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Christina Applegate's Emmy’s appearance moves audience to tears

<p dir="ltr">Christina Applegate has moved audiences to tears after making a courageous appearance at the Emmy Awards. </p> <p dir="ltr">Applegate announced at the beginning of 2023 that she would be taking a step back from acting after being diagnosed with multiple sclerosis (MS), with the disease making a drastic impact on her life. </p> <p dir="ltr">Now, the 52-year-old took to the stage, supported by a cane, at the Peacock Theatre in downtown Los Angeles on Monday night, with the crowd rising to their feet in a round of applause. </p> <p dir="ltr">Applegate immediately began to tear up as she leaned on host Anthony Anderson for support, telling the audience, “I’m gonna cry more than I’ve been crying.”</p> <p><iframe title="YouTube video player" src="https://www.youtube.com/embed/jOJNgHgKnFs?si=Y8K-e2H8gFq1Pr0u" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p> <p dir="ltr">Keeping her sense of humour, she said to the sea of celebrity faces, “Thank you so much! Oh my God! You’re totally shaming me (and my) disability by standing up.”</p> <p dir="ltr">Applegate presented the award for Best Supporting Actress in a Comedy Series, with the award going to Ayo Edebiri for her role in <em>The Bear</em>. </p> <p dir="ltr">The heartfelt moment of the standing ovation was shared on X, with fans saying, “She deserves that ovation and more.”</p> <p dir="ltr">The iconic actress has been candid about her battle with MS since she was first diagnosed in 2021, keeping her fans updated as her illness progressed. </p> <p dir="ltr">In 2023, Applegate told <em>Vanity Fair</em> that her work on the hit Netflix TV show <em>Dead To Me</em> would be her last as an actor, saying “I can’t even imagine going to set right now.”</p> <p dir="ltr">“I’m probably not going to work on-camera again,” Applegate said at the time, adding that while she loved her cast and crew, working had been a “struggle.”</p> <p dir="ltr"><em>Image credits: Getty Images</em></p> <p> </p>

Caring

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"This is insane": Woman's intense hotel safety routine divides audiences

<p dir="ltr">A woman has gone viral for the elaborate routine she undergoes every time she checks into a new hotel room. </p> <p dir="ltr">Victoria posted a TikTok of her intense seven-step routine that she undertakes when staying in a hotel, with the video quickly racking up over 14 million views. </p> <p dir="ltr">In the now-viral clip, Victoria starts off by putting the “Do Not Disturb” sign on the doorknob and locking it from the inside.</p> <p dir="ltr">Then, she blocks the peephole with a tissue, jams a washcloth into the deadbolt to "close the gap" and rolls up a bath towel behind the handle to stop anyone opening the door.</p> <p dir="ltr">She also positioned an ironing board against the door to stop it from being able to open, and then used a clothes hanger to clip everything together.</p> <p dir="ltr">After going through the seven step routine, Victoria's comment section was flooded with messages as the video prompted a mixed response. </p> <p dir="ltr">"By the time I do all that, it's morning again," one user wrote, while another simply said, "This is insane."</p> <p dir="ltr">While many of the comments were quick to judge how extensive the safety routine is, others shared their own different security preferences. </p> <p dir="ltr">"I take two portable locks, and a mini camera that links to my phone for when I'm out," one said.</p> <p dir="ltr">However, one person pointed out that Victoria's set-up was a bit of a hazard, saying, "And now imagine trying to get out of that in the dark in a fire in the middle of the night."</p> <p dir="ltr">Another said they had "never stayed in hotels where I felt so unsafe," adding, "Is it an American thing? I am genuinely curious."</p> <p dir="ltr"><em>Image credits: TikTok</em><span id="docs-internal-guid-7c5325f2-7fff-e317-45e9-c3cf2bb0c143"></span></p>

Travel Trouble

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Kylie Minogue drops big career news

<p>Kylie Minogue is set to return to TV with her own special that will highlight her incredible career. </p> <p>The iconic singer will feature in British broadcaster ITV's <em>An Audience With… </em>show at The Royal Albert Hall in London. </p> <p>"It's been hard to keep this one a secret... Get ready for an unforgettable evening! 🤩An Audience with Kylie, coming later this year to ITV1 and ITVX," the broadcaster announced to Instagram on Tuesday. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cwh-LrdMDE-/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Cwh-LrdMDE-/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by ITV (@itv)</a></p> </div> </blockquote> <p>The show will take place in December and the broadcaster has promised that they will take the special TV event to the "to the next level", according to the <em>Huffington Post</em>.</p> <p>The <em>Can't Get You Out of My Head </em>singer, will perform and chat about her career, and even answer questions from the audience members, including specially invited VIP guests and celebrity superfans.</p> <p>"I'm so excited to announce that I am teaming up with ITV for An Audience with at London's iconic Royal Albert Hall!" she said. </p> <p>"I'll be performing some of my favourite tracks from throughout my career and no doubt answering some surprising questions from the audience. I can't wait to share this moment with you all."</p> <p>The singer will perform some of her top hits including her more recent chart topper <em>Padam Padam </em>and a few favourites from  her award-winning back catalogue.</p> <p>This comes just two years after ITV did the special for Adele, which was met with overwhelming success, reaching over 5.4 million viewers during its peak. </p> <p>Tickets for the show will be on sale from September 8.</p> <p><em>Image: Getty</em></p>

TV

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Country music star's "racist" song divides audience

<p>A popular country music star has been forced to defend his new song and accompanying music video, after many condemned the track for being racist. </p> <p>Jason Aldean's song, titled <em>Try That in a Small Town</em>, soared to number one on the country music charts in the US, before been pulled by Country Music Television after claims it promoted gun violence, vigilantism and lynching: a form of execution frequently committed against African-Americans.</p> <p>The singer, who is known for his conservative views, defended the song, saying it was about, “the feeling of community that I had growing up in where we took care of our neighbours, regardless of difference of background or beliefs”.</p> <p>He also slammed the furore against the song, saying saying the accusations against the track that it is “pro lynching” are “not only meritless but dangerous”.</p> <p>Singer Sheryl Crow called out Aldean posting on Twitter, “There’s nothing small town or American about promoting violence,” and called the song “lame” for its controversial themes. </p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">.<a href="https://twitter.com/Jason_Aldean?ref_src=twsrc%5Etfw">@Jason_Aldean</a> I’m from a small town. Even people in small towns are sick of violence.There’s nothing small-town or American about promoting violence. You should know that better than anyone having survived a mass shooting.</p> <p>This is not American or small town-like. It’s just lame <a href="https://t.co/cuOtUO9xjr">https://t.co/cuOtUO9xjr</a></p> <p>— Sheryl Crow (@SherylCrow) <a href="https://twitter.com/SherylCrow/status/1681485292425867264?ref_src=twsrc%5Etfw">July 19, 2023</a></p></blockquote> <p>The music video for the song prompted a new wave of backlash, as it was filmed outside the Maury County Courthouse in Columbia, Tennessee, which is a site that African American man was lynched. </p> <p>A writer for entertainment industry magazine <em><a title="variety.com" href="https://variety.com/2023/music/opinion/jason-aldean-try-that-in-a-small-town-worst-country-song-video-column-1235673177/">Variety</a></em> said it was “the most contemptible country song of the decade” which traded on the “implicit moral superiority of having a limited number of neighbours”.</p> <p>“For Aldean, it’s about how tiny burgs are under the imminent threat of attack from lawless urban marauders who will have to be kept at bay by any means necessary – meaning, pretty explicitly, vigilantism,” wrote its music critic Chris William.</p> <p>He went on to say the video was “dangerous” because it “conflates the act of protesting with violent crime”.</p> <p>In the wake of the criticism, Aldean hit back on his social media accounts, saying people had gone "too far" with their interpretation of the song. </p> <p>He wrote on Twitter, “There is not a single lyric in the song that references race or points to it – and there isn’t a single clip that isn’t real news footage – and while I can try and respect others to have their own interpretation of a song with music – this one goes too far.”</p> <p>“My political views have never been something I’ve hidden from. And I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy, where we go at least a day without a headline that keeps us up at night, but the desire for it to – that’s what the song is about.”</p> <p><em>Image credits: Getty Images</em></p>

Music

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The Super Mario Bros. Movie: don’t watch it for the story but for how it successfully represents gameplay

