Placeholder Content Image

6 best screening hedge plant

<h4>Lillipilly</h4> <p>With its dense screen and fast growing habit, lillipilly can grow up to eight metres tall but should be pruned to thicken the foliage. The Syzygium smithii variety is commonly known as ‘Neighbours Be Gone’.</p> <h4>Juniper</h4> <p>A conifer such as Juniperas spartan is an excellent choice due to its dense evergreen dark blue-green coloured foliage. This column-shaped hardy plant grows to three metres in 10 years and no trimming or pruning is required.</p> <h4>Camellia</h4> <p>Camellias come in two main varieties, japonica and sasanqua. For hedging, the sasanqua is the preferred choice with its faster growing habit, smaller leaves and better sun tolerance. The flowers in autumn are an added bonus.</p> <h4>Photinia</h4> <p>Photinias come in larger and smaller leaf varieties with the smaller leaf types more suitable for hedges up to two metres. With an overall deep green leaf appearance, the new growth comes as striking red foliage.</p> <h4>Murraya</h4> <p>A great alternative to box hedges with a somewhat similar texture but lighter green leaves, murraya is fast growing and easy to care for, with a pretty flush of orange blossom scented flowers in spring and summer.</p> <h4>English Box</h4> <p>Box is the most popular choice for hedging and is the best choice for a more formal look. Its slow growing tendency means it will not provide privacy for several years, but the bonus is it’s easy to maintain.</p> <p><em>Image credit: Shutterstock</em></p> <p><em>This article originally appeared on <a href="https://www.readersdigest.com.au/gardening-tips/best-screening-hedge-plants" target="_blank" rel="noopener">Reader's Digest</a>.</em></p>

Home & Garden

Placeholder Content Image

Can death on the screen feel the same as a ‘real’ one?

<p>Death is a part of life, an adage usually reserved for those who physically exist in our lives – family, friends, colleagues, acquaintances. So what happens when a profound death experience happens on the screen? Is that still a legitimate experience of mourning?</p> <p>Last week, the popular TV show <em>Succession</em> had a significant “on screen” death - where even the cast filming the scene spoke as if the response to the trauma had a very <a href="https://www.independent.co.uk/arts-entertainment/tv/news/succession-episode-three-logan-dead-b2317366.html">real feeling</a>. </p> <p>In the same way as the cast, social media reactions to the sudden and unexpected death of a person with a complex character, after four seasons of growing to understand them, can feel like the death of someone you actually know. </p> <p>The <a href="https://royalsocietypublishing.org/doi/full/10.1098/rstb.2017.0267#d3e765">research</a> behind this phenomenon can be found as far back as the 1970s when early understandings around the death of a main character on children’s television served to provide real world insight into the irreversibility of death as a universal experience.</p> <p>Over time, as popular culture and television became more nuanced, the diversity of the ways in which death occurred in fictional programs began to <a href="https://www.sagepub.com/sites/default/files/upm-binaries/5234_Bryant__Death,_Dying,_Dead,_Popular_Culture.pdf">replicate the complexity</a> of “real” loss in our lives. Via television, we get access to catastrophic loss, multiple casualty events, loss after significant illness – as well as seeing how death impacts the people left behind.</p> <p>In the most recent episode of <em>Succession</em>, we also see what happens when a death occurs involving a person where their character or relationship to others is strained. We see ways in which grief is not always a byproduct of love.</p> <h2>Why does this grief feel real from an armchair perspective?</h2> <p>Death on screen can also act as a trigger or a reminder of the losses we have endured.</p> <p>When a show realistically portrays grief in its purest form, the emotive or reflective reaction can unlock our own grief. Engaging with the small screen is an overt act of escapism, often for entertainment. We might be switching on a program with the intention of relaxation, only to be met with trauma and sadness.</p> <p>When a sudden loss is brought into our lounge rooms, or via the devices on our laps, we experience shock, confusion and anger about the abruptness of an event, just like the feelings we can experience when loss happens suddenly in our real lives.</p> <p>Safe reporting of sudden and traumatic death on fictional TV shows is not covered by media reporting guidelines. Warnings prior to a scene, or consistent information at the end of an episode about seeking additional support, might be minimal. </p> <p><a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0266722">Recent research</a> identifies multiple contexts related to warnings where TV shows may note that an episode will explore death, however, the complexity of how this might be portrayed is limited.</p> <figure> <h2>What is this grief called?</h2> <p>While there is no rulebook for grief, reacting emotionally to a small screen death can bring about concerns that we look silly or that we lack awareness of the distinction between reality and fiction. This form of <a href="https://journals.sagepub.com/doi/full/10.1177/00302228211014775?casa_token=qZ3_RQR6xw0AAAAA%3Awv53_SeeKUgDIH34Z3diViJjcghG-dJb39n--oZP5-Gz-vCRn8RTQOmNxVFZ34fnNjdrwNDriq8GCg">parasocial grieving</a>, described as having feelings attached to a pseudo-relationship, does feel real, does have consequences and does need space to be managed. </p> <p>We don’t all watch the same shows, we don’t all respond to the death of a character the same way, we might even struggle to understand why people have the reactions they do when a TV death occurs. I would encourage you to pause for a moment and remember the ones that did get under our skin. </p> <p>In 1985, Australian viewers lived through the death of <a href="https://www.theguardian.com/tv-and-radio/2020/feb/06/how-mollys-death-on-a-country-practice-touched-a-nation-the-writers-room-was-shedding-tears">Molly from <em>A Country Practice</em></a>, where the final image of a mother’s end-stage cancer diagnosis played out while watching her daughter fly a kite. </p> <p>Teens watching Sarah Michelle Gellar stumble across the sudden untimely death of her mother in <em><a href="https://www.theatlantic.com/entertainment/archive/2017/03/the-body-the-radical-empathy-of-buffys-best-episode/519051/">Buffy the Vampire Slayer </a></em>shaped many feelings when there is a catastrophic loss without warning. </p> <p>In the last decade, the <a href="https://www.theguardian.com/culture/australia-culture-blog/2013/aug/08/offspring-fans-mourn-patrick">sudden death of Patrick from <em>Offspring </em></a>had people legitimately calling in sick from work the next day. </p> <p>The <a href="https://www.youtube.com/watch?v=kAgpbPIVy0M">global reaction</a> to the Red Wedding scene in <em>Game of Thrones</em> had forums on Reddit unpacking why so many characters were murdered and sharing the impact of the sights and sounds of blood and murder and traumatic grief.</p> <p>We engage in a social contract when we connect to a TV show. We expect to be removed from our real life and engage in the viewing of other spaces. Death in those spaces – and the reactions to that loss – can feel as if they break that contract.</p> <p><em>Image credits: HBO</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/can-death-on-the-screen-feel-the-same-as-a-real-one-203549" target="_blank" rel="noopener">The Conversation</a>. </em></p> </figure>

