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There are more than 200 results, only the first 200 are displayed here.
What can you say when faced by another season of Bridgerton – that posing, poncing, irony-defying travesty of all history, literature and human relationships? Bridgerton took the Barbara Cartland romance/mild erotica ethos and dumbed it down to fifty shades of fluorescent polyester.
Les Murray once confessed it was his mission to 'irritate the hell out of the eloquent who would oppress my people,' by being a paradox that their categories can’t assimilate: the Subhuman Redneck who writes poems. And therein lies the ‘poem’ of Les Murray: complex, contradictory, sublime, and sometimes ready to whip his enemies with a scorpion’s tail.
Today