<p>The first videogame I ever played was the arcade game <a href="https://www.youtube.com/watch?v=Pp2aMs38ERY">Donkey Kong</a>. Released in 1981, it took us into a blocky-looking world where a carpenter in overalls raced along platforms and up ladders in a building site to rescue a lady kidnapped by a large ape. Its humble hero, <a href="https://en.wikipedia.org/wiki/Mario">Mario</a>, went on to feature in scores of multi-million dollar grossing games, becoming an icon <a href="https://www.dukeupress.edu/recentering-globalization">as popular as Mickey Mouse</a>.</p> <p>Having grown up in the 1980s, the new <a href="https://www.youtube.com/watch?v=TnGl01FkMMo">Super Mario Bros. Movie</a> meant more to me than the average fantasy animation film. Watching <a href="https://www.youtube.com/watch?v=yKxaYsn_F78">Mario and Donkey Kong have it out</a> on a massive screen – at a resolution so high you can see a single hair or wrinkle on these crisp-looking, toy-like characters – was remarkable.</p> <p>Yet, it felt like the mission of this movie wasn’t just about creating flashy, fleshy cartoon characters or trying to tell a compelling story – it was about doing justice to the feel of these videogames that span decades and are still enjoyed by millions around the world.</p> <h2>A film about jumping</h2> <p>Story-wise, this is another of those PG-rated fantasy comedies that celebrate the 1980s and games culture. There’s a beta male baddy (Bowser, a fire-breathing dragon-turtle hybrid) and his army who must be defeated by a good-hearted guy (Mario) – helped by his brother (Luigi), a strong independent woman (Princess Peach), and a cast of zany allies.</p> <p>But what makes the film worth watching is how it tips its hat to aspects of gameplay.</p> <p>One of its biggest achievements is the unpretentious, funny recreations of moments from the videogames. Sometimes this happens by staging action-packed scenes that are <a href="https://www.youtube.com/watch?v=yP-Qduvw9zY">framed from the same perspective as the videogame players</a>. For instance, seeing Mario and Luigi dash through a building site with the camera zoomed out to capture the entire screen from a side perspective is the filmmaker’s nod to the pleasures of platform games.</p> <p>The film also humorously reflects on player experience. Anybody who has enjoyed a Mario game might recall the disappointing feeling of falling down a pit after a failed attempt to reach a high platform. In the movie, Mario is initially inept at all of this. He is put through a funny 1980s montage of <a href="https://www.youtube.com/watch?v=pKKBlSzMs4o">trial and error</a>, which reminds us how players got the hang of these games.</p> <p>The emphasis on replicating gameplay may be the influence of Japanese games design superstar <a href="https://www.rollingstone.com/tv-movies/tv-movie-features/the-super-mario-bros-movie-shigeru-miyamoto-koji-kondo-nintendo-interview-easter-eggs-1234706449/">Shigeru Miyamoto</a>, the creator of Mario, who co-produced the movie.</p> <p>Where other designers may have attempted to create a “proper” Mario movie by focusing on realism or a more sophisticated story, Miyamoto has long been adamant about seeing videogames <a href="https://shmuplations.com/miyamoto1989/">as toys</a>. Now he has created a true videogame movie.</p> <h2>Games as toys</h2> <p>Approaching games as toys is consistent with the long history of Kyoto-based games company Nintendo. It started back in 1889 producing playing cards, and even <a href="https://www.hobbydb.com/marketplaces/hobbydb/subjects/n-b-block-series">competed with Lego</a> before going on to revolutionise the videogaming medium with titles such as Super Mario Bros. in the early 1980s.</p> <p>In most of Nintendo’s games, the end goal is not necessarily found in the stories – rather, these serve the pleasure of playing. In Super Mario Bros., for example, the damsel-in-distress narrative of Bowser kidnapping Princess Peach merely kicked off a game mostly about jumping.</p> <p><a href="https://www.youtube.com/watch?v=a6Al_DShXX0">Other Mario adaptations for the big screen</a> have sought to translate gameplay with varying success. Take the 1993 <a href="https://www.youtube.com/watch?v=GuXwMHF9y1Y&amp;ab_channel=RottenTomatoesClassicTrailers">Super Mario Bros. live action</a> film, which was critically panned but has gone on to gain cult status. As a <a href="https://www.nytimes.com/1993/05/29/movies/review-film-plumbing-a-video-game-to-its-depths.html">reviewer in the New York Times</a> put it: “This bizarre, special effects-filled movie doesn’t have the jaunty hop-and-zap spirit of the Nintendo video game from which it takes – ahem – its inspiration.”</p> <p>Gone, now, are the days of third-party licensing when cinematic game adaptations were left in the hands of external developers, resulting in <a href="https://www.youtube.com/watch?v=nKqFEV9rA1U">output that could look very different</a> to the games themselves – such as Super Mario Bros. Super Show! from the late 1980s. This animated show was not particularly faithful to the games: Mario and Luigi had a different kind of Italian-American accent and a Princess Toadstool. The live-action segments also featured crasser and more adult iterations of the characters.</p> <p>This time, however, Nintendo has worked with Universal Pictures to adapt the game, so the new animated movie is more faithful in brand continuity.</p> <h2>Mario’s most successful cinematic appearance</h2> <p>There are now entire TV series based on story-driven games, <a href="https://www.youtube.com/watch?v=eNF27c3-5Qw">whose scripts replicate the game almost verbatim</a>. For instance, the recent hit series The Last of Us saw fans cross-reference scene by scene with the original game.</p> <p>In contrast, the Super Mario Bros. Movie looks like an attempt to make a film that works more like a game. And in spite of a <a href="https://www.theguardian.com/film/2023/apr/09/the-super-mario-bros-movie-review-game-over-for-this-lazy-animated-mess">lukewarm reception from critics</a>, the new film stands to be the most successful cinematic Mario appearance yet.</p> <p>While the film has been downplayed by some as a “marketing machine” to sell Nintendo toys, critics overlook the fact that its success might be connected to how popular these toys already are. The games have <a href="https://www.theverge.com/2023/2/7/23589075/nintendo-switch-q3-2023-earnings-sales-console-third-bestselling">sold in the 100 millions</a>, which may explain the film’s ability to <a href="https://www.independent.co.uk/arts-entertainment/films/news/super-mario-bros-movie-box-office-b2317192.html">smash box-office records</a>.</p> <p>This film will have gameplaying fans poring over frames to identify references to the games and “Easter eggs” – messages hidden for knowing watchers to look out for. Older and new fans alike will recognise <a href="https://www.youtube.com/watch?v=otZ-D3OJeW4">the GameCube jingle in Luigi’s ringtone</a>, and enjoy vintage gaming items such as the “hammer power-up” that are on sale in the film’s antique shop.</p> <p>Many viewers will also recognise the <a href="https://www.youtube.com/watch?v=QilqLbynOsY">iconic musical motifs from the Super Mario Bros. levels</a>, and how the maps are reminiscent of Super Mario World. They will spot cutesy fan-favourites <a href="https://www.youtube.com/watch?v=_o6yvb5E2Sw">Yoshi</a> and Toad.</p> <p>The Super Mario Bros. Movie may indeed work to re-market Nintendo’s four-decade back catalogue of gaming classics to both nostalgic parents and kids. But in being driven by the very success of gaming culture, it defies critics looking at it as “just another movie”. Instead, they should see it as an extension of the videogame, and a celebration of how this expansive world makes people feel.</p> <p><em>This article originally appeared on <a href="https://theconversation.com/the-super-mario-bros-movie-dont-watch-it-for-the-story-but-for-how-it-successfully-represents-gameplay-203592" target="_blank" rel="noopener">The Conversation</a>.</em></p> <p><em>Images: Universal Pictures</em></p>

Movies

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Musician divides audiences over controversial Margaret Court slating

<p>Phoebe Bridgers has been both praised and condemned for her brutal slating of Margaret Court. </p> <p>The American musician was performing to a sold out crowd in Melbourne's Margaret Court Arena, when she took aim at the venue's namesake. </p> <p>The 28-year-old Los Angeles native condemned the 80-year-old tennis champion-turned-Christian pastor, who has in recent years become a vocal opponent of same-sex marriage and transgender rights. </p> <p>Turning to the crowd during the concert on Wednesday , Bridgers declared: “So, Margaret Court. F*** that stupid***, dumb*** b****. F*** that stupid c***. Change your name!”</p> <p>She then encouraged the riled-up crowd to chant “F*** Margaret Court!” before continuing, “I think hate is undervalued. I think it’s like a f***ing weird, white supremacist idea that hate is bad, or something?"</p> <p>“You know what I mean? It’s like hate is like what moves things throughout history. I hate that stupid b****!"</p> <p>“Hate is like how you protect yourself. What, are you never supposed to be angry, ever?”</p> <p>Phoebe's full rant was posted to Twitter and can be viewed <a href="https://twitter.com/ChrystalChristi/status/1623323236800036864" target="_blank" rel="noopener">here</a>. </p> <p>The expletive-ridden tirade quickly went viral online, with Bridgers' fans and Court's critics hailing the move as "iconic".</p> <p>“It was the most beautiful moment of my life” one concertgoer raved, while another social media user posted: “Now I’m a fan!” as others called for the venue to be renamed Phoebe Bridgers Arena.</p> <p>While the reaction to the musician's protest was mostly supportive, a small group of Margaret Court sympathisers online slammed her on-stage chants. </p> <p>One person wrote, "Any clue why she’s saying f*** Margaret Court: a world famous tennis player who’s home was actually broken into this week?….. very vile."</p> <p><em>Image credits: Getty Images</em></p>

Music

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Trevor Noah brought a new perspective to TV satire - as well as a whole new audience