TV

Placeholder Content Image

Age, not weight, should be the big decider in whether to screen for diabetes

<p><span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;">Because it’s possible to be diabetic or prediabetic without any symptoms, and early diagnoses lead to better health outcomes, lots of countries have screening programs for diabetes.</span></p> <div class="copy"> <p>In the US, overweight or obese people between 35 and 70 are recommended to regularly get diabetes tests.</p> <p>But <a href="https://www.ajpmonline.org/article/S0749-3797(23)00006-5/fulltext" target="_blank" rel="noreferrer noopener">new research</a> in the <em>American Journal of Preventative Medicine</em> has called this into question, suggesting that screening based purely on age will catch the greatest proportion of diabetic and prediabetic people.</p> <p>“It might sound counterintuitive because we think of being overweight or obese as the primary cause of diabetes,” says lead author Dr Matthew O’Brien, an associate professor of medicine at Northwestern University Feinberg School of Medicine, US.</p> <p>“But if we make decisions about diabetes testing based on weight, we will miss some people from racial and ethnic minority groups who are developing prediabetes and diabetes at lower weights.”</p> <p>The researchers examined data from all the 2021 diabetes screenings recommended by the US Preventive Services Task Force. Based on this data, they recommend screening every US adult aged between 35 and 70.</p> <p>“All major racial and ethnic minority groups develop diabetes at lower weights than white adults, and it’s most pronounced for Asian Americans,” says O’Brien.</p> <p>Roughly half of US adults have Type 2 diabetes or prediabetes, and 81% of adults with prediabetes don’t know they have it. Diagnoses are delayed in ethnic minorities, compared to white people.</p> <p>“Diabetes is a condition in which unacceptable racial and ethnic disparities persist,” says O’Brien.</p> <p>“That’s why we need a screening approach that maximises equity. If we can find everyone earlier, it helps us reduce these disparities and the bad outcomes that follow.”</p> <p>The researchers also found that it might be beneficial for members of some ethnic minorities to receive earlier screening, but they don’t formally recommend it.</p> <p>“It’s imperative that we identify a screening approach that is equitable across the entire US population,” says O’Brien.</p> <p>“Our findings illustrate that screening all adults aged 35 to 70 years, regardless of weight or body mass index, performs equitably across all racial and ethnic groups.”</p> <p>This age cut-off also makes it much simpler for clinicians to decide whether someone should get a diabetes test.</p> <p>“There are many ways to nudge patients and providers to complete this testing, which should be the focus of future research,” says O’Brien.</p> <p>In Australia, diabetes tests are recommended based on a <a href="https://www.healthdirect.gov.au/diabetes-screening-tests" target="_blank" rel="noreferrer noopener">range of risk factors</a>, including age, waist measurement, ethnicity, physical activity and family history. Diabetes Australia has a <a href="https://www.diabetesaustralia.com.au/risk-calculator/" target="_blank" rel="noreferrer noopener">risk calculator</a> with which you can determine your own risk.</p> <p><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --> <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=240911&amp;title=Age%2C+not+weight%2C+should+be+the+big+decider+in+whether+to+screen+for+diabetes" width="1" height="1" data-spai-target="src" data-spai-orig="" data-spai-exclude="nocdn" /></div> <div id="contributors"> <p><em>This article was originally published on <a href="https://cosmosmagazine.com/health/diabetes-tests-screening-age-weight/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by <a href="https://cosmosmagazine.com/contributor/ellen-phiddian">Ellen Phiddian</a>. </em></p> <p><em>Images: Shutterstock</em></p> </div>

Body

Placeholder Content Image

Hilarious footage emerges of Sam Neill's James Bond screen test

<p dir="ltr"><em>Jurassic Park</em> star Sam Neill appeared on the <em>Today</em> show to discuss his career and new memoir 'Did I Ever Tell You This?' but the hosts had other plans.</p> <p dir="ltr">Karl Stefanovic, Sarah Abo and Brooke Boney managed to dig up an old screen test that left the 75-year-old red-faced.</p> <p dir="ltr">"Oh, my God, no - That is so cruel to play that, so cruel," a flustered Neil said, as footage from his <em>James Bond</em> audition started rolling.</p> <p dir="ltr">In the video, a young Neill armed with a gun and donning an unbuttoned shirt bursts into a bedroom-to the surprise of a naked woman- and says the famous line "My friends called me Bond, James Bond".</p> <p dir="ltr">Neill said he was thankful that he didn’t get the part and that someone else was chosen to do the role.</p> <p dir="ltr">"I felt so awkward all day that we made that thing and it just went on and on and on," he said.</p> <p dir="ltr">"I am so relieved they offered it to someone else, they are welcome to it - you don't want to be the Bond that no-one likes, you know - that is a fate worse than death."</p> <p dir="ltr">Although he didn’t get the role of agent 007, the actor has starred in three of the J<em>urassic Park films, Event Horizon, The Dish and Peter Rabbit</em>.</p> <p dir="ltr">He also told the <em>Today </em>show hosts that he never intended on becoming a professional actor and his success was completely unexpected.</p> <p dir="ltr">"I never really imagined I would have a career in film, let alone a career as an actor," he said.</p> <p dir="ltr">"At the rather advanced age of 30 I suddenly realised I could make a living at what I loved best and I never looked back until I wrote (the memoir) and it has been good to look back - it has been really good for me."</p> <p><em>Image: Today Show, Channel 9</em></p>

Movies

Placeholder Content Image

Indigenous artist seeking white Australian to donate their “future deceased body” to an art installation

<p dir="ltr">An Indigenous artist has put a call out for Australians of “British descent” to donate their “future deceased body” to an art installation. </p> <p dir="ltr">Nathan Maynard, a well known Palawa artist and playwright, put an advertisement for the unusual request in the weekend edition of The Age newspaper.</p> <p dir="ltr">Maynard signed the bizarre request as a “palawa” artist: one of the terms First Nations people from Tasmania use when referring to themselves.  </p> <p dir="ltr">“Palawa artist wanting to find an Australian of British descent who is willing to donate their future deceased body to an art installation,” the notice read. </p> <p dir="ltr">“The work will speak to sacrifice for past sins perpetrated against the palawa. Potential applicants should see this opportunity as an honour.”</p> <p dir="ltr">“The body and memory of the successful applicant will be treated with the utmost respect at all stages of the project.”</p> <p dir="ltr">The call-out was quick to spark backlash when it was reposted on social media, with one writing, “You can’t just obtain bodies for display in newspapers now. This is very bizarre on multiple levels.”</p> <p dir="ltr">Others questioned the legality of the request, with one person writing, “I dunno that this would be legal, tampering with a corpse is a crime! You can donate your body to medical science, but I don’t think this.” </p> <p dir="ltr">Another wrote, “Borderline psychotic, definitely completely illegal.”</p> <p dir="ltr">Despite the criticism, Mr Maynard told Daily Mail Australia that since the notice went to print, he has received half a dozen applications for their body to be used in the installation in November. </p> <p dir="ltr">The artist said if white Australians are upset by the request, they should ask themselves why they didn't have the same reaction to the mass murder of Aboriginal people. </p> <p dir="ltr">“If you’re not an Aboriginal person and you’re upset by this, I think you should ask yourself why you’re not upset that there is still First Nations remains that have been stolen from their people, stolen from their country in institutions all around the world that are still not repatriated to their own communities,” he said.</p> <p dir="ltr">Nathan said the motivation behind his installation revolves around the fact that thousands of First Nations people were killed by colonists, with their remains being sent overseas to be displayed in institutions and museums without a proper ceremony. </p> <p dir="ltr">“So many Aboriginal people's remains are still overseas. People are trying to bring their ancestors home and they are being denied that right,” Mr Maynard said. </p> <p dir="ltr">“Human bodies are very sacred and they should be treated with respect.”</p> <p dir="ltr">“Whitefellas obviously don't know how to handle remains with respect, so I'm going to show them how,” he said. </p> <p dir="ltr">The artwork has already received support from the state-funded Tasmanian Museum and Gallery and the Hobart City Council, which has donated $15,000 to the unusual installation.</p> <p dir="ltr">The artwork has been commissioned to appear as part of an exhibition for the popular Hobart Current biennial exhibition in November 2023. </p> <p dir="ltr"><em>Image credits: Facebook / The Age</em></p>

Art

Placeholder Content Image

Urine sample test: new way to detect and screen for early stages of Alzheimer’s disease

