’s still gold to be mined from established franchises.

The Korean industry didn’t disappoint either. The Korean entertainment industry once again showcased its prowess in storytelling and creativity with a perfect soup of dramas and films.

Jeongnyeon: The Star is Born captivated audiences with its heartwarming narrative of resilience and ambition. The Atypical Family offered a refreshing take on familial bonds and unconventional dynamics. A Shop for Killers delivered a thrilling blend of suspense and dark humour, keeping viewers on the edge of their seats. Meanwhile, The Judge From Hell provided a gripping courtroom drama with moral dilemmas and high stakes and Death’s Game stood out as a philosophical exploration of life, death and second chances. With titles as compelling as their intricate plots, these works cement Korea’s reputation for delivering consistently engaging and thought-provoking entertainment.

Historical dramas such as My Lady Jane and Shirley have significantly impacted modern historical film by offering nuanced, feminist reimagining’s of their protagonists’ lives. Both films went beyond traditional biopic conventions, focusing on the personal, emotional and psychological struggles of their historical figures rather than just political events.My Lady Janehumanised the young queen, emphasising her agency and tragic fate. Shirley blended fact and fiction to explore the complexities of Shirley Jackson’s creative process, mental health and societal challenges. By prioritising intimate, multifaceted portrayals of women, these films challenged conventional historical narratives and contribute to a broader cultural shift towards more subjective, emotionally driven storytelling in the genre. These added depth and variety to viewers’ watch lists.

From new releases to re-runs of classic shows, there was no shortage of entertainment. Titles like Arcane (a perennial favourite for cozy nights), Royal Kill List, Penelope, Virgin River and Bridgertondelighted fans with their familiarity.

For those seeking festive cheer, films like Santa’s Cousin, Carry-On, Red One and The Best Christmas Pageant Ever brought the magic of the holidays to life. The unpredictability of upcoming trends in 2025’s media offerings added an element of excitement. Christmas content continued to dominate the end-of-year viewing, with platforms vying to deliver hits that could attract new subscribers and retain existing ones.

As the year winds down, the winter break offered the perfect opportunity to catch up on missed releases or indulge in holiday-themed specials. Whether it was the charm of The Great British Bake Off or the excitement of Reacher, audiences were spoilt for choice.

The grim television history of 2024 might be changed as favourites will be returning on screen such as Wednesday, You, Squid Game, Suits: LA, Cobra Kai, Yellowjackets, The Witcher, Outlander, The Handmaid’s Tale, Eyes of Wakandaand Stranger Things to name a few.

Despite the absence of a universally acclaimed masterpieces, streaming platforms ensured viewers had plenty of options to choose from. Netflix, Hulu, Amazon Prime, Disney+, FOX and NBC brought a variety of content to the table, catering to diverse tastes and demographics. While the entertainment industry showed creativity and range in its offerings, it fell short in addressing deeper societal needs. Representation of Muslims, for instance, remained scarce or stereotypical.

As the world becomes increasingly interconnected, the absence of authentic and nuanced Muslim characters on screen is a glaring oversight. Stories that reflect the diversity, struggles and triumphs of Muslim communities worldwide can not only enrich global narratives but also foster greater understanding among audiences.

Conclusion: 2024 was not a landmark year for media and entertainment, but it wasn’t a disappointment either. The industry delivered plenty of engaging content, from beloved comedies and thrilling spin-offs to visually stunning blockbusters. Yet, the year also highlighted areas that require attention, particularly in terms of inclusivity and representation. As we look ahead to 2025, one hopes that filmmakers, screenwriters and producers will take note of these gaps and rise to the occasion. After all, entertainment is not just about escapism—it’s a powerful tool for reflection, education and change.

The writer has a degree in psychology with a minor in mass communication. She can be reached at ukmaryam2@gmail.com