<p>After seven years of hosting <a href="https://www.cc.com/shows/the-daily-show-with-trevor-noah" target="_blank" rel="noopener">The Daily Show on Comedy Central</a>, a hit comedy show produced in the US but with global reach, South African born comedian Trevor Noah has announced <a href="https://edition.cnn.com/2022/09/29/entertainment/trevor-noah-daily-show/index.html" target="_blank" rel="noopener">plans to leave</a> and focus on his stand-up comedy. During his tenure as host of the political satire series, which he took over from the revered <a href="https://www.forbes.com/profile/jon-stewart/?sh=35f2ad793fbc" target="_blank" rel="noopener">Jon Stewart</a>, Noah has offered important takes on issues in the US – and the world.</p> <p>Considering that the late-night television satire scene in the US remains <a href="https://theconversation.com/trevor-noah-is-leaving-the-daily-show-how-did-he-fare-191699" target="_blank" rel="noopener">populated by white men</a>, Noah has offered unique “black” African insights into issues that affect black Americans. He has also been lucid in talking about issues that have an effect on Africa and Africans. Noah’s knowledge of Africa and African politics has helped him demonstrate that there are few differences between America, lauded as one of the greatest democracies in the world, and global south countries that Trump once called “<a href="https://www.youtube.com/watch?v=HcMFmoTCdcU" target="_blank" rel="noopener">shithole</a>” states.</p> <p>Noah’s approach attracted more African Americans than was the case during Stewart’s tenure. A 2017 study <a href="https://decider.com/2017/10/16/trevor-noah-tds-nielsen-ratings-analysis/" target="_blank" rel="noopener">by Nielsen Media Research</a> showed that during Stewart’s final season, 84.5% of the viewers were white. Noah lost 40% of the white viewers and gained 16% more black viewers than his predecessor.</p> <p>He spoke with great clarity on issues such as the <a href="https://theconversation.com/black-lives-matter-protests-are-shaping-how-people-understand-racial-inequality-178254" target="_blank" rel="noopener">Black Lives Matter</a> protests against racism, discrimination and racial inequity experienced by black people, the turbulent Trump presidency, the rise in white supremacy and the global COVID pandemic. By commenting on these different issues, he was able to bring home the inequalities that continue to be seen and experienced in the US.</p> <p>Noah has defied the odds, offered a youthful, “black” perspective and drawn in a new audience. He will be a hard act to follow - which is what people said of his predecessor.</p> <h2>Noah’s particular past</h2> <p>Growing up and coming of age in South Africa has undoubtedly shaped Noah’s worldview. In his book <a href="https://www.goodreads.com/book/show/29780253-born-a-crime" target="_blank" rel="noopener">Born a Crime</a> (2016), and in his numerous stand-up comedy shows, he set out what it meant growing up in apartheid South Africa, with its white-minority rule and policies of racial segregation. Because his father was white and his mother black, he could not have a normal childhood in which he could grow up in the same home as both his parents. It was legally impossible. the <a href="https://omalley.nelsonmandela.org/omalley/index.php/site/q/03lv01538/04lv01828/05lv01829/06lv01884.htm" target="_blank" rel="noopener">Immorality Act</a> prohibited sex between people of different races.</p> <p>Noah drew on his experiences in South Africa in his role as chief anchor of The Daily Show. In particular he was able to show the striking parallels between present day America and apartheid-era South Africa. He explains this reality in one of the <a href="https://www.ccn.com/trevor-noah-frightening-us-south-africa/" target="_blank" rel="noopener">episodes</a> of the show at the height of the global coronavirus pandemic:</p> <blockquote> <p>Living in this period in America, as much as I hate to say it, a lot of the things that I’m seeing are similar to what we experienced in South Africa. Mass unemployment, a government that doesn’t seem to have the best interests of the people at heart. People who are getting angrier and angrier.</p> </blockquote> <p>He explained in another <a href="https://www.youtube.com/watch?v=2FPrJxTvgdQ" target="_blank" rel="noopener">episode</a> of the show during the run-up to the 2016 US elections that</p> <blockquote> <p>as an African, there’s just something familiar about Trump that makes me feel at home.</p> </blockquote> <p>He went on to talk about striking resemblances between former US president Donald Trump and several former African presidents such as Jacob Zuma of South Africa, Idi Amin of Uganda and Robert Mugabe of Zimbabwe.</p> <h2>Comedy and political satire</h2> <p>I argue in a <a href="https://link.springer.com/chapter/10.1007/978-3-030-81969-9_3" target="_blank" rel="noopener">book chapter</a> on political satire that the comic offers important ways of criticising those in power. During his tenure at The Daily Show, Noah has used comedy and satire to discuss diverse pressing contemporary issues, in the US and globally. As he has <a href="https://www.latimes.com/entertainment-arts/tv/story/2020-08-27/daily-show-trevor-noah-emmys-2020" target="_blank" rel="noopener">explained</a>:</p> <blockquote> <p>I believe in the importance of jokes. I will never lose that. I always tell people, ‘Jokes are what made me’. That’s how I see the world.</p> </blockquote> <p>Before joining The Daily Show, Noah was an established stand-up comedian. In South Africa, he was known for satirising Jacob Zuma during his presidency for corruption and his role in state capture.</p> <p>Comedy has allowed him to deal with difficult subjects in a lighthearted way. He has <a href="https://edition.cnn.com/2022/09/29/entertainment/trevor-noah-daily-show/index.html" target="_blank" rel="noopener">stated</a> that:</p> <blockquote> <p>I’ve loved trying to find a way to make people laugh, even when the stories are particularly s—, even on the worst days.</p> </blockquote> <p>Noah has infused the comic into his anchoring of The Daily Show and managed to tackle controversial topics in a cheerful yet hard-hitting way.</p> <h2>Poking holes in American exceptionalism</h2> <p>Being a foreigner in the US, Noah has the necessary distance to offer sobering analyses of current affairs in that country. Through his examination of the Trump presidency and the Black Lives Matter movement, he has shown that the idea of America being “exceptional” is an illusion.</p> <p>At the height of the Black Lives Matter protests in the US, he took to The Daily Show to give a <a href="https://www.youtube.com/watch?v=Jb4Bg8mu2aM" target="_blank" rel="noopener">grim yet poignant monologue</a> about race in the US. Noah traced the chain of events that went beyond the killing of George Floyd, a black man who was suffocated to death on the side of a road by a group of white policemen, to show the precarity of black lives in contemporary America.</p> <p>The monologue is sharp, knowledgeable and nuanced in its explanation of what was happening in the US. He grounded it on historical events to show that nothing was new. The US was not exceptional. The US democracy was as imperfect as that of the many countries that it had preached to for many years.</p> <p>It has taken a late-night host from outside the US to point to the failings of the US and its democracy.</p> <h2>Late night TV without Noah</h2> <p>The late-night circuit will be different without Noah, the only black and African host of a late-night show in the US. Because of his intimate knowledge of global popular culture, he has had a youthful viewership.</p> <p>His peers do not have the same perspective or viewership. If Noah replacing Stewart was seen as a daunting exercise, filling the shoes of Noah might prove to be even more challenging.</p> <p><strong>This article originally appeared on <a href="https://theconversation.com/trevor-noah-brought-a-new-perspective-to-tv-satire-as-well-as-a-whole-new-audience-191800" target="_blank" rel="noopener">The Conversation</a>.</strong></p> <p><em>Image: Facebook</em></p>

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Bluey was edited for American viewers – but global audiences deserve to see all of us

<p>Beloved children’s program Bluey has received some backlash.</p> <p>Not due to the program, but to Disney’s decision to make edits to various episodes for the US market.</p> <p>Dubbed “<a href="https://mouthsofmums.com.au/7-things-disney-apparently-censored-in-bluey-season-3/" target="_blank" rel="noopener">censorship</a>” by some publications, the changes to the third season, released in America on Disney+ this month, include Bandit not being hit in a sensitive area, a conversation about getting a vasectomy replaced with “getting dog teeth removed”, the horse Buttermilk no longer stands next to poo on screen and Aunt Trix is no longer seen on the toilet during a video call.</p> <p>One episode, Family Meeting, where Bluey accuses dad Bandit of farting in her face, was removed entirely – although due to the backlash it appears this decision has been <a href="https://www.news.com.au/entertainment/tv/streaming/bluey-episode-banned-on-disney-in-the-us-for-bizarre-reason/news-story/b5877d7134a6b217234398eb7892d4da" target="_blank" rel="noopener">rescinded</a>.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Parents who watch Bluey on Disney… there’s an extra episode via CBBC which Disney doesn’t allow to be on their platforms! It’s called Dad Baby!!! <a href="https://t.co/JMeCMYvtz4">pic.twitter.com/JMeCMYvtz4</a></p> <p>— Kirstie 🤍 (@kirstieandco) <a href="https://twitter.com/kirstieandco/status/1560526183741243392?ref_src=twsrc%5Etfw">August 19, 2022</a></p></blockquote> <p>Episodes in previous seasons have also been <a href="https://twitter.com/blueymoments/status/1261872704237551618" target="_blank" rel="noopener">edited</a> or <a href="https://blueypedia.fandom.com/wiki/Dad_Baby" target="_blank" rel="noopener">unavailable</a> to stream on Disney+.</p> <p>This decision by Disney comes at a time when there has been a fundamental shift, both in the way audiences consume content and how content is distributed. Through global streaming services, content previously produced for a local market now has a greater opportunity to reach a global audience.</p> <p><a href="https://www.nytimes.com/2020/04/01/arts/television/bluey-cartoon-dog-australia.html" target="_blank" rel="noopener">The New York Times</a> has said Bluey “could rival The Wiggles as Australia’s most popular children’s cultural export”.</p> <p>But can screen content truly be considered a cultural export if it is re-edited to reflect cultural aspects of the market it is being distributed in?</p> <h2>Content for global audience</h2> <p>Australian media content being changed for the US market is not a new phenomena.</p> <p>More than 40 years ago, <a href="https://www.imdb.com/title/tt0079501/alternateversions" target="_blank" rel="noopener">Mad Max</a> was dubbed with American accents for the US market.</p> <p>More recently, Australian television shows like <a href="https://www.vulture.com/2011/06/watch_the_original_australian.html" target="_blank" rel="noopener">Wilfred</a> (2011), <a href="https://www.abc.net.au/news/2021-12-30/american-version-kath-and-kim-tv-remakes/100689218" target="_blank" rel="noopener">Kath &amp; Kim</a> (2009) and <a href="https://www.pastemagazine.com/tv/the-slap/the-slap-australia-explained/" target="_blank" rel="noopener">The Slap</a> (2015) have been reproduced for a US market.</p> <p>Since these Americanised series premiered, there has been a shift in the commissioning of media. Content distributors no longer solely rely on local broadcasters: they now are able to go direct to a global audience through streaming services.</p> <p>Since the start of 2022, Netflix has commissioned content <a href="https://www.ampereanalysis.com/press/release/dl/netflix-looks-to-international-commissions-for-growth" target="_blank" rel="noopener">from 44 territories</a>, Warner Bros commissioned work across 27 territories for HBO Max and Discovery+, Disney 23 and Amazon 21.</p> <p>These streaming platforms aren’t looking for local hits: they’re looking for global hits, from anywhere. It’s not just about making the next Stranger Things, it’s <a href="https://www.screendaily.com/news/netflix-commissions-originals-from-a-record-28-international-markets/5173422.article" target="_blank" rel="noopener">about making</a> the next Money Heist – the Netflix hit from Spain – or the next South Korean juggernaut Squid Game.</p> <h2>A question of quotas</h2> <p>In 2021, the federal government removed the quota requiring local children’s programming on Australian commercial television. This has resulted in a significant <a href="https://tvtonight.com.au/2022/08/2021-content-quotas-soaps-deliver-but-kids-tv-in-freefall.html" target="_blank" rel="noopener">decline</a> in the broadcast of children’s content.</p> <p>We have seen <a href="https://www.acma.gov.au/spending-subscription-video-demand-providers-2020-21" target="_blank" rel="noopener">increased investment</a> of Australian content by streaming services. Together, Amazon Prime, Disney, Netflix and Stan spent A$178.9 million in the 2020–21 financial year, including children’s television. This is up more than $25 million in the <a href="https://www.acma.gov.au/spending-subscription-video-demand-providers-2019-20" target="_blank" rel="noopener">previous year</a>.</p> <p>Earlier this year, <a href="https://about.netflix.com/en/news/netflix-has-a-new-development-funding-initiative-with-the-australian" target="_blank" rel="noopener">Netflix launched</a> a partnership with the Australian Children’s Television Foundation to fund the development of original Australian children’s series. Disney has <a href="https://mumbrella.com.au/disney-releases-first-wave-of-local-content-commissions-with-9-australian-originals-737567" target="_blank" rel="noopener">also announced</a> its planned investment in local Australian children’s content.</p> <p>This increase by streaming service is yet to fill the shortfall by commercial television.</p> <h2>But is it Australian?</h2> <p>In June, the <a href="https://makeitaustralian.com/" target="_blank" rel="noopener">Make It Australian</a> campaign was launched at the Sydney Film Festival. The campaign calls for Australian stories to be “told on Australian screens by us, to us, about us”.</p> <p>At the campaign launch, arts minister Tony Burke said international and commercial success for Australian films is “wonderful, but that is a bonus.”</p> <p>The “first objective” for Australian films, he said:</p> <blockquote> <p>is to make sure our stories are told so that we know better ourselves; we know better each other and the world has a better way of knowing us.</p> </blockquote> <p>It is the last point that Tony Burke makes, about the world “knowing us”, that is less considered in the ongoing local screen content debate. Indeed, Australian content is being <a href="https://www.acma.gov.au/spending-subscription-video-demand-providers-2020-21" target="_blank" rel="noopener">shown to a global audience</a>.</p> <p>But what happens when Australian content is edited with these international audiences in mind? Edits like those Disney made to Bluey not only impact the humour and the narrative, but also impact the cultural representation within the program.</p> <p>Increased investment by streaming services will provide opportunities for Australian local content to be successful locally and globally. But for Australian television and films to be true cultural exports, the world should be seeing the version of ourselves we are seeing, too.</p> <p>The success of this relies on not only focusing on content production and local distribution, but including strategies that allow Australian content to remain free from localised edits, so it can truly reflect an Australian cultural export.</p> <p><strong>This article originally appeared on <a href="https://theconversation.com/bluey-was-edited-for-american-viewers-but-global-audiences-deserve-to-see-all-of-us-188982" target="_blank" rel="noopener">The Conversation</a>.</strong></p> <p><em>Image: Shutterstock</em></p>