<p>When it comes to <a href="https://cosmosmagazine.com/science/alzheimers-peer-review/" target="_blank" rel="noreferrer noopener">Alzheimer’s disease</a>, an early diagnosis – one made well before signs of irreversible dementia are apparent – is key to providing effective intervention and treatment. Now early detection might be as simple as a urine test, allowing for wide-scale and early screening across large populations of the elderly.</p> <p>A collaboration of researchers in China investigated urine samples for biomarkers from a large group of patients with varying severity of Alzheimer’s disease, comparing them with healthy controls.</p> <p>A compound known as <a href="https://www.acs.org/content/acs/en/molecule-of-the-week/archive/f/formic-acid.html?cid=home_motw" target="_blank" rel="noreferrer noopener">formic acid</a> (which is also produced by some ant and bee species) was a particularly sensitive marker for cognitive decline associated with Alzheimer’s disease. Significant increases in urinary formic acid levels were found in all samples from Alzheimer’s sufferers (including those with only early-stage subjective cognitive decline) as compared with those from the healthy controls.</p> <p>“Alzheimer’s disease is a continuous and concealed chronic disease, meaning that it can develop and last for many years before obvious cognitive impairment emerges,” say the authors. “The early stages of the disease occur before the irreversible dementia stage, and this is the golden window for intervention and treatment.”</p> <p>When blood samples of the participants were analysed for Alzheimer’s biomarkers in combination with the urinary formic acid level, the researchers were able to predict to what stage of the disease the patient had progressed. Their report is in <em><a href="https://www.frontiersin.org/articles/10.3389/fnagi.2022.1046066/full" target="_blank" rel="noreferrer noopener">Frontiers in Ageing</a></em>.</p> <p>Other methods currently used to diagnose Alzheimer’s disease, such as positron emission tomography brain scans, <a href="https://cosmosmagazine.com/health/medicine/alzheimers-blood-test-developed/" target="_blank" rel="noreferrer noopener">invasive blood draws</a> and lumbar punctures, tend to be costly and invasive. Although other urinary biomarkers for Alzheimer’s disease have been found, none have been able to detect the disease at its earliest stages.</p> <p>The links between urinary formic acid and Alzheimer’s disease are still not fully understood, but this research is an important step towards developing tools to diagnose and treat this debilitating condition amongst a vulnerable group in society.</p> <p>“Urinary formic acid showed an excellent sensitivity for early Alzheimer’s screening,” said the authors. “The detection of urine biomarkers of Alzheimer’s is convenient and cost-effective, and it should be performed during routine physical examinations of the elderly.”</p> <p><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --></p> <p><img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=227116&amp;title=Urine+sample+test%3A+new+way+to+detect+and+screen+for+early+stages+of+Alzheimer%E2%80%99s+disease" width="1" height="1" data-spai-target="src" data-spai-orig="" data-spai-exclude="nocdn" /></p> <p><!-- End of tracking content syndication --></p> <div id="contributors"> <p><em><a href="https://cosmosmagazine.com/health/urine-new-way-detect-alzheimers-disease/" target="_blank" rel="noopener">This article</a> was originally published on Cosmos Magazine and was written by Clare Kenyon. </em></p> <p><em>Image: Getty Images</em></p> </div>

Mind

Placeholder Content Image

6 things that could happen to your eyes if you stare at a screen all day

<h2>More screen time</h2> <p>You may know that staring at a screen all day is not particularly good for you, and that it’s a good idea to give your eyes a rest and limit your screen time. This includes your phone, laptop and TV. But, on average, you probably spend more hours than you realise staring at a digital device. With more people working from home, that amount of time is on the rise.</p> <p>“Covid-19 has put screen time on steroids,” says optometrist, Dr Paul Karpecki. You may have a work-from-home arrangement, chat with friends via video call, do online on-demand workouts, see doctors via telemedicine, and more. We’re online all the time, and there’s an indication hours spent in front of a screen are spiking.</p> <p>The average adult now spends more than 13 hours per day in front of a screen, up from just over 10 hours in 2019, according to Eyesafe, which designs and develops products that protect against blue light from digital devices. (Karpecki is also a member of the Eyesafe Vision Health Advisory Board.) Eyesafe analysed data from a March 2020 report from the Nielsen Company that estimated that Covid-19 stay-at-home orders would lead to a 60 per cent increase or more in media consumption. Even with lockdowns now lifted, many of those habits established over the last two years have remained.</p> <p>Too much screen time can lead to digital eye strain, which is a condition that results in eye discomfort and vision problems, according to Eyecare Plus. It’s true that prolonged screen time does increase your exposure to blue light. However, it’s unclear whether blue light is to blame for digital eye strain, or whether products that block blue light help.</p> <h2>You may blink less</h2> <p>You’re more likely to blink less when you’re using electronic devices or even watching TV. Specifically, staring at an electronic screen can affect how often you blink and whether your eyelids close entirely as you blink. A 2015 study published in the journal Investigative Ophthalmology &amp; Visual Science found people experienced a lower blinking rate and were less likely to completely close their eyes during a blink when reading on an electronic device, like a tablet.</p> <h2>Your eyes will dry out and may burn</h2> <p>As previously stated, when you stare at a computer screen, you blink less. This can make your eyes dry out and even feel like they’re burning. “Blinking keeps the front surface of your eye moist,” says optometrist, Dr Barbara Horn. She suggests increasing the humidity in the air at home and at work (if possible). Also, sip water throughout the day to stay hydrated, a habit that benefits your whole body, including your eyes. And finally, commit to consciously blinking more often during computer work, especially if your eyes are beginning to feel dry. There’s a condition called dry eye, which is when you have inadequate or poor-quality tears. Talk to your optometrist, who may recommend simple solutions like over-the-counter artificial tears.</p> <h2>You may get (visual) migraines with or without headaches</h2> <p>Ever heard of a condition called computer vision syndrome (CVS)? It’s the more formal term for digital eye strain, and some estimates say it affects half of computer users, according to a 2018 review in BMJ Open Ophthalmology. “CVS describes a group of eye and vision-related problems that can result from prolonged computer, tablet, or [mobile] phone use,” says Horn.</p> <p>One of those symptoms of CVS is headache. Poor lighting, glare and sticking your face too close to a screen can trigger headaches. Also, poor posture when using a computer can do this too. The more you use your devices, the worse the symptoms, she says. “People who spend two or more continuous hours at a computer or using a digital screen device every day are at a greater risk of experiencing eye strain,” says Horn.</p> <p>You can also experience a visual migraine, which is characterised by visual disturbances, such as seeing spots and zigzags in your field of vision, according to Brigham and Women’s Hospital. This can last anywhere between 20 to 30 minutes and typically, will then resolve. It’s important to note that visual migraines can occur with or without headaches; this is known as a migraine with aura, according to Headache Australia. These types of migraines can be triggered by extreme lighting and staring at electronic screens.</p> <p>To treat and prevent headaches and migraines, take regular breaks from electronic devices and follow the 20-20-20 rule, which helps protect eyesight. That means stopping every 20 minutes to stare at something 20 feet (6 metres) away for 20 seconds. Also make sure that your eyeglass prescription is correct, as that can exacerbate CVS symptoms, too.</p> <h2>You may get blurry vision</h2> <p>One of the symptoms of CVS is blurry vision. “Viewing a computer or digital screen is different than reading a printed page,” says Horn. “Often the letters on the computer or handheld device are not as precise or sharply defined, the level of contrast of the letters to the background is reduced, and the presence of glare and reflections on the screen may make viewing difficult,” she explains.</p> <h2>Your eyes may have trouble focusing</h2> <p>In order to read, your eyes have to work overtime to see clearly. The good news here is that most of the time, the blurriness will go away once you stop computer work, she says. Still, it’s not pleasant and can make tasks take longer if you’re struggling to focus. In that case, Horn suggests holding your phone or tablet further away from you at a “book reading distance” rather than up close to your face. Make the font larger if you can, and adjust the brightness to match the room (for instance: lower it in the evening). This prevents your pupils from having to adjust constantly to changing light levels, something that contributes to strain.</p> <h2>Your neck may be stiff and your jaw may ache</h2> <p>How do you feel after being attached to a digital screen for 8 hours? Likely not great. Symptoms like neck stiffness and jaw tightness “could be directly linked to digital eye strain,” says Karpecki. “We have something called the trigeminal nerve that serves basically as an expressway connecting our eyes to our temple and jaw. We have found that sometimes strain that happens in the eyes is reflected in soreness, discomfort and tightness in those two other areas,” he explains. It’s important to not only take regular breaks to follow the 20-20-20 rule, but also make tweaks to your workspace so it’s healthier for your body.</p> <h2>Expand your reading materials when you can</h2> <p>Everything you read shouldn’t be from a screen – and that can be a tall order in our digital times. “There are unique challenges to managing eye health when it comes to screens and digital devices,” says Karpecki. Reading something digital is different from on paper, even if they both use the same field of vision. “Due to the pixel movement on a digital screen, something we only perceive on a subconscious level, our eyes remain focused longer and we subconsciously reduce our blink rate,” he explains. If possible, mix up your media use: grab a paper book, magazine, or newspaper for your recreational reading pleasures.</p> <p><strong>This article originally appeared on <a href="https://www.readersdigest.com.au/healthsmart/conditions/eyes/6-things-that-could-happen-to-your-eyes-if-you-stare-at-a-screen-all-day" target="_blank" rel="noopener">Reader's Digest</a>.</strong></p> <p><em>Image: Shutterstock</em></p>

