The framing of Artificial Intelligence (AI) in media discourses affects society's perceptions of AI and its adoption. This research explores the positive narratives of Artificial Intelligence through the lens of framing theory and Positive Discourse Analysis (PDA). This research draws on 15 newspaper articles published on platforms including The News, The Week, and BBC to identify the linguistic and discursive strategies employed to present AI in a positive light. By combining theoretical insights from framing theory and PDA, the study illustrates how media narratives help in creating empowering and inclusive representations of AI. The findings offer important lessons for academics, policymakers, and people in the media and underscore the value of constructive media discourse in determining how society views potential future technologies.

This paper will analyze how the cover images in the Pashto films represent and misrepresent the Pashtoon culture using the Triadic Model of Signs as given by Peirce. Based on six Pashto movie cover images published in 2024 and 2025, the research adopts the qualitative visual semiotic approach. The analysis focused on the relationship between the representamen (visual elements), the object (cultural concepts) and the interpretant (meanings created to viewers). The results show that the portrayal of the Pashtoon culture has the tendency to repeat, specifically the focus on hyper-masculinity, weapons and conflicts, rural themes, and traditional gender roles. Although some of the cover images depict cultural values while others tend to simplify or stereotype Pashtoon culture, thus partially misrepresenting it. The paper highlights the need for more subtle and well-balanced visual representations of the Pashtoon culture in Pashto cinema.

This study examines the politics of infidelity discourse in Netflix’s The Crown, using Multimodal Critical Discourse Analysis (Kress & van Leeuwen, 2006) and Judith Butler’s (1990) theory of gender performativity. It focuses on the relationship between Prince Charles and Princess Diana. This paper investigates how the interplay of verbal and visual elements with gender-performative roles helps define marital infidelity as an institutional, rather than a purely personal, failure. Findings show that Prince Charles's infidelity is discursively constructed as an act of institutional escape and masculine re-signification, in contrast to Princess Diana’s responses, including her public dancing, her audio confessions, her revenge dress, and her BBC interview, which are constructed as subversive repetitions that expose and destabilise the gendered script of the royal marriage. This study argues that The Crown uses multimodal storytelling to demonstrate that infidelity is a gendered and institutionally imposed performance rather than a moral transgression.