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Bridgerton – how period dramas made audiences hate the corset

<p>When you think of a corset, you might imagine period drama dames sucking in as they cling onto a bedpost as a feisty lady’s maid aggressively laces them in. Nextflix’s hot Regency inspired drama Bridgerton features similar such tortuous scenes.</p> <p>In the run up to the show’s second season, Simone Ashley, who plays the new heroine Kate Sharma, complained to Glamour Magazine about the <a href="https://www.glamourmagazine.co.uk/article/simone-ashley-bridgerton-interview-2022">horrors of wearing a corset</a>. She claimed that her corset caused her “a lot of pain” and “changed her body”.</p> <p>In the first season, Prudence Featherington (played by Bessie Carter) was tight-laced into a corset. Prudence’s mother urges her daughter on: “I was able to squeeze my waist into the size of an orange-and-a-half when I was Prudence’s age”. Rather unnecessary, when regency gowns fall from an under-bust empire line, which obscures the waist. Unlike their later Victorian counterparts, regency corsets focused on enhancing a lady’s assets, not shrinking her waist.</p> <p>This scene is ubiquitous in period dramas, from Elizabeth Swan fainting in Pirates of the Caribbean, to Rose DeWitt Bukater unable to breath in Titanic, and, of course, Mammy’s iconic line, “Just hold on, and suck in!”, as Scarlet O’Hara clings to a bedpost in Gone with the Wind. It may be on screen shorthand for the restricted lives of historical women, but it stems from a fundamental misunderstanding of historical corsets and women alike.</p> <p>After centuries of women (and some men) wearing corsets to support and shape the body, it was Victorian men who <a href="https://www.youtube.com/watch?v=zNwTqanp0Aw">taught us to hate corsets</a>. Corset-related health issues were a myth, constructed by doctors, to promote their own patriarchal perspectives. So, you might be surprised to hear that period dramas are perpetuating Victorian misogyny.</p> <figure><iframe src="https://www.youtube.com/embed/FZ7r2OVu1ss?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p><strong>Medicine, misogyny, and the corset</strong></p> <p>The list of medical complaints that 19th-century doctors attributed to the corset seem unending. Constipation, pregnancy complications, breast cancer, postpartum infection and tuberculosis were all blamed on the corset. One Victorian doctor, Benjamin Orange Flower, author of the 1892 pamphlet <a href="https://archive.org/details/fashionsslaves00flow">Fashion’s Slaves</a>, claimed that “if women will continue this destructive habit, the race must inevitably deteriorate”.</p> <p>As science has developed, the medical root of these illnesses has been identified, and the corset’s culpability disproved. The corset offers an example of <a href="https://www.theguardian.com/lifeandstyle/2019/nov/13/the-female-problem-male-bias-in-medical-trials">gender bias within medical research</a>. The many ailments of <a href="https://brightonmuseums.org.uk/discover/2016/04/22/inside-georges-breeches-the-health-of-george-iv/">George IV</a>, one of the many men to wear a corset in the 19th century, were never blamed on his corset wearing.</p> <p>Some corsets were even specifically designed to be healthy and supportive. Lingerie company Gossards published <a href="https://books.google.co.uk/books/about/Corsets_from_a_Surgical_Viewpoint.html?id=hztGtwAACAAJ&amp;redir_esc=y">Corsets from a Surgical Perspective</a> in 1909, which promoted the flexibility and supportive possibilities of the corset, which could “preserve the lines demanded by fashion, but without discomfort or injury”.</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/04/file-20220330-5868-a1x92v.jpg" alt="Regency stays sought to shape women’s breasts by separating and lifting them. V&amp;A" width="754" height="1005" /></p> <p><em>Regency stays sought to shape women’s breasts by separating and lifting them. Image: <a href="https://collections.vam.ac.uk/item/O138889/stays-unknown/?carousel-image=2010EE8174">V&amp;A</a></em></p> <p>But the hourglass shape of the late 19th-century period was not what women of the regency desired. They were only interested in their breasts, as <a href="https://www.yalebooks.co.uk/display.asp?K=9780300218725">Hilary Davidson has shown</a>. Breasts needed to be lifted and separated into two round orbs. Regency corsets (or “stays” as they were known) were often <a href="https://collections.vam.ac.uk/item/O138889/stays-unknown/">short, always soft, and never heavily boned</a>. Their purpose was bust support, never restriction. I wonder what regency women would have thought of modern bras with straps that pinch and underwire that rubs.</p> <p>Historical corsets were ingenious, light and bendy. Whalebone (which is baleen from the mouth of a whale, and is not actual bone) is wonderfully flexible, and moulds to the body beneath it – and many corsets were simply reinforced with cotton cording. Corsets reduced back pain from bad posture and <a href="https://museum.maidstone.gov.uk/staff-pick-pregnancy-corset/">had expanding portions for pregnancy</a>.</p> <p><strong>Historical myth making</strong></p> <p>The problem then in the depiction of corsets in period dramas is not “historical accuracy”, an idea <a href="https://www.youtube.com/watch?v=br_tGCadJPE">widely debunked by historians</a>, including Bridgerton’s own <a href="https://www.historyextra.com/period/modern/period-dramas-should-not-be-judged-on-historical-accuracy-say-historians/">historical advisor</a>. Bridgerton’s costumes are joyously reminiscent of designer <a href="https://www.metmuseum.org/art/collection/search/80018036">George Halley</a>’s highly embellished and brightly coloured empire line fashion designs from the 1960s. Bridgerton’s costumes are historically inspired fantasy.</p> <p>Bridgerton is to Regency England what Game of Thrones is to the Wars of the Roses, and there is nothing wrong with that. It is a fantastical reimagining, creatively inspired by the past. The idea that its costumes should be “historically accurate”, or that such an aspiration is even possible, is not what is at stake here.</p> <figure><iframe src="https://www.youtube.com/embed/qYNCws-a6CQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>This is an issue of historical fallacy. Women of the past had agency over their bodies and how they were dressed. They were clever about how they achieved the fashionable proportions, padding out the <a href="https://collections.vam.ac.uk/item/O354882/bustle-pad-unknown/">hips</a> and <a href="https://risdmuseum.org/art-design/collection/bust-improver-6003412">bust</a>, rather than reducing the waist. Like the show’s famed dressmaker, Madame Delacroix, many of the professionals dressing them were themselves women. We strip away that agency and ingenuity when we assume historical women were passive dolls, dressed up and cinched in by a patriarchal society.</p> <p>For historical women, corsets were a support garment, which allowed them to follow the fashionable silhouette without having to diet, exercise, or have cosmetic surgery. It would be a refreshing change to see period dramas embrace this feminist history of the corset, instead of falling back on a misogynistic stereotype.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/180267/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><em><a href="https://theconversation.com/profiles/serena-dyer-1127384">Serena Dyer</a>, Lecturer in History of Design and Material Culture, <a href="https://theconversation.com/institutions/de-montfort-university-1254">De Montfort University</a></em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/bridgerton-how-period-dramas-made-audiences-hate-the-corset-180267">original article</a>.</em></p> <p><em>Image: @bridgertonnetflix (Instagram)</em></p>

Beauty & Style

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Stan Grant kicks out Q+A audience member

<p>ABC host Stan Grant has taken extraordinary measures to eject an audience member in the latest episode of <em>Q+A</em>. </p> <p>The moment was triggered when the audience member, known as Sasha Gillies-Leakakis, shared widely discredited pro-Russian claims about killings in Ukraine.</p> <p>The inflammatory question from Sasha was promptly and uncomfortably deflected, but the show's host was unable to move on from the controversial statements. </p> <p>Mr Gillies-Leakakis asked the panel hosts, “As someone who comes from the Russian community here in Australia, I’ve been pretty outraged by the narrative depicted by our media, with Ukraine as the good guy and Russia as the bad guy."</p> <p>“Believe it or not, there are a lot of Russians here and around the world that support what Putin’s doing in Ukraine, myself included.”</p> <p>The University of Melbourne student went on to claim that Ukraine had “besieged” the Russian populations in Donetsk and Luhansk and killed about 13,000 people, before audience members began to heckle him, with calls of “that’s a lie”, “don’t do this” and “propaganda”.</p> <p>The question was ignored by the panel, but after 20 minutes, Stan Grant felt he had to do something. </p> <p>“Something has been bothering me … people here have been talking about family who are suffering and people who are dying. Can I just say – I’m just not comfortable with you being here. Could you please leave?,” Grant said.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">Stan Grant kicks an Australian-Russian man out of <a href="https://twitter.com/hashtag/QandA?src=hash&amp;ref_src=twsrc%5Etfw">#QandA</a> for questioning the media's pro-Ukraine/anti-Russia coverage. <a href="https://t.co/tKylsWVeCK">pic.twitter.com/tKylsWVeCK</a></p> <p>— Caldron Pool (@CaldronPool) <a href="https://twitter.com/CaldronPool/status/1499487887863209987?ref_src=twsrc%5Etfw">March 3, 2022</a></p></blockquote> <p>The audience applauded Grant's request, as the audience member tried to fire back. </p> <p>“You can ask a question, but we cannot advocate violence. I should have asked you to leave then. It‘s been playing on my mind and, I’m sorry, but I have to ask you to leave.”</p> <p>Once the questioner had left, Stan apologised to the audience for the disruption and explained his motivations. </p> <p>“We come here in good faith to have open conversation, rigorous conversation. We’ve heard different points of view, and we encourage different points of view here,” he said.</p> <p>“But we can’t have anyone who is sanctioning, supporting, violence and killing of people. So I‘m sorry for the disruption. It was not a vetted question. It was a rogue question. It’s not good.”</p> <p>Following his eviction from the ABC studios, Sasha shared a lengthy post regarding his controversial views, while also saying, “I would like to say that I had no intention whatsoever of offending anyone, and so would like to sincerely apologise for any distress my comments may have caused.”</p> <p><em>Image credits: ABC</em></p>