Body

Placeholder Content Image

Why it's important to install updates on your device

<p>Ever wondered if installing updates is worth the bother? Here's what you need to know.</p> <p>Whether you use an iPad, tablet, laptop or desktop computer, you have probably been prompted at one point to update your device. While these pop-up boxes may look like the spam you see on websites, they’re far from it.</p> <p>The device you use will have an operating system built into it, so iPads or Mac laptops will operate on Apple’s iOS system while tablets and laptops not made by Apple will run on Windows. Whichever system your device uses, it will eventually need an update. While it can be easy to dismiss the update notifications when they pop up on your screen, here’s why you shouldn’t.</p> <p><strong>What’s the point?</strong> <br />When a software program is developed, it is put through tests and quality checks and only once that has been satisfied is it released to the general public. However, once the software is out there in the world, and being used in real-life environments, it can come across little issues which get reported back to the developer. These companies then fix the issues and release the solutions as software updates.</p> <p>For electronic devices, especially laptops and desktop computers, security issues can be a big problem. Software updates include security solutions to malware or hackers, as well as fixes to bugs and any other issues that have occurred since the software was released.</p> <p><strong>Is it different to an upgrade?</strong><br />While they may sound similar, a software update and an upgrade provide two different functions. An update will install a current version of your software to your device, so basically updating your existing version of iOS or Windows. On the other side of the coin is an upgrade, which allows you to upgrade a program to its next major version. Generally, there will be a cost for a software upgrade.</p> <p><strong>How do I get updates?</strong><br />If your device is connected to the internet and it detects an update is available, it will prompt you with a notification message. This will alert you to the fact that an update is available and advise you of the next steps to step, such as clicking on a button on the notification message which will start the process for you.</p> <p>In System Settings on Apple devices and Control Panel for Windows devices, there’s an option where you can turn on automatic updating. This can provide significant benefits, such as improved security and reliability.</p> <p>Ultimately, software updates exist for a reason. While they may take a little while to download and install on your device, they are worth it. So, the next time that grey box pops up on your screen saying there’s an update available, click on it. It’ll keep your tablet or laptop secure and up-to-date with your software’s latest features.</p> <p><em>Image credits: Getty Images </em></p>

Technology

Placeholder Content Image

4 ways to clean your shower screen naturally

<p dir="ltr">Whether your glass shower screen is covered in those irritating hazy grey spots or, in extreme cases, you can no longer see through it, now is the time to take action.</p> <p dir="ltr">Best natural ways to clean shower glass</p> <p dir="ltr">Start by slipping on your gloves, rinse the glass thoroughly with water, wipe it over with a soft sponge, then try one of these popular methods to bring back the shine.</p> <h3 dir="ltr">1. Lemon shower cleaner</h3> <p dir="ltr">Pour straight lemon juice (freshly squeezed or bottled concentrate) onto a soft sponge. Wipe the dampened sponge over all the glass surfaces. Leave the lemon juice to work its magic for a few minutes. Thoroughly rinse away lemon juice with plenty of clean water or white vinegar then water. Dry glass to a shine with paper towel.</p> <h3 dir="ltr">2. Vinegar shower spray</h3> <p dir="ltr">Bringing the shine back to shower screen is easy with cleaning vinegar. Pour white vinegar into a spray bottle. You may wish to dilute the vinegar up to 50/50 with water and add a squeeze of lemon for a fresh scent. Drench the glass surfaces with the vinegar solution. Leave for a few minutes then work over the stains with a soft sponge or soft-bristled brush. Apply more solution if necessary. Rinse thoroughly with clean water. Dry glass to a shine with paper towel.</p> <h3 dir="ltr">3. Baking soda shower scrub</h3> <p dir="ltr">For tougher stains, head to your pantry and pull out baking soda. Make a thick paste by mixing baking soda with a little water. Smear the paste over the glass using a dampened sponge or soft-bristled toothbrush (you should avoid using coarse brushes and scrubbers as they may scratch your glass). Pay more attention to stubborn stains, particularly around door hinges and framework. Rinse with clean water then dry glass to a shine with paper towel.</p> <h3 dir="ltr">4. Toothpaste shower cleaning hack</h3> <p dir="ltr">Swap out the homemade baking soda and water paste for regular white toothpaste. While you can buy the most inexpensive toothpaste for the job, the best type of toothpaste to use is something with a simple ingredient list. Apply the paste to a dampened soft sponge, work it over the glass surfaces, then rinse with plenty of clean water. Repeat this process, if necessary. Dry glass thoroughly with paper towel. Ahh… minty fresh!</p> <h3 dir="ltr">Best and easiest way to clean glass shower doors</h3> <p dir="ltr">If you are looking for something a little tougher, Cerapol Ceramic and Induction Stove Top cleaner to transform her cloudy glass shower screen, which had built-up soap scum.</p> <p dir="ltr"> </p> <p dir="ltr"><em>Image: Getty</em></p> <p><span id="docs-internal-guid-b3e86dcd-7fff-9715-2ba2-58102412cc3f"></span></p>

Home Hints & Tips

Placeholder Content Image

First look of Keanu Reeves in fourth John Wick installment

<p dir="ltr">The first trailer of <em>John Wick: Chapter 4</em> has finally been released.</p> <p dir="ltr">Hollywood heartthrob Keanu Reeves returns as John Wick in the fourth chapter of the series which is due for release on March 24, 2023.</p> <p dir="ltr">“You wanted him back. He’s back. Watch the first sneak peek for #JW4 – in theaters March 2023,” the movie’s official Twitter account wrote along with the trailer. </p> <p dir="ltr">The fourth installment will see the bounty for Wick’s head soar as he takes his fight against the High Table global.</p> <p dir="ltr">Wick also seeks out some of the most powerful players in the underworld, from New York to Paris to Osaka to Berlin.</p> <blockquote class="twitter-tweet"> <p dir="ltr" lang="en">You wanted him back. He’s back. Watch the first sneak peek for <a href="https://twitter.com/hashtag/JW4?src=hash&amp;ref_src=twsrc%5Etfw">#JW4</a> – in theaters March 2023. <a href="https://t.co/3T0rMxLj5P">pic.twitter.com/3T0rMxLj5P</a></p> <p>— John Wick (@JohnWickMovie) <a href="https://twitter.com/JohnWickMovie/status/1550888472134705152?ref_src=twsrc%5Etfw">July 23, 2022</a></p></blockquote> <p dir="ltr">Prior to the teaser trailer release, an official still from the film was shared on social media. </p> <p dir="ltr">It shows Reeves' Wick surrounded by candles and praying - possibly reflecting on the crazy life he’s led since his wife died and dog brutally killed. </p> <p dir="ltr">Watch this space! </p> <p dir="ltr"><em>Images: Twitter</em></p>

