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This week's offering from Eureka Street's award winning political cartoonist.
Mildred would later say of Frank that 'he always took care of me'. Yet this telling of the story shows a more mutual exchange of strength and support than such a statement might imply. The Lovings' entanglement with the state of Virginia would ultimately lead to constitutional change in favour of interracial marriage, and Loving portrays Ruth as the main agent of the battle. At a time when cultural appropriation has become much talked about, this film by a white filmmaker shows a different way.
The Fair Work Commission decision on penalty rates removes any doubt that young people might have still had about their place in the economic order. The four-yearly review of awards in hospitality, fast food, retail and pharmacy found that Sunday penalty rates 'do not achieve the modern awards objective, as they do not provide a fair and relevant minimum safety net'. But whose safety net? Unfair to whom? These industries are already notorious for exploiting young workers.
Israeli Prime Minister Benjamin Netanyahu's visit to Australia this week is having precisely the opposite impact to what he no doubt intended. Instead of shoring up support for Israel's flagrant disregard for United Nations resolutions condemning its continual annexation of Palestinian land, it is driving a deep wedge into what was previously unflagging bipartisan Australian political party support for Israel. Australia's connection with Palestine actually predates the creation of the state of Israel.
In these duplicitous times it's not surprising to find Nineteen Eighty-Four cited. In Airstrip One, WAR IS PEACE; FREEDOM IS SLAVERY; IGNORANCE IS STRENGTH - a Nineteen Eighty-Four equivalent of a Tweet with plenty of character space left to add insults. And all facts are alternative, as in the news, 'Oceania is at War with Eurasia', which becomes before your very eyes, 'Oceania has never been at war with Eurasia.' For events closer to home, Orwell's Animal Farm is disturbingly apposite.
The Academy, it seems, has listened. After the #whiteoscars furore of past years, three of this year's Oscar nominees for Best Picture, Moonlight, Fences, and Hidden Figures, are films with predominantly (if not entirely) Black casts, and focused on the experiences of Black characters. Cast and crewmembers from all three have been nominated in various categories. To be fair, all three films would have demanded attention, with or without the recent controversy around awards season racial bias.