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‘An idealised Australian ethos’: why Bluey is an audience favourite, even for adults without kids

<p>Bluey, the <a href="https://www.abc.net.au/news/2020-04-01/bluey-abc-kids-show-wins-international-emmys-childrens-award/12111308">Emmy award-winning</a> animated series about a family of anthropomorphized cattle dogs, has become a <a href="https://www.kidspot.com.au/lifestyle/entertainment/the-most-downloaded-show-on-the-abc-is-not-what-youd-expect/news-story/6c1fdef918c5890b23695538c8c136b2">ratings phenomenon</a> since it was first broadcast on the ABC in 2018. Bluey follows the eponymous six-year-old Blue Heeler, her younger sister, Bingo, and their playful parents, Bandit and Chilli.</p> <p>As part of our new research project, <a href="https://www.actcresearch.com/">Australian Children’s Television Cultures</a>, we are <a href="https://swinuw.au1.qualtrics.com/jfe/form/SV_2nLAOj9X5VUfPvw">surveying audiences</a> about how they interact with Australian children’s programming.</p> <p>From over 700 adult responses, Bluey was the TV program parents were most keen to watch with their children. Respondents celebrated its unambiguously Australian setting, irreverent humour, and family orientated themes at a time when other children’s content, such as the dead-eyed nursey rhymes of YouTube channel <a href="https://www.youtube.com/channel/UCbCmjCuTUZos6Inko4u57UQ">Cocomelon</a>, seem to only offer generic, computer-generated distractions. Indeed, many adults without children said they watch Bluey.</p> <p>One respondent described Bluey, which is set in Brisbane, as “representative of an idealised Australian ethos — relaxed, curious, and hard-working”.</p> <p>Another, an early childhood educator, emphasised that “Australian children need Australian shows”. And as a parent explained,</p> <blockquote> <p>It’s nice for children to see familiar landmarks and have issues that are current to them, as opposed to Peppa Pig and needing to explain why we don’t have snow at Christmas".</p> </blockquote> <p>One aspect of Bluey audiences consider particularly relatable is the family dynamic, including the games Bluey and Bingo play with their resourceful parents. One locked-down Australian mother has even created “<a href="https://looseparts.com.au/bluey/">50 Days of Bluey</a>”, guidelines for home activities inspired by the show.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/EuSpVc9z3Rk?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>Bluey’s games include: “Daddy Robot” in which a “malfunctioning” Bandit teaches Bluey and Bingo the importance of tidying up; “Rug Island”, a kids-only oasis that the Heelers create in their backyard; and “Mount Mumandad”, in which Bluey and Bingo climb their exhausted parents after they have collapsed on the couch.</p> <p>Then there’s the humour: described by one respondent as full of Australian cultural nuances. As one parent noted,</p> <blockquote> <p>Bluey ‘gets’ parents perfectly … we enjoy watching it so we steer our kids towards it.</p> </blockquote> <h2>Read on many levels</h2> <p>The show can be read on multiple levels, which is why it can appeal to adults too. For instance, a recent Father’s Day episode saw Bluey’s dad, Bandit, discuss his conflicted feelings about getting a vasectomy with another dad.</p> <p>As Bandit explained, “I’m keen to get it done, but, Chilli, [his wife] she wants to keep her options open”. This adult moment in what is ostensibly a kids’ cartoon generated much discussion on social media. One fan tweeted</p> <blockquote> <p>I’m a grown man wondering if a cartoon dog family is going to have a baby. Weird life this is.</p> </blockquote> <p>From election day barbecues to Queenslander houses and backyards, early audience responses to our study agree Bluey offers a snapshot of Australia. However, many were quick to point out this snapshot doesn’t provide the full picture.</p> <p>Bluey has been <a href="https://www.abc.net.au/everyday/can-bluey-show-be-more-representative/100042084">gently criticised</a> for a perceived lack of diversity. The show centres on a hetero-normative nuclear family in a world largely populated by able-bodied characters, with Anglo-Australian names and accents. As one respondent noted</p> <blockquote> <p>We’re definitely getting better [at reflecting Australian culture] with shows like Bluey, but as a gay man I would love to see more LGBT representation in kids’ shows. It would be nice as a kid to know you’re valid.</p> </blockquote> <p>Nevertheless, many of this study’s early participants felt that on the whole, kids’ TV was becoming more reflective of wider Australia. Children’s content praised for providing greater diversity of representation included Indigenous Australian-led shows Little J &amp; Big Cuz and Jarjums.</p> <p>National babysitter Play School was celebrated for its continued commitment to featuring hosts from a variety of backgrounds, and the greater diversity in The Wiggles’ new line-up was applauded.</p> <h2>Taking ‘bush wees’ global</h2> <p>One respondent wondered if the humour and references in Bluey were “lost on audiences outside of Australia”. However, since the Walt Disney Company acquired the show’s international broadcasting rights in 2019, Bluey has been reaching a wide <a href="https://www.theguardian.com/tv-and-radio/2019/jun/13/australias-bluey-goes-global-after-fetching-deal-with-disney">overseas audience</a>.</p> <p>While some small accommodations have been made for international viewers — “capsicums” became “peppers” in the UK and a gag with a pooping pony was cut for Disney Junior — the show has resisted being watered down. As such, it is taking bilbies and “bush wees” to global audiences.</p> <p>At a time when the commercial broadcaster quotas that previously protected local kids’ TV have been <a href="https://theconversation.com/cheese-n-crackers-concerns-deepen-for-the-future-of-australian-childrens-television-147183">scrapped</a> and international shows like Paw Patrol and Peppa Pig can be instantly summoned by tapping on a smart-phone, the local enthusiasm for Bluey is heartening.</p> <p>“I have friends in the US whose kids watch Bluey and they say their kids are talking in Aussie accents,” noted one respondent with pride.</p> <p>Said another: “Bluey will be forever iconic not just to kids but their parents, not just in Australia but all over the world”.</p> <p><em>Our research project, <a href="https://www.actcresearch.com/">Australian Children’s Television Cultures</a>, aims to better understand the role and responsibility of local Kids’ TV. You can participate in this research by clicking on the following <a href="https://swinuw.au1.qualtrics.com/jfe/form/SV_2nLAOj9X5VUfPvw">link</a>. You can also follow us on <a href="https://twitter.com/_ACTC_?s=20">Twitter</a>.</em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/168571/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><span><a href="https://theconversation.com/profiles/liam-burke-109751">Liam Burke</a>, Associate Professor and Cinema and Screen Studies Discipline Leader, <em><a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em>; <a href="https://theconversation.com/profiles/djoymi-baker-1269345">Djoymi Baker</a>, Lecturer in Cinema Studies, <em><a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a></em>; <a href="https://theconversation.com/profiles/jessica-balanzategui-814024">Jessica Balanzategui</a>, Senior Lecturer in Cinema and Screen Studies, <em><a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em>, and <a href="https://theconversation.com/profiles/joanna-mcintyre-333903">Joanna McIntyre</a>, Lecturer in Media Studies, <em><a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em></span></p> <p>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/an-idealised-australian-ethos-why-bluey-is-an-audience-favourite-even-for-adults-without-kids-168571">original article</a>.</p> <p><em>Image: ABC TV</em></p>

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How art museums are helping to heal their audiences

<p><span style="font-weight: 400;">The COVID-19 pandemic saw a worldwide increase in depression, anxiety and other mental health issues. </span></p> <p><span style="font-weight: 400;">As a response to the global mental health problems, art galleries and museums are responding to the collective trauma with specialised art installations and programmes. </span></p> <p><span style="font-weight: 400;">The last 18 months has seen a drastic increase of museum-based healing initiatives, that are available online and in person. </span></p> <p><span style="font-weight: 400;">The Queens Museum in New York has launched La Ventanita/The Little Window, an online art therapy program for recent immigrants and students at local elementary schools. </span></p> <p><span style="font-weight: 400;">In Florida, the Tampa Museum of Art is expanding both in-person and virtual offerings in connections, a community art engagement program geared toward people with depression, memory loss, and PTSD.</span></p> <p><span style="font-weight: 400;">In the country of Doha, a medical research centre has teamed up with the National Museum of Qatar to design an art therapy program to help alleviate depression and anxiety in children. </span></p> <p><span style="font-weight: 400;">Another New York museum has developed an online “care package” with an option to meditate amid chanting monks in a virtual version of its shrine room.</span></p> <p><span style="font-weight: 400;">The programmes are not the first time art has been used to heal individuals of traumatic experiences. </span></p> <p><span style="font-weight: 400;">Some have previously been influenced by social change, such as the Black Lives Matter movement, to help those in mourning and those dealing with mental turmoil. </span></p> <p><span style="font-weight: 400;">Art has long been used to help people heal from trauma, as a means to discuss the relationship between art and health. </span></p> <p><span style="font-weight: 400;">In 2017, the Montreal Museum of Fine Arts hired a full-time art therapist and permitted physicians to formally “prescribe” free access to their galleries, which drew in a lot of global attention. </span></p> <p><span style="font-weight: 400;">Art therapy originally arose in the 1940s and ’50s, as specialised exhibitions helped researchers in the mental health field study the brain’s response to art. </span></p> <p><em><span style="font-weight: 400;">Image credit: Shutterstock</span></em></p>

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“Do they want me got rid of?”: Anti-lockdown panellists confronted by furious audience member