Movies

Placeholder Content Image

PETA complaint leads to controversial art installation being dismantled

<p dir="ltr">A controversial art installation has been dismantled in Germany after animal rights organisation PETA filed a complaint. </p> <p dir="ltr">The installation titled <em>A Hundred Years</em>, first exhibited in 1990 by artist Damien Hirst, was designed to see hundreds of flies die, prompting outrage from PETA. </p> <p dir="ltr">The Kunstmuseum Wolfsburg museum was issued an oral warning from the German city’s veterinary office, to which Kunstmuseum Wolfsburg director Andreas Beitin told local media, “We thought flies were not covered by the Animal Welfare Act.”</p> <p dir="ltr"><em>A Hundred Years</em> consists of a glass display case partitioned in half, with flies being hatched on one side of the glass. </p> <p dir="ltr">When they venture through a hole in the partition, the flies are drawn to an artificial light which burns the flies on contact. </p> <p dir="ltr">The cycle continues until the end of its exhibition.</p> <p dir="ltr">Hirst has previously described the artwork as “a life cycle in a box.” </p> <p dir="ltr">In the original iteration, the flies flocked around a bloody cow’s head, to which curator Hans Ulrich Obrist described the work in its original form as “dangerous and frightening.”</p> <p dir="ltr">“Killing animals has nothing to do with art, it only shows the arrogance of people who literally go over corpses for their own interests,” Peter Höffken of PETA said in a statement. </p> <p dir="ltr">According to Germany’s Animal Welfare Act, there “must be good reason for one to cause an animal harm.”</p> <p dir="ltr">The managing director of the art museum, Otmar Böhmer, told the German Press Agency that they agree with PETA’s sentiment. </p> <p dir="ltr">“We share the basic idea of the animal welfare organisation that animals are not there to entertain us or exploit them,” he said.</p> <p dir="ltr">The museum said it will contact Hirst’s studio to establish whether <em>A Hundred Years</em> can be presented with artificial flies. If not, it has recommended that the work not be presented again.</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

Art

Placeholder Content Image

Data visualisations made more accessible to screen reader users

<p>A type of assistive technology, screen readers are software programs that scan the contents of a computer screen and transform it into a different format – like synthesised voice or Braille – for people with complete or partial blindness, learning disabilities, or motion sensitivity.</p> <p>Now, scientists from the University of Washington (UW) in the US have designed a JavaScript plugin called VoxLens that allows people to better interact with these visualisations.</p> <p>VoxLens allows screen reader users to gain a high-level summary of the information described in a graph, listen to said graph translated into sound, or use voice-activated commands to ask specific questions about the data, such as the mean or the minimum value.</p> <p>The team presented their <a href="https://dl.acm.org/doi/fullHtml/10.1145/3491102.3517431" target="_blank" rel="noreferrer noopener">research</a> last month at the <a href="https://programs.sigchi.org/chi/2022" target="_blank" rel="noreferrer noopener">ACM CHI Conference on Human Factors in Computing Systems</a> in New Orleans in the US.</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"> <div class="wp-block-embed__wrapper"> <div class="entry-content-asset"> <div class="embed-wrapper"> <div class="inner"><iframe title="VoxLens - Paper Summary and Demo Video" src="https://www.youtube.com/embed/o1R-5D2WS4s?feature=oembed" width="500" height="281" frameborder="0" allowfullscreen="allowfullscreen"></iframe></div> </div> </div> </div> </figure> <p>“If I’m looking at a graph, I can pull out whatever information I am interested in – maybe it’s the overall trend or maybe it’s the maximum,” says lead author Ather Sharif, a doctoral student in the Paul G. Allen School of Computer Science &amp; Engineering at UW.</p> <p>“Right now, screen reader users either get very little or no information about online visualisations, which, in light of the COVID-19 pandemic, can sometimes be a matter of life and death. The goal of our project is to give screen reader users a platform where they can extract as much or as little information as they want.”</p> <p>The difficulty with translating graphs, according to co-senior author Jacob O. Wobbrock, a professor of information at UW, comes from deciphering information with no clear beginning and end.</p> <div class="newsletter-box"> <div id="wpcf7-f6-p193459-o1" class="wpcf7" dir="ltr" lang="en-US" role="form"> <form class="wpcf7-form mailchimp-ext-0.5.61 spai-bg-prepared init" action="/technology/voxlens-accessibility-screen-readers/#wpcf7-f6-p193459-o1" method="post" novalidate="novalidate" data-status="init"> <p style="display: none !important;"><span class="wpcf7-form-control-wrap referer-page"><input class="wpcf7-form-control wpcf7-text referer-page spai-bg-prepared" name="referer-page" type="hidden" value="https://www.google.com/" data-value="https://www.google.com/" aria-invalid="false" /></span></p> <p><!-- Chimpmail extension by Renzo Johnson --></form> </div> </div> <p>“There is a start and an end of a sentence and everything else comes in between,” he explains. “But as soon as you move things into two dimensional spaces, such as visualisations, there’s no clear start and finish.</p> <p>“It’s just not structured in the same way, which means there’s no obvious entry point or sequencing for screen readers.”</p> <p><strong>Working with screen reader users to improve accessibility</strong></p> <p>The team worked with screen reader users who had partial or complete blindness when designing and testing the tool. During the testing phase, participants learned how to use VoxLens and then completed nine tasks, each of which involved answering questions about a data visualisation.</p> <p>The researchers found that participants completed the tasks with 122% increased accuracy and 36% decreased interaction time, compared to participants of a previous study who hadn’t had access to VoxLens.</p> <p>“We want people to interact with a graph as much as they want, but we also don’t want them to spend an hour trying to find what the maximum is,” says Sharif. “In our study, interaction time refers to how long it takes to extract information, and that’s why reducing it is a good thing.”</p> <p>VoxLens can be implanted easily by data visualisation designers with a single line of code. Right now it only works for visualisations created using <a href="https://www.javascript.com/" target="_blank" rel="noreferrer noopener">JavaScript</a> libraries – such as <a href="https://d3js.org/" target="_blank" rel="noreferrer noopener">D3</a>, <a href="https://www.chartjs.org/" target="_blank" rel="noreferrer noopener">chart.js</a> or <a href="https://www.google.com.au/sheets/about/" target="_blank" rel="noreferrer noopener">Google Sheets</a> – but the team is working towards expanding to other popular platforms.</p> <p>“This work is part of a much larger agenda for us – removing bias in design,” adds co-senior author Katharina Reinecke, associate professor in the Paul G. Allen School of Computer Science &amp; Engineering at UW. “When we build technology, we tend to think of people who are like us and who have the same abilities as we do.</p> <p>“For example, D3 has really revolutionised access to visualisations online and improved how people can understand information. But there are values ingrained in it and people are left out. It’s really important that we start thinking more about how to make technology useful for everybody.”</p> <p><!-- Start of tracking content syndication. Please do not remove this section as it allows us to keep track of republished articles --></p> <p><img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=193459&amp;title=Data+visualisations+made+more+accessible+to+screen+reader+users" width="1" height="1" /></p> <p><!-- End of tracking content syndication --></p> <div id="contributors"> <p><em><a href="https://cosmosmagazine.com/technology/voxlens-accessibility-screen-readers/" target="_blank" rel="noopener">This article</a> was originally published on <a href="https://cosmosmagazine.com" target="_blank" rel="noopener">Cosmos Magazine</a> and was written by <a href="https://cosmosmagazine.com/contributor/imma-perfetto" target="_blank" rel="noopener">Imma Perfetto</a>. Imma Perfetto is a science writer at Cosmos. She has a Bachelor of Science with Honours in Science Communication from the University of Adelaide.</em></p> <p><em>Image: Getty Images</em></p> </div>

Technology

Placeholder Content Image

No screen on your flight? No problem

<p dir="ltr">Surely we’re all familiar with the crushing disappointment of realising your plane seat has no TV screen when it comes to those dreaded long-haul flights. </p> <p dir="ltr">Some travellers use their phone as an awkward substitution for the glorious big screen, however it can be a pain to keep it propped up. One savvy tech expert knows this feeling all too well and has shared her TikTok hack for transforming the back of your seat into your very own entertainment hub.</p> <p dir="ltr">Katarina Mogus, who posts as <a href="https://www.tiktok.com/@katamogz?lang=en">@katamogz</a>, shared her own "iPhone travel hack" for when you don't have an included TV screen on the back of the seat.</p> <p dir="ltr">In the video, Mogus takes the case off her iPhone and pulls out the sick bag from the seat pocket, She then proceeds to tuck the bottom of the sick bag between her phone and case, ensuring it is thoroughly wedged in.</p> <p dir="ltr">After the bag is securely fitted inside the phone case, Mogus pulls down the tray table and folds half of the sick bag and secures it behind the tray.</p> <p dir="ltr">Finally, she uses the sliding bolt to keep the sick bag in place.</p> <p dir="ltr"> The result is a hands-free, hanging screen - so you can sit back, relax and watch your favourite television shows or movies without having it hold it up yourself.</p> <p><span id="docs-internal-guid-d7782e6f-7fff-82a6-bf43-968ae0881bf5"></span></p> <p dir="ltr">If the plane doesn't have Wi-Fi, you can pre-download shows or films on any streaming service so you can still enjoy it without using data.</p> <p dir="ltr"><em>Image: TikTok</em></p>

