by Jing Zhao Chao Guo a Department of Chinese, University of International Business and Economics, Beijing, Chinab Department of Chinese, Sun Yat-sen University—Zhuhai Campus, Zhuhai, ChinaJing Zhao is an associate professor at University of International Business and Economics, China. Her research interests include cultural studies and modern and contemporary Chinese literature. Her articles can be seen in journals such as Social Sciences of Beijing and Modern Chinese Culture and Literature.Chao Guo is an associate professor at Sun Yat-sen University, China. He is the author of Chinese Traditional Theatre and Male Dan: Social Power, Cultural Change, and Gender Relations (Routledge, 2022), and publishes extensively in Chinese theater, performance, and gender politics. His works can be found in journals such as Asian Studies Review, Asian Theatre Journal, Cambridge Opera Journal, Critical Asian Studies, Journal of Gender Studies, and Religions.

by Kathryn Burrell University of Massachusetts AmherstKathryn Burrell is a PhD student in the Department of Communication at the University of Massachusetts Amherst specializing in film studies. She holds an MA in communication with an emphasis on documentary studies from Northern Arizona University. Her work currently focuses on questions of cinematic genre, audiences, and popular film.

by Antonio Sanna University of SassariAntonio Sanna (PhD, University of Westminster, 2008) is the coeditor of the Lexington book series Critical Companion to Contemporary Directors and the editor of the volumes Pirates in History and Popular Culture, Critical Essays to Twin Peaks: The Return, and Arthur Machen: Critical Essays.

by Ciara Moloney Drama and Theatre Studies, Mary Immaculate College, University of Limerick, Limerick, IrelandCiara Moloney is a PhD candidate at Mary Immaculate College, University of Limerick, supported by the Irish Research Council. Her research focuses on interculturalism and diaspora in Martin McDonagh’s work for stage and screen. She recently published an article on Martin Scorsese’s gangster films in the Journal of Film and Video, and has a forthcoming article on Alison Bechdel’s memoirs in the Journal of Modern Literature. Her film and television criticism has appeared in publications including Cineaste, Fangoria, Paste, and Current Affairs.

by Paul N. ReinschTexas Tech UniversityPaul N. Reinsch is associate professor of practice in Screen/Stage Studies in the School of Theatre and Dance at Texas Tech University. He is the author of A Critical Biography of Shirley Jackson and is an editor of Python beyond Python: Critical Engagements with Culture. He is also co-editor of The Soundtrack Album: Listening to Media.

by Danielle GlassmeyerBradley UniversityDanielle Glassmeyer is an associate professor of English at Bradley University. Her research interests include literature, film, and culture of mid-twentieth-century America, with a special focus on cultural texts related to World War II and the Cold War.

by Alex SymonsAlex Symons is associate professor of communication and media studies at LIM College, New York City. His research includes the monographs Women Comedians in the Digital Age: Media Work and Critical Reputations After Trump (Routledge, 2023), and Mel Brooks in the Cultural Industries: Survival and Prolonged Adaptation (Edinburgh UP, 2012), as well as numerous articles in journals, including the Journal of Popular Film and Television, Celebrity Studies, the Journal of Fandom Studies, the Journal of Applied Journalism and Media Studies, and the Journal of Adaptation in Film and Performance.

by Vincent L. BarnettVincent L. Barnett is an independent scholar based in London, United Kingdom, who has published various books and journal articles on the economic history of the film industry, including on Elinor Glyn in Hollywood, on Hammer Film Productions Ltd, and on the role of organized crime in various media industries.

by Douglas RasmussenDouglas Rasmussen earned his Master of Arts degree in English Literature from the University of Saskatchewan. Since then he has published a number of journal articles and book chapters on various films (Death Proof, Scream, Haywire), television (Breaking Bad, Star Trek: Deep Space Nine), as well as a handful of articles on popular music studies (Prince, David Bowie, and Queen).

by Judith Clemens-SmuckerJudith (Judy) Clemens-Smucker is an assistant professor of mass communication at Sam Houston State University. She specializes in film and media studies, particularly conducting research about television and its intersection with gender. She received her PhD in American culture studies from Bowling Green State University (Ohio) as well as her master’s in popular culture. She has published work about Stranger Things (in this publication) as well as Star Trek and Schitt’s Creek.