<p><span>Two controversial anti-lockdown critics have been slashed by an audience member on the ABC’s <em>Q&amp;A</em>, asking them how they could “live with themselves” after their comments during the pandemic last year.</span><br /><br /><span>Cessnock woman Louise Ihlein took aim at UNSW economist Gigi Foster and The Australian’s economics editor Adam Creighton on Thursday night’s show, who have both argued that lockdowns do more harm than good.</span><br /><br /><span>Ms Ihlein said the pair had suggested “when people get to 60 their life is pretty much done” and that the “first time I clapped eyes” on Ms Foster “I burst into tears”.</span><br /><br /><span>“It was awful,” she said.</span><br /><br /><span>“I was so upset and I wrote so many angry emails to the ABC. And then I have seen Adam a couple of times last year on <em>The Drum</em> and on Twitter saying similar stuff, about the fact that his dad was 65 and he would be OK to be done. That’s disgraceful. It was just disgraceful. People aren’t worth anything. We’re not a commodity, people, we’re not.</span><br /><br /><span>“I want to know how they live with themselves? And considering that I’ve just turned 60 and I’ve got an illness I’m not going to get better from, I want to know, do they want me got rid of?</span></p> <blockquote class="twitter-tweet"> <p dir="ltr">How can society support the sick and disabled to live their best lives? <a href="https://twitter.com/hashtag/QandA?src=hash&amp;ref_src=twsrc%5Etfw">#QandA</a> <a href="https://t.co/QQewkiXazb">pic.twitter.com/QQewkiXazb</a></p> — QandA (@QandA) <a href="https://twitter.com/QandA/status/1375030189176942595?ref_src=twsrc%5Etfw">March 25, 2021</a></blockquote> <p><br /><span>“I hope as they travel through life they never have to be thought of as the other. And I want to know how they propose we give sick and disabled people a better life, a good life?”</span><br /><br /><span>“All we’ve been arguing was for what was the consensus view of science at the end of 2019, which is you take a rational approach to a pandemic and you don’t shut everything down and don’t force people to do things and don’t drag them screaming from cars at the border, you don’t shut the borders and don’t close hospitals to all other patients for months on end, you don’t end travel.</span><br /><br /><span>“All these things are so extreme, suspensions of our liberty for long periods of time. I’m no extreme libertarian at all. But this is extraordinary what’s happened in the past year. We’ve been arguing, let’s have a sense of proportion here.</span><br /><br /><span>“I personally think the world has lost its mind a bit over COVID. We’re all going to die of something. There are risks every day we have to deal with. We normally deal with them as a society. Three million people every year die of respiratory disease. Millions die of cigarettes around the world and we don’t ban them.”</span><br /><br /><span>Ms Foster responded by saying it had been a “very interesting year”, and that she had been “defamed on Twitter” after her last <em>Q&amp;A</em> appearance.</span><br /><br /><span>“As a social scientist who studies groups and societies and what makes us tick, this was an amazing opportunity for me to see people in action completely spellbound on a particular thing that can hurt people, which is COVID, and forgetting about everything else that matters in a normal time,” she said.</span><br /><br /><span>“And I was prepared to call it out and I’m proud that I did because there were very few voices in Australia who were telling a sensible, sane story despite the hysteria gripping the world.”</span><br /><br /><span>Ms Foster stressed she would “never say COVID is not a dangerous disease, absolutely it is”.</span><br /><br /><span>“I never said after 60 somebody’s life is not worth living, I would never say that,” she explained.</span><br /><br /><span>“My arguments have always been, from the beginning to the end, we need to do what’s best for human welfare as a whole. Human welfare is not determined solely by whether people are suffering and dying from COVID.</span><br /><br /><span>“It is determined by how mentally healthy they are — which they’re not when they’re shut up inside, unable to see their family and friends — how well the economy is doing, because that predicts how much the government can spend on things like hospitals and schools and infrastructure. It has to do with suicide of our young people who have been locked out of schools and jobs, it has to do with people who go bankrupt and have more house problems and all the crowded out healthcare that didn’t happen because we were so pathologically focused on COVID.</span><br /><br /><span>“So my story of the world of what’s happened this year is that the world went mad. I continue to say something sensible and I’ll be proud to have served Australia in that way.”</span><br /><br /><span>Host Hamish Macdonald began to ask a question about COVID deaths, however Ms Foster interjected and said she wanted to talk about total deaths overall.</span><br /><br /><span>“I want to ask about COVID deaths,” Macdonald said.</span><br /><br /><span>“Why?” Ms Foster hit back.</span><br /><br /><span>“Do you know how many people die in Australia from something else? Every day we lose 300, 400 people. In total from COVID we have lost fewer than 1000. And for that we have gone hundreds of billions of dollars into debt.</span><br /><br /><span>“We have now amazing crazy numbers on GDP. We have gone back 2.6 per cent last year and normally we go forward 4-5 per cent. That brings us further back on the trajectory of growth. GDP is not a perfect number but it’s something we can compare. We have compromised our future.”</span><br /><br /><span>But author Bruce Pascoe also argued that “trajectories of ever-increasing growth” were unsustainable.</span><br /><br /><span>“Can the world sustain that? Are we always going to assume our wealth will get greater, production will get greater?” he said.</span><br /><br /><span>“What about the poor old earth? She can’t sustain this and we assume with our ever-increasing industrialisation, and our ever-increasing population, which no one wants to talk about, that we can just keep on going at this escalating rate. And we can’t. And we have to address it.”</span><br /><br /><span>Pascoe, who is the author of Dark Emu, a book that explores the history of Aboriginal agriculture, said Australian political history was “120,000 years old at a minimum”.</span><br /><br /><span>“We have probably got the oldest village on earth in this country, which meant we invented society and that society for 120,000 years was largely egalitarian,” he said.</span><br /><br /><span>“I think this is a triumph and I think we need to refer to it more and more frequently and stop looking at the cycle of news as if this is the world. It is not the world. The world is in our hearts and it’s what we believe and what we do which are the main things.”</span><br /><br /><span>ABC journalist Stan Grant chimed in, saying the world’s response to the pandemic, including shutting down at the expense of economies, had “revealed both our strengths and our vulnerability”.</span><br /><br /><span>“The strengths we thought we had, our interconnectedness, our global economy, the ability to hop on a plane and in 10 hours be somewhere else on the other side of the world, revealed our fragility that we share this place in such close proximity,” he said.</span></p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7840470/abc-q-a-1.jpg" alt="" data-udi="umb://media/1dbf3db5a3554a87b7e76cd1ffcc2a40" /></p> <p><em>Stan Grant. Image: Twitter</em><br /><br /><span>Grant also revealed that he shared the same concerns that Ms Foster and Creighton’s had about liberty.</span><br /><br /><span>“What did concern me — and I think we need to think long and hard about this — is that in an emergency, when we do surrender freedom, it takes a long time, if ever, to get it back,” he said.</span><br /><br /><span>“Look at 9/11 after the attacks on the World Trade Centre. There is a reason that The Plague was written. Because the virus of coronavirus or the plague may also carry a virus of tyranny.</span><br /><br /><span>“And at a time when democracy is in retreat … when authoritarianism in the shape of China in particular is on the rise and resurgent around the world, these things of freedom, these things that bind us to each other, these things that we are meant to hold dear, sacrificed and surrendered are hard to get back.”</span><br /><br /><span>Sam Mostyn, president of Chief Executive Women, retaliated by saying that lockdown was beneficial “because during that period we learnt a lot about ourselves”.</span><br /><br /><span>“We all slowed down,” she said.</span><br /><br /><span>“I accept the mental health issues that we have to pay for now. I accept we had to change as a society. You talked about an economy stopping. A lot of people rethought what it meant to be part of the Australian society.</span></p> <p><img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7840471/abc-q-a.jpg" alt="" data-udi="umb://media/164269eb339c4db9b5a3a26c61ab7544" /></p> <p><em>Sam Mostyn. Image: Twitter</em><br /><br /><span>“They started to talk about neighbourhood again, and what mattered to us in our relationships with our families. How care (can be) at the centre of an economy instead of the kinds of things we got so obsessed with.”</span><br /><br /><span>Creighton shot back, saying those were privileged people “on fixed salaries, good salaries”, and not the hundreds of thousands who lost their jobs.</span><br /><br /><span>“They got JobKeeper as well, and a huge amount of government (support),” Ms Mostyn responded.</span><br /><br /><span>“That’s insulting,” Creighton replied.</span></p>

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Why seeing live music as a child matters

<p>The mass media invented the teenager during the 1950s and 60s – and thus emerged a whole new audience for popular culture. What we’re seeing now is the recognition of children as an ever more important audience. Musicians and performers, including many <a href="http://www.sydneyfestival.org.au/2014/Family/">on the program</a> at the Sydney Festival, are tailoring their shows to meet the needs of their young fans.</p> <p>Of course adolescence was nothing new back in the 1950s – but teenagers became an identifiable group who were targeted by people selling music, advertising and live performance in a way that they never had been during this time.</p> <p>The follow-on effect has been quite remarkable, with 50s and 60s teenagers – AKA babyboomers – continuing their teenage patterns of music and media consumption.</p> <p>As Andy Bennett and his colleagues have noted of the emerging era of <a href="http://www.bloomsbury.com/au/ageing-and-youth-cultures-9781847888358/">Aging and Popular Music Studies</a>, “in the early 21st century, the concept of ‘youth culture’ appears increasingly ambiguous and open to interpretation”. Audiences don’t grow out of mass media consumption, live music, and arts performance – rather, they take those habits with them as they grow up and on.</p> <p><strong>Step aside, teens, the kids are in town</strong></p> <p>If the teenager was invented in the 50s and 60s, the pre-teenager, the “tween” (in between child and teenager) and even the toddler, have been created by changes in the late 1990s and into the 2000s.</p> <p>The rise of Australian children’s entertainers <a href="http://www.thewiggles.com/">The Wiggles</a> as all-round performers, composers, merchandisers and popular music innovators has proven that an audience once considered too young for “youth music” is, in fact, a group to be considered.</p> <p>Not only have The Wiggles had <a href="http://www.brw.com.au/p/brw-lounge/the_biggest_earners_in_show_business_pL28d9FkZRUrlqqg0LoCmJ">the type of financial success</a> most musicians can only dream of, theirs is a unique position in terms of influencing the next generation of music makers.</p> <p>This was demonstrated by <a href="https://shop.abc.net.au/products/rewiggled-a-tribute-to-the-wiggles">Re-Wiggled</a>, a covers album released for The Wiggles’ 20th anniversary, in which “grown-up” musicians gave the pre-school fodder serious treatment. Particularly impressive are offerings by bands with members in their twenties. Their first experiences of The Wiggles come full circle with the new recordings.</p> <p><strong>Live music for young audiences</strong></p> <p>Listening to recorded music at home with your family is such an important thing for kids, and it can unquestionably set off a lifelong love of music. But seeing music live with a group of strangers is something else again.</p> <p>Live music remains an important part of a working musician’s life and a music fan’s experience, with a <a href="http://www.apra-amcos.com.au/news/allnews/LiveMusicfuelsAustralianeconomytothetuneof%2412billion.aspx">2011 study</a> finding that live music in Australia is an industry worth over a billion dollars. Once that light has been fired up, it seems, it’s hard to extinguish.</p> <p>It makes sense then that live music and performance generally for young audiences being increasingly incorporated into community festivals and live performance events.</p> <p>Dedicated kids performances and experiences, such as Ali McGregor’s <a href="http://www.sydneyfestival.org.au/2014/Family/Jazzamatazz!/">Jazzamattazz! At The Spiegeltent</a> for the current Sydney Festival, a show she previously <a href="https://www.edfringe.com/whats-on/childrens-shows/ali-mcgregor-s-jazzamatazz">toured</a> at other large cultural events such as the Edinburgh Fringe. It’s not unlike other successful shows, such as Holly Throsby’s program, in previous years.</p> <p>These aim to acknowledge the special needs of young fans with early starting times and encouraged interaction. At these events kids learn how to be audiences in person rather than consumers at home.</p> <p>We’re also seeing children’s events at key venues, such as the <a href="http://www.sydneyoperahouse.com/about/program_kids_at_the_house.aspx">Kids at the House</a> programs at the Sydney Opera House. It would be great to see more opportunities set regionally, and perhaps even staged for free or at discounted rates.</p> <p>Tailoring live music to young audiences helps provide a more rounded musical experience generally, but can also build up lifelong music and arts-going habits. By tying these shows to a broader experience – of going to the annual festival, say, or to a particular venue – the hope is that audiences may continue to visit those places/ events in years to come.</p> <p><strong>An intimate and a social experience</strong></p> <p>In a recent book, <a href="http://au.wiley.com/WileyCDA/WileyTitle/productCd-1405192410.html">Why Music Matters</a>, music academic and fan David Hesmondhalgh tackles the puzzle of music’s appeal.</p> <p>Exploring music across a range of different types of artistic expressions and audience experiences, he argues that “the fact that music matters so much to so many people may derive from two contrasting yet complementary dimensions of modern societies” – that is, “the intimate and the social, the private and the public”.</p> <p>Similarly, the British <a href="http://livemusicexchange.org/">Live Music Exchange</a>, headed up by iconic industry and academic commentators Martin Cloonan and Simon Frith, also makes the case for the importance of both private and public music engagement.</p> <p>Locally, initiatives such as <a href="http://slamrally.org/">Save Live Music Australia</a> actively put their weight behind the maintenance of a sustainable live music culture in Australia. The grassroots organisation is backed as much by those onstage and in the audience – a love for the live experience is something shared across the barriers as well as during all stages of life.</p> <p>Being able to access mediated music whenever we want – either via broadcasting, digital delivery or personal recorded music collections – is something that many young listeners get attached to at a very young age. But experiencing music live, as often and as young as we can, provides something special again.</p> <p>It gives a type of context for where sounds are coming from, and the first steps into learning how we socially experience something that matters so much to so many. <!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/22003/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: http://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/liz-giuffre-105499">Liz Giuffre</a>, Lecturer of Media, Music and Cultural Studies, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a></em></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/shows-for-little-people-why-seeing-live-music-early-matters-22003">original article</a>.</em></p>