Travel Tips

Placeholder Content Image

See the stars who stunned at this year’s Screen Actors Guild Awards

<p dir="ltr">After years of virtual events and social distancing, the 2022 award season has kicked off in style with the Screen Actors Guild Awards in Santa Monica, California.</p> <p dir="ltr">The absence of events for celebrities to embrace the latest fashion trends has seen those attending this year’s event go all out, with particularly stunning moments coming from everyone from Nicole Kidman and Venus Williams to Helen Mirren and Lady Gaga.</p> <p dir="ltr">Here are some of the best looks to come out of the 2022 SAG Awards.</p> <p dir="ltr"><strong>Venus Williams and Lady Gaga </strong></p> <p dir="ltr">Though the tennis legend and pop icon might not have much in common, they both turned heads with gorgeous white gowns at the SAG event.</p> <p><span id="docs-internal-guid-6304a5fe-7fff-7ce9-57aa-c517f0b77e28">Williams stepped out on the red carpet in a Dolce &amp; Gabbana gown with a silver bustier, high-slit white sleeve and skirt after <em>King Richard</em> - the film she co-produced with her sister Serena - was nominated for Outstanding Performance by a Cast (or Ensemble) in a Motion Picture.</span></p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/03/venus-gaga.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Though their dresses were both white, Venus Williams and Lady Gaga shone in their take on the classic gown. Images: Getty Images</em></p> <p dir="ltr">Gaga, meanwhile, posed in a strapless white column gown that hugged her figure, which she paired with a Tiffany &amp; Co necklace and with her hair worn down. She was nominated for Outstanding Performance by a Female Actor in a Leading Role for her performance in <em>House of Gucci</em>.</p> <p dir="ltr"><strong>Helen Mirren and Jean Smart</strong></p> <p><span id="docs-internal-guid-1bf03d5e-7fff-a3bc-37b9-1baa08439487"></span></p> <p dir="ltr">The famed actresses wowed with the vibrancy of their attire, with Helen Mirren choosing a pastel pink dress with accenting floral pieces on her waist and shoulder, and Jean Smart opting for a rich maroon outfit complete with ruffles forming a halo around her shoulders and cuffs.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/03/mirren-smart.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Images: Getty Images</em></p> <p dir="ltr">Unsurprisingly, both Mirren and Smart took home awards from the event.</p> <p dir="ltr">Mirren was presented with the Life Achievement Award by Kate Winslet and Cate Blanchett, and paid tribute to actors past and present in her acceptance speech.</p> <p dir="ltr">“I’ve been angsting about what to say tonight, and I’ve been waiting for inspiration,” she said.</p> <p dir="ltr">“To all those people with whom I have shared my professional life: the actors.</p> <p dir="ltr">“It is you, you: actors, that I want to thank. For your wit, and your humour, all the giggles, all the laughter - I’ve laughed my whole life honestly.”</p> <p dir="ltr">Meanwhile, Jean Smart claimed the gong for Outstanding Female Actor in a Comedy Series for her starring role in <em>Hacks</em>.</p> <p dir="ltr">Smart also took the opportunity to praise actors.</p> <p dir="ltr">“I love actors, nobody gets us actors,” she said. “What we do is valuable, we are the tribe’s storytellers since man crawled out the cave and sat around the fire together and it’s important.”</p> <p dir="ltr"><strong>Nicole Kidman and Cate Blanchett</strong></p> <p dir="ltr">Opting for classic black, Nicole Kidman and Cate Blachett took their dresses in completely different directions.</p> <p dir="ltr"><span id="docs-internal-guid-05045047-7fff-c789-a1db-ca7e6523548d"></span></p> <p dir="ltr">Kidman - who was nominated for her role as Lucille Ball in <em>Being the Ricardos</em> - stepped out in a timeless Saint Laurent long sleeve velvet gown, accessorised with an ivory white bow.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/03/cate-nicole.jpg" alt="" width="1280" height="720" /></p> <p dir="ltr"><em>Images: Getty Images</em></p> <p dir="ltr">Appearing on the red carpet for her nomination for her supporting role in<em> Nightmare Alley</em>, Blanchett wore a jaw-dropping Armani Prive gown with a plunging neckline edged with geometric black stones.</p> <p dir="ltr"><strong>Notable mentions</strong></p> <p dir="ltr"><strong><img src="https://oversixtydev.blob.core.windows.net/media/2022/03/salma-sandra.jpg" alt="" width="1280" height="720" /></strong></p> <p dir="ltr"><em>Images: Getty Images</em></p> <p dir="ltr">Bold colours and black were popular choices on the red carpet, with Salma Hayek rocking a salmon pink halter neck gown with matching sheer gloves and Sandra Oh opting for a metallic silver gown with a tight bodice and tiered skirt.</p> <p dir="ltr"><span id="docs-internal-guid-5583eb41-7fff-de9e-5396-bf91b3c7588e"></span></p> <p dir="ltr"><em>Image: Getty Images</em></p>

Beauty & Style

Placeholder Content Image

5 blockbuster movies hitting the big screen in 2022

<p dir="ltr">After a slow two years due to the pandemic, the world of blockbuster cinema is revving back up in 2022. </p><p dir="ltr">With 2021 going out with a bang after the releases of <em>No Time to Die</em>, <em>Dune</em>, <em>The Matrix Resurrections</em> and many more, 2022 cinema has some big shoes to fill. </p><p dir="ltr">With countless blockbusters on the calendar for 2022, here are just five highly anticipated releases to add to this year’s must-watch list. </p><p dir="ltr" role="presentation"><strong>1. The Batman</strong></p><p dir="ltr">The latest instalment from DC Comics comes in the form of <em>The Batman</em>, as the dark and gritty version of the superhero flick is not one to miss. </p><p dir="ltr">Starring Robert Pattinson as Batman/Bruce Wayne, this highly anticipated movie has been gathering buzz since the first trailer was released in October last year. </p><p dir="ltr">The film boasts an all-star cast including Paul Dano, Colin Farrell and Peter Sarsgaard, and is due to hit cinemas in March.  </p><p></p><p dir="ltr"><strong>2. Top Gun: Maverick</strong></p><p dir="ltr">36 years after the success of <em>Top Gun</em>, the sequel is due to hit the big screen in May. </p><p dir="ltr">After a two-year delay due to Covid, <em>Top Gun: Maverick</em> will see Tom Cruise jump back into his iconic role for another high-stakes mission. </p><p dir="ltr">The film is directed by Joseph Kosiniski, and also stars Jon Hamm, Val Kilmer and Jennifer Connelly. </p><p></p><p dir="ltr" role="presentation"><strong>3. Jurassic World: Dominion</strong></p><p dir="ltr">In the third instalment of the <em>Jurassic World</em> trilogy, humanity must grapple with dangerous genetically enhanced reptiles on the loose. </p><p dir="ltr">The film sees the return of Chris Pratt, while also featuring nostalgic cameos from Sam Neill, Laura Dern and Jeff Goldblum. </p><p dir="ltr" style="line-height: 1.38;margin-top: 0pt;margin-bottom: 0pt"><em>Jurassic World: Dominion</em> is due to hit cinemas in June<span style="font-size: 11pt;font-family: Arial;color: #000000;background-color: transparent;font-weight: 400;font-style: normal;text-decoration: none;vertical-align: baseline">. </span></p><p></p><p dir="ltr"><strong>4. Elvis</strong></p><p dir="ltr">Australian director Baz Luhrmann is taking on one of the most famous musicians in <em>Elvis</em>. </p><p dir="ltr">Austin Butler will be playing the iconic singer, with Tom Hanks playing his manager Colonel Tom Parker. </p><p dir="ltr">Other Aussie stars such as Olivia DeJonge, Richard Roxburgh and David Wenham are also joining the cast, with the film set to be released in June.</p><p></p><p dir="ltr"><strong>5. Avatar 2</strong></p><p dir="ltr">More than 10 years after James Cameron’s revolutionary film <em>Avatar</em> was released, the sequel is due to hit the big screen in 2022. </p><p dir="ltr">In the first of many sequels, familiar faces from the first movie, such as Sam Worthington and Zoe Saldana, are due to return to their iconic roles. </p><p dir="ltr">While there is no official trailer for the film yet, the <em>Avatar</em> Twitter account has shared stunning concept art images with fans to get them excited for the next instalment.</p><p dir="ltr">Fans will still have a while to wait for the film, however, with a release date expected in December. </p><blockquote class="twitter-tweet"><p dir="ltr" lang="en">ICYMI — Check out these stunning concept art images from Avatar 2! <a href="https://t.co/QVVK8cVU21">pic.twitter.com/QVVK8cVU21</a></p>— Avatar (@officialavatar) <a href="https://twitter.com/officialavatar/status/1437807131856564227?ref_src=twsrc%5Etfw">September 14, 2021</a></blockquote><p dir="ltr"><em><span id="docs-internal-guid-1a70098f-7fff-e12b-b99d-6680b65dfd7e">Image credits: DC Comics / 6th &amp; Idaho Productions / Paramount Pictures</span></em></p>