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The reason why Aussies aren’t watching Australian-made films

<p>Around 25 new Australian feature films are <a href="http://www.screenaustralia.gov.au/research/statistics/wcfilmxcountry.aspx">released into the market</a> each year – so who’s watching them, when and how are they watching, and what makes them choose home-grown films over imported blockbusters?</p> <p>Australian films tend to do well on the festival circuit, with regular selections at <a href="http://www.screenaustralia.gov.au/festivals/default.aspx">prestigious international festivals</a> such as Cannes, Berlin, Toronto and Sundance.</p> <p>But what about the local audience? Following their cinema release, most films make their way through a series of release “<a href="http://www.screenaustralia.gov.au/research/beyond_box_office.aspx">windows</a>” – traditionally starting with DVD, followed by subscription television and finally free-to-air television.</p> <p>Some films may also get hotel and airline screenings. More recently the video-on-demand (VOD) window has been added for many films (through, for example, local services such as BigPond Movies and Quickflix). Australian audiences have access to local films across these platforms.</p> <p><strong>Access to Australian films</strong></p> <p>In 2012, <a href="http://www.screenaustralia.gov.au/news_and_events/2013/mr_130123_boxoffice.aspx">43 Australian films</a> screened at Australian cinemas, including 27 new releases and 16 films released in previous years that were still screening in 2012.</p> <p>Those 43 Australian films spent an average of eight weeks in cinemas during the year, and a median of five. At their widest point of release (the highest number of screens a film was available on during its cinema run), they averaged 75 screens across the country, with a median of 17, and at their narrowest they averaged four screens (median one screen).</p> <p>For example, Kath and Kimderella, Bait 3D, The Sapphires and Mental all went out on more than 250 screens and spent at least eight weeks in cinemas during 2012. Some 23 films reached fewer than 20 screens at their widest point of release, and 19 films ran for less than five weeks.</p> <p>Also during 2012, <a href="http://www.screenaustralia.gov.au/research/statistics/mrstfeatsvideo.aspx">31 Australian films</a> were released for the first time on DVD (such as The Hunter and The Eye of the Storm), while audiences continued to have DVD access to the hundreds of films released in previous years – Screen Australia’s data tracking indicates that more than 600 Australian films have become available on DVD to date.</p> <p>During the same 12 months, at least 154 Australian feature films tallied up more than 2,500 screenings including repeats across 31 selected drama channels in 2012.</p> <p>Some films (such as Bran Nue Dae and The Tree) had their subscription premiere in 2012, and others (such as Daybreakers, The Proposition and Look Both Ways) had repeat seasons after premiering on subscription TV in previous years.</p> <p><a href="http://www.screenaustralia.gov.au/research/statistics/mrstfeatsfreetv.aspx">Twenty four Australian films</a> had their first free-to-air television screenings in 2012, including Tomorrow When the War Began (Ten Network) and Animal Kingdom (Nine Network). And an additional 63 had repeat screenings throughout the year, after premiering in previous years.</p> <p>In fact, some of the most popular local films continue to <a href="http://www.screenaustralia.gov.au/about_us/pub_stayingpower.aspx">screen regularly on TV</a>, for example The Castle (16 screenings over the last 15 years), The Adventures of Priscilla, Queen of the Desert and Muriel’s Wedding (16 screenings each over the last 17 years).</p> <p>And hundreds of Australian films, both new release and back-catalogue, have become available on-demand through BigPond Movies, Quickflix and iTunes.</p> <p>So how many people are watching Australian films on these various platforms?</p> <p><strong>Performance</strong></p> <p>The 43 Australian films screening at cinemas in 2012 earned a total of A$48 million, which equates roughly to <a href="http://www.screenaustralia.gov.au/research/statistics/wcboprices.aspx">3.6 million admissions</a> (based on the average ticket price in 2012).</p> <p>There were around 9.5 million viewings of the first-run and repeat films on subscription television (national, consolidated, total people). (This calculation draws on OzTAM NatSTV figures for 2012. It is based on sum of average audience figures for the first release of a particular title and subsequent repeat screening between Jan 1 2012 to 31 Dec 31 2012 across 31 selection drama channels. National market data is copyright to OzTAM.)</p> <p>There were more than 15 million viewings of the first-run and repeat films on free-to-air TV (5-city metro). (This calculation draws on OzTAM 5 City Metro, total people, consolidated data for 2012. It is based on the sum of average audience figures for the first release of a particular title and subsequent repeat screening between 1 Jan 2012 to 31 Dec 2012. Metropolitan market data is copyright to OzTAM.)</p> <p>Australian films (new releases and back-catalogue combined) accounted for <a href="http://www.screenaustralia.gov.au/research/statistics/mrvideoall.aspx">4.4% of all film and TV titles</a> sold on DVD in 2012, and 4.8% of their retail value – a strong result considering that, with the popularity of TV box sets, movies in total accounted for only 52% of all DVD sales. Aggregated metrics on VOD viewings are not yet available.</p> <p>Australian films’ <a href="http://www.screenaustralia.gov.au/research/statistics/wcboshare.aspx">share of the box office</a> averaged 4.3% in the 5 years to 2012, and looks set for a similar result for 2013 - around 4%.</p> <p>In 2001, when a record A$63.4 million was earned by local features (including Moulin Rouge, Lantana, The Man Who Sued God and Crocodile Dundee in LA), this represented 7.8% of the total box office that year.</p> <p>A 4% to 5% share of domestic box office is a successful result, and to exceed that level would be exceptional. Why?</p> <p>Access plays a role in constraining box office results, with only 43 films available to cinema audiences in 2012 out of a total 584 that screened during the year (or 7.8% of the films on offer).</p> <p><strong>How many screens?</strong></p> <p>In addition, the vast majority of Australian films receive a limited (less than 20 screens) or specialty (20 to 100 screens) release – 70% of Australian films were released on less than 100 screens in 2012. By contrast, 57% of US films went out on at least 100 Australian screens in 2012, and 38% on 200 plus screens.</p> <p>When the scale of release is taken into account (the number of screens each film is available on), Australian films accounted for 4% of total opening week screens in 2012.</p> <p>With easy access to continuous programming on free-to-air television, and the relatively low cost offered by subscription services and DVD (compared to the cinema experience and its associated costs such as transport and candy bar), access to Australian films in these secondary windows can be broader and more flexible. <a href="http://www.screenaustralia.gov.au/research/hearts_and_minds.aspx">Screen Australia research</a> undertaken in 2013 confirmed that television and DVD are the dominant platforms for watching local screen stories.</p> <p><strong>The value of a cinema release</strong></p> <p>So if the main audience for Australian films is not at the cinema, why bother with a cinema release?</p> <p>Going to the cinema remains a popular activity for Australians, with 68% attending in 2012 an average of seven times. There’s a strong argument that Australians should have the opportunity to see local content across all available distribution platforms, given that <a href="http://www.screenaustralia.gov.au/research/austories_research.aspx">nine in 10 people</a> feel it’s important to have a local film and television industry that makes Australian stories.</p> <p>And the theatrical model, which generally involves higher budgets and mixed finance sources, can allow for risky and ambitious stories which can be harder to finance through the television model where multiple factors, such as ratings, advertising and the overall program schedule need to be considered in making financing decisions.</p> <p>Without the theatrical model, many of these stories would not be available to those who only to watch on DVD or television. Cinema release also helps to establish broad awareness of films, building momentum as they make their way onto other platforms. For online viewing – where choice is virtually unlimited – <a href="http://www.screenaustralia.gov.au/research/what_to_watch.aspx">content awareness is particularly important</a>.</p> <p>Australians value <a href="http://www.screenaustralia.gov.au/research/hearts_and_minds.aspx">local screen stories</a> that they can relate to and learn from, and recognise that Australian filmmakers deliver subtle, nuanced stories reflecting contemporary Australian life, which could not be made anywhere else. And <a href="http://www.screenaustralia.gov.au/about_us/pub_stayingpower.aspx">the numbers show</a> the impact of feature films continues to endure well beyond initial cinema release.</p> <p><em>Written by Rebecca Mostyn. Republished with permission of </em><a href="https://theconversation.com/explainer-wheres-the-audience-for-australian-films-20945"><em>The Conversation</em></a><em>.</em></p>

Movies

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Who Wants To Be A Millionaire contestant loses $166K after audience gives wrong answer

<p>Who Wants To Be A Millionaire in the UK saw an unlucky contestant lose £93,000 ($116,450 AUD) because he decided to side with the audience on a literature question.</p> <p>As Oliver Blake, 24, got closer towards the end of the game show, the questions increased in difficulty. He had already won £125,000 ($223,723 AUD) and could’ve walked away with the cash.</p> <p>However, Blake was interested in doubling his money to £250,000 ($447,451 AUD) and decided to stay and see what the question was.</p> <p>The tricky literature question said:</p> <p>"3 May. Bistritz. Left Munich at 8:35pm" are the opening words to which novel?</p> <ol> <li>Tinker Tailor Soldier Spy</li> <li>Dracula</li> <li>Heart of Darkness</li> <li>Frankenstein</li> </ol> <p>As the financial analyst had not read any of the four books that were the answers, he used his 50:50 lifeline that allowed him to remove two wrong answers.</p> <p>As the answers were removed, Blake still had no idea and decided to ask the audience for their thoughts. With UK host, Jeremy Clarkson, egging on the contestant by saying:</p> <p>“If you get it right you've got a quarter of a million and you're two questions from the big one.”</p> <p>It’s clear that tensions were high and Blake explained that:</p> <p>“I imagined many of them would have read at least one of the books and would known the answer.”</p> <p>With the audience voting in extremely highly favoured odds for Tinker Tailor Soldier Spy, that’s the answer that Blake went with – 81% of the audience voted in favour of that answer.</p> <p>He said: “I think let's go with... let's do it. Tinker Tailor Soldier Spy, final answer.”</p> <p>The audience, Blake and Clarkson waited with anticipation to see what answer was the correct one. As the audience groaned, the correct answer flashed across the screen: Dracula.</p> <p>Clarkson stated: “It's the wrong answer. What an absolute nightmare, it's Dracula.”</p> <p>However, the contestant took it in his stride as well, saying that “it’s something I now know”. As he walked off the stage, he went home with reduced winnings of £32,000 pounds ($57,000 AUD).</p> <p>Not a bad haul, but not as good as what he could have had.</p> <p>Did you know the correct answer? Let us know in the comments.</p>

Mind

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Alan Jones shocks Q&A audience with brutal advice to bullied MPs

<p>Alan Jones drew audible gasps when he said bullied female MPs should “take a teaspoon of cement and toughen up”, on last night’s Q&amp;A.</p> <p>Speaking of the Liberal leadership spill, the 2GB broadcaster said the party were right to depose former PM Malcolm Turnbull.</p> <p>“Turnbull started this by attacking a democratically elected leader and imagines the same rules shouldn’t apply to him,” he said.</p> <p>He also rebuked Turnbull for resigning from parliament and flying off to New York and said he should have defend his seat.</p> <p>But it was the fiery commentator’s remarks about the alleged bullying of female MPs that shocked the audience.</p> <p>“Politicians know the game they’re going in to and it is tough and it is confrontational and it is antagonistic at times.</p> <p>“I would recommend some of them who are saying they’re being bullied — they need to take a teaspoon full of cement and toughen up.”</p> <blockquote class="twitter-tweet" data-lang="en"> <p dir="ltr">.<a href="https://twitter.com/AlanJones?ref_src=twsrc%5Etfw">@AlanJones</a> thinks some of the politicians need to toughen up. <a href="https://twitter.com/AlboMP?ref_src=twsrc%5Etfw">@AlboMP</a> says it can't be dismissed. <a href="https://twitter.com/StevenCiobo?ref_src=twsrc%5Etfw">@StevenCiobo</a> says we need to enforce standards <a href="https://twitter.com/hashtag/QandA?src=hash&amp;ref_src=twsrc%5Etfw">#QandA</a> <a href="https://t.co/ldgXEgC4B8">pic.twitter.com/ldgXEgC4B8</a></p> — ABC Q&amp;A (@QandA) <a href="https://twitter.com/QandA/status/1036591916765204480?ref_src=twsrc%5Etfw">September 3, 2018</a></blockquote> <p>He said he had little sympathy for people in that position and that accusers should name names or stay quiet.</p> <p>“If these people have complaints, surely they should articulate against whom the complaints are being made? Otherwise you can accuse anybody of anything.”</p> <p>Defence industry minister Steven Ciobo, who was on the panel, distanced himself from Jones’ comments, calling Banks “a terrific woman”.</p> <p>“Our Westminster system is an adversarial system. The table is broad enough to stop two swords from touching. That doesn’t mean that anything goes. We need to tackle the cultural issues. We need to be seen to be doing it because we’re enforcing it in other workplaces,” he said;</p> <p>Prime Minister <strong><u><a href="https://www.oversixty.com.au/news/news/the-last-straw-scott-morrison-vows-to-stamp-out-bullying-culture-in-liberal-party">Scott Morrison has vowed to stamp out bullying</a></u></strong> of MPs after Julia Banks quit over what she claims were pressure and intimidation tactics used during the leadership spill.</p>

News

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Unseen photo of Prince Harry and Meghan spotted inside Buckingham Palace

<p><span>A previously unseen photo of Prince Harry and Meghan has been spotted in the Queen’s Audience Room at Buckingham Palace.</span></p> <p><span>The photo, which is the first of Meghan to appear at Buckingham Palace, is surrounded by the Queen’s other photos of her grandchildren and great-grandchildren.</span></p> <p><span>The gorgeous snap of the newlyweds sits at the front of a table near the fireplace in the room where Her Majesty hosts her weekly audience.</span></p> <blockquote class="twitter-tweet"> <blockquote class="twitter-tweet"> <p dir="ltr">Queen replaces TWO high-profile royals with unseen photo of Harry and Meghan in Buckingham Palace’s Audience … <a href="https://t.co/Hr0VSUwscs">https://t.co/Hr0VSUwscs</a> <a href="https://t.co/Pf8JdKp2Y8">pic.twitter.com/Pf8JdKp2Y8</a></p> — Chochilino (@ChochilinoRadio) <a href="https://twitter.com/ChochilinoRadio/status/1001945631299162112?ref_src=twsrc%5Etfw">May 30, 2018</a></blockquote> </blockquote> <p><span>Reportedly, the photo was taken by the couple’s wedding photographer, Alexi Lubomirski, during their engagement photoshoot in December last year.</span></p> <blockquote class="twitter-tweet"> <p dir="ltr">The Queen has a previously unseen photo of Prince Harry and Duchess Meghan in her living room - and it's gorgeous <a href="https://t.co/4VoJrdcnBO">https://t.co/4VoJrdcnBO</a> <a href="https://t.co/uv4UGtTgYe">pic.twitter.com/uv4UGtTgYe</a></p> — Gert's Royals (@Gertsroyals) <a href="https://twitter.com/Gertsroyals/status/1001812827676569605?ref_src=twsrc%5Etfw">May 30, 2018</a></blockquote> <p><span>Previous photos of the Audience Room showed that a portrait of the Queen’s daughter Princess Anne and her husband Timothy Laurence used to be on the same table.</span></p> <p><span>The portrait of Princess Anne and Timothy was last spotted in the room in April and has now been moved to the left of the lamp.</span></p> <p style="text-align: center;"><span><img width="500" height="495" src="https://oversixtydev.blob.core.windows.net/media/7818785/2_500x495.jpg" alt="2 (83)"/></span></p> <p><span>The never-before-seen photo was first spotted as the Queen welcomed the Australian High Commissioner, Honorable George Brandis, to a private audience at Buckingham Palace yesterday.</span></p> <p><span>Other photographs that decorate the room include ones of the Queen's granddaughter Zara and and her husband Mike Tindall on their wedding day, and a portrait of Prince William and Prince Harry in military uniform.</span></p>

Art

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The Project pulls off surprise proposal for couple in audience

<p>A surprise proposal (and engagement) on The Project has left the panel and audience in tears of joy.</p> <p>On Thursday night, following Carrie Bickmore’s weekly wrap-up of “good news”, the host revealed that there was an “awesome couple” sitting in the show’s live studio audience.</p> <p>“Sonny and Candice have been married and divorced, but they are still the best of friends,” Bickmore said. “They even started dating again and earlier this year they bought a house together, proving that true love never dies”.</p> <p>And at the end of the video clip of the couple’s relationship, Candice had a very special message for Sonny.</p> <p>"Hi, Sonny. I know you are in the audience, I love you and I would like to ask you to marry me and be my soul mate until the end of time?" she said.</p> <p><em>Watch the emotional moment in the video below (starts at around the 3.30 mark). </em></p> <p>  <iframe src="https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FTheProjectTV%2Fvideos%2F10154726923678441%2F&amp;show_text=0&amp;width=560" width="560" height="315" style="border: none; overflow: hidden;" scrolling="no" frameborder="0" allowtransparency="true" allowfullscreen="true"></iframe></p> <p>Cut to Sonny, who was a little taken aback but the sudden attention. All he could manage was a “yes”.</p> <p>As the emotional couple kissed, the panellists welled up at the beautiful scene.</p> <p>“All the best, we hope you have a long and happy life together,” Bickmore said.</p>

Relationships

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Ellen catches audience member stealing on her show

<p>Talk show host Ellen DeGeneres has caught an audience member red-handed after she tried to take more items than instructed.</p> <p>On The Ellen DeGeneres Show this week, Ellen told audience members they could take one (and only one!) item from her show's gift shop.</p> <p>"I just wanted to see how honest my audience was," she said. "It turns out you're very, very honest. But we set up hidden cameras just to make sure."</p> <p>Although a majority of the audience members could abide by the one-item policy, Ellen caught a less-than-honest woman named Nancy, who thought nobody would notice as she stocked up on merchandise.</p> <p><iframe width="560" height="315" src="https://www.youtube.com/embed/Cn3AgNC2TSk" frameborder="0" allowfullscreen=""></iframe></p> <p>In the hidden camera footage, Nancy's friend asks her if she's taking "more stuff" and Nancy says, "Shhh. No. Shut up," as she grabs multiple souvenirs.</p> <p>Ellen decides to use the clip as a teaching moment.</p> <p>"I like that you liked the products so much that you wanted to bring one back for your sister," Ellen told Nancy in front of the studio audience. "You're the kind of person that when you go trick-or-treating and nobody's home you don't just take one piece of candy, you take the bowl."</p> <p>"Let that be a lesson to you," she told Nancy. "You think nobody's watching you, and you just need to be a good person…You go sit in that Ellen chair right now."</p> <p>Ellen drags a dunce chair on stage and makes Nancy sit in the corner. We're sure Nancy won't be stealing anymore! </p>

TV

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