Movies

Placeholder Content Image

From fairytale to gothic ghost story: how 40 years of biopics showed Princess Diana on screen

<p>Since the earliest Princess Diana biopics appeared soon after the royal wedding in 1981, there have been repeated attempts to bring to the screen the story of Diana’s journey from blue-blooded ingenue through to tragic princess trapped within – and then expelled from – the royal system.</p> <p>A long string of actresses, with replicas of the outfits she wore and a blond wig (sometimes precariously) in place, have walked through episodic storylines, charting the “greatest hits” of what is known of Diana’s royal life.</p> <p>Biopics about the princess tend to be shaped according to the dominant mythic narratives in circulation in any given phase of Diana’s life. The first biopics were stories of fairytales and romance. From the 1990s, the marriage of Charles and Diana took on the shape of soap opera and melodrama.</p> <p>Now, with the Crown (2016–) and Spencer (2021), Diana has become a doomed gothic heroine. She is a woman suffocated by a royal system that cannot, will not, acknowledge her special place in the royal pantheon.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/WllZh9aekDg?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <h2>Fairytales and soap operas</h2> <p>The first Dianas appeared on American television networks within months of the July 1981 wedding of Charles and Diana.</p> <p>Both Charles and Diana: A Royal Love Story (starring Caroline Bliss) and The Royal Romance of Charles and Diana (starring Catherine Oxenberg) invested wholesale in a fairytale lens.</p> <p>They told of the young and virginal beauty who had captured the attention of the dashing prince, whisked off to a life of happily ever after.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/54QRwogBUQI?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The Diana biopics fell quiet for the first years of the marriage (fairytales don’t tend to interest themselves in pregnancies and apparent marital harmony), and then reemerged after the publication of Andrew Morton’s exposé, Diana: Her True Story (1992).</p> <p>Morton’s biography was written from taped interviews with the princess and inspired the next generation of Diana biopics, ones that I call the “post-Morton” biopics, which borrow from Diana’s own scripting of her life.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/R7OnHYcTqLk?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>A series of actors were enlisted to play Diana in these made-for-television productions.</p> <p>Oxenberg turns up again in Charles and Diana: Unhappily Ever After (1992). In Diana: Her True Story (1993), Serena Scott-Thomas (who, incidentally, turns up in the 2011 television biopic William and Kate as Catherine Middleton’s mother Carole) does her best with a terrible script and series of wigs.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/tUFUuGpHHPg?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>Others gave it their best shot. We had Julie Cox in Princess in Love (1996), Amy Seacombe in Diana: A Tribute to the People’s Princess (1998), Genevieve O'Reilly in Diana: Last Days of a Princess (2007) and, briefly, Michelle Duncan in Charles and Camilla: Whatever Love Means (2005).</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/eNTR0nZZXn4?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>But even large budget films (such as 2013’s cinema-release Diana, directed by Oliver Hirschbiegel and starring Naomi Watts) had critics and audiences letting out <a href="https://www.rottentomatoes.com/m/diana_2013">a collective yawn</a>.</p> <p>In film after film we were offered yet another uninspired, soap opera-style representation of the princess’s life.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/ca2GGofxzX4?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <h2>A gothic tale</h2> <p>Critics’ voices were quelled somewhat with the appearance of Emma Corrin’s Diana in season four of The Crown.</p> <p>With Netflix’s high budget and quality production values, many — <a href="https://theconversation.com/the-crown-season-4-review-a-triumphant-portrait-of-the-1980s-with-a-perfectly-wide-eyed-diana-149633">including myself</a> — felt Peter Morgan’s deliberate combination of accuracy and imaginative interpretation of Diana’s royal life offered something approximating a closer rendition of the “real” princess than we’d been presented with before.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/Tedqw0gMuCI?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>And then we come to the most recent portrayal of Diana on screen, Pablo Larraín’s Spencer (2021), starring Kristen Stewart as Diana. What, royal biopic watchers wondered, could it possibly do to top The Crown’s Diana?</p> <p>Spencer’s statement in the film’s opening offers a clue: it promises to be a “fable from a true tragedy”.</p> <p>This is a film where genre imperatives and creative imaginings are placed at the forefront of its representation of the princess.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/f-FBHQAGLnY?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>Taking its cue from the gothic themes and tropes Diana can be heard invoking on the Morton tapes, Spencer’s heroine is trapped in a frozen Sandringham setting, gasping for air to the point where her voice rarely lifts above a soft, almost suffocated, whisper.</p> <p>She tears at the pearls encircling her throat. She rips open the curtains sewn shut by staff. She self-harms with wire cutters. She runs like an animal hunted down manor house corridors and across frosty Norfolk fields.</p> <p>She is haunted by the ghost of Anne Boleyn, another royal wife rejected by her husband, prompting <a href="https://www.townandcountrymag.com/leisure/arts-and-culture/a38164090/princess-diana-spencer-horror-movie/">one reviewer to ask</a>: “is Spencer the ultimate horror movie?”</p> <p>Larraín and Stewart’s Diana has her precursor in the spectral, gothic Diana who appears in the 2017 future-history television film King Charles III, based on Mike Bartlett’s 2014 play. The anguished howl of this Diana (played by Katie Brayben) echoes throughout the palace in the same way Spencer’s Diana is framed as the royal who will haunt the Windsors for decades to come.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/nyckuIRtag0?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The lamentable Diana: The Musical (2021) on Netflix (a filmed version of the Broadway production starring Jeanna de Waal) – with its cliched storyline, two-dimensional characterisation, awkward costuming and early 1980s Andrew Lloyd Webber-style aesthetic – offers some evidence that, even in 2021, the creators of Diana stories haven’t altogether abandoned their investment in the Diana of 1981.</p> <p>But with Spencer, we have a Diana shaped by both the princess’s own version of her story, and the screen Dianas that came before her. Spencer suggests new directions and potential for the telling of royal lives.<!-- 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/173648/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><iframe width="440" height="260" src="https://www.youtube.com/embed/UlebsnuEI1Y?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p><span><a href="https://theconversation.com/profiles/giselle-bastin-391174">Giselle Bastin</a>, Associate Professor of English, <em><a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</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/from-fairytale-to-gothic-ghost-story-how-40-years-of-biopics-showed-princess-diana-on-screen-173648">original article</a>.</p> <p><span class="attribution"><span class="source"><em>Image: Pablo Larraín/Roadshow</em></span></span></p>

Movies

Placeholder Content Image

How an unusual art installation from 2016 went viral

<p><span style="font-weight: 400;">An art installation created in 2016 by two Chinese artists has been given a new life online, with users on TikTok connecting to the piece. </span></p> <p><span style="font-weight: 400;">The artwork, titled </span><em><span style="font-weight: 400;">Can’t Help Myself</span></em><span style="font-weight: 400;">, showcases a machine inside a glass cube with a robotic arm that is illuminated by fluorescent lighting. </span></p> <p><span style="font-weight: 400;">The robot arm has one task: to sweep up an oozing dark red liquid, made to resemble blood, that slowly spills out in a perfect circle. </span></p> <p><span style="font-weight: 400;">The machine works endlessly on a task that is never finished, to showcase the tiring feeling of endless labour. </span></p> <p><span style="font-weight: 400;">Every now and then, the task is interrupted when the robotic arm breaks into a series of dance moves, giving the machine scarily human characteristics. </span></p> <p><iframe width="560" height="315" src="https://www.youtube.com/embed/jRjrI42WsH4" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen=""></iframe></p> <p><span style="font-weight: 400;">Created by artists </span><span style="font-weight: 400;">Sun Yuan and Peng Yu for New York’s </span><a href="https://www.guggenheim.org/artwork/34812"><span style="font-weight: 400;">Guggenheim Museum</span></a><span style="font-weight: 400;">, the piece uses “visual-recognition sensors and software systems to examine our increasingly automated global reality, one in which territories are controlled mechanically and the relationship between people and machines is rapidly changing.”</span></p> <p><span style="font-weight: 400;">As the exhibit was first installed in 2016, footage of the machine slowing down has gone viral on TikTok, with many younger audiences finding their own devastating meaning in the piece. </span></p> <p><span style="font-weight: 400;">“It looks frustrated with itself, like it really wants to be finally done,” one comment with over 350,000 likes reads. “It looks so tired and unmotivated,” another said.</span></p> <p><span style="font-weight: 400;">Another emotional user commented, “This is what trauma feels like. You can sweep it away but it’s always there no matter what you do.”</span></p> <p><span style="font-weight: 400;">One Twitter user analysed the work, claiming the piece was about “the hydraulic fluid in relation to how we kill ourselves both mentally and physically for money just in an attempt to sustain life, how the system is set up for us to fail on purpose to essentially enslave us and to steal the best years of our lives.”</span></p> <p><span style="font-weight: 400;">With all art, </span><em><span style="font-weight: 400;">Can’t Help Myself</span></em><span style="font-weight: 400;"> is open to interpretation by an objective audience, with the artists welcoming people’s thoughts on its greater meaning.  </span></p> <p><span style="font-weight: 400;">Regardless of how it influences each person, the hypnotising installation has cemented itself in the creative zeitgeist, with audiences finding similarities between their own struggles and a programmed bionic machine. </span></p> <p><em><span style="font-weight: 400;">Image credits: Twitter</span></em></p>

Art

Placeholder Content Image

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

<p>The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story.</p> <p>These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film.</p> <p>Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium.</p> <p>To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts.</p> <h2>DO use real locations creatively</h2> <p>Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way.</p> <p>A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane.</p> <p><a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">In The Heights (2021) is a love letter to the Washington Heights area of NYC.</span> <span class="attribution"><span class="source">IMDB</span></span></p> <p>In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings.</p> <p>See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town</p> <h2>DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding</h2> <p>Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction.</p> <p>Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations.</p> <p><a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">Chicago (2002), features musical numbers entirely set within the character’s internal fantasies.</span> <span class="attribution"><span class="source">IMDB</span></span></p> <p>This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience.</p> <p>The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret.</p> <p>Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals.</p> <h2>DO fix problems with the dramatic unfolding of the source material</h2> <p>Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River.</p> <p>In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place.</p> <p>The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled.</p> <p><a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical.</span> <span class="attribution"><span class="source">IMDB</span></span></p> <p>It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!)</p> <p>See also: Hair, Hairspray, Tick Tick Boom</p> <h2>DON’T adapt a musical to film that didn’t work on stage</h2> <p>Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage.</p> <p>Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen.</p> <p>Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth.</p> <p><a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <span class="caption">Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical.</span> <span class="attribution"><span class="source">IMDB</span></span></p> <p>Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music.</p> <p>Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice.</p> <p>I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<!-- 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/169946/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/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, <em><a href="https://theconversation.com/institutions/university-of-auckland-1305">University of Auckland</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/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946">original article</a>.</p> <p><em>Image: 20th Century Studios</em></p>

Movies

Placeholder Content Image

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

<p>The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed <em>In the Heights</em>, disastrously received <em>Dear Evan Hansen</em>, and Steven Spielberg’s hotly anticipated <em>West Side Story</em>.</p> <p>These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of <em>Hamilton</em> and <em>Come from Away</em>), or merely to create bigger stage sets in a studio (there are many examples of this, from <em>Guys and Dolls</em> to <em>The Producers</em>) is not truly to adapt a musical to film.</p> <p>Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium.</p> <p>To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts.</p> <p><strong>DO use real locations creatively</strong></p> <p>Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way.</p> <p>A successful recent example of this is <em>In the Heights</em>. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane.</p> <p><a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <em><span class="caption">In The Heights (2021) is a love letter to the Washington Heights area of NYC.</span> <span class="attribution"><span class="source">IMDB</span></span></em></p> <p>In the number <em>When the Sun Goes Down</em>, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings.</p> <p>See also: <em>Fiddler on the Roof, Jesus Christ Superstar, On the Town</em></p> <p><strong>DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding</strong></p> <p>Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction.</p> <p>Two musicals directed by Rob Marshall, <em>Chicago</em> and <em>Nine</em>, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations.</p> <p><a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <em><span class="caption">Chicago (2002), features musical numbers entirely set within the character’s internal fantasies.</span> <span class="attribution"><span class="source">IMDB</span></span></em></p> <p>This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience.</p> <p>The exception that proves the rule here is <em>Cabaret</em>, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret.</p> <p>Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals.</p> <p><strong>DO fix problems with the dramatic unfolding of the source material</strong></p> <p><em>Show Boat</em> was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River.</p> <p>In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place.</p> <p>The 1965 film version of <em>The Sound of Music</em> similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled.</p> <p><a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a> <em><span class="caption">The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical.</span> <span class="attribution"><span class="source">IMDB</span></span></em></p> <p>It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (<em>My Favourite Things</em> on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!)</p> <p>See also:<em> Hair, Hairspray, Tick Tick Boom</em></p> <p><strong>DON’T adapt a musical to film that didn’t work on stage</strong></p> <p>Poor Alan Jay Lerner. After the extraordinary success of the film version of <em>My Fair Lady</em>, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage.</p> <p><em>Camelot</em>, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen.</p> <p>Lerner tried again with <em>Paint Your Wagon</em> in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably <em>They Call the Wind Maria</em>). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth.</p> <p><a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a><em> <span class="caption">Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical.</span> <span class="attribution"><span class="source">IMDB</span></span></em></p> <p>Third time was not a charm, with <em>On a Clear Day You Can See Forever</em>. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music.</p> <p>Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every <em>Cabaret</em> there are two <em>Annies</em> and a <em>Man of La Mancha</em>. Spielberg’s new <em>West Side Story</em> will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice.</p> <p>I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<!-- 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/169946/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><em><a rel="noopener" href="https://theconversation.com/profiles/gregory-camp-1280180" target="_blank">Gregory Camp</a>, Senior Lecturer, <a rel="noopener" href="https://theconversation.com/institutions/university-of-auckland-1305" target="_blank">University of Auckland</a></em></p> <p><em>This article is republished from <a rel="noopener" href="https://theconversation.com" target="_blank">The Conversation</a> under a Creative Commons license. Read the <a rel="noopener" href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946" target="_blank">original article</a>.</em></p> <p><em>Image: <span class="attribution"><span class="source">20th Century Studios</span></span></em></p>

Movies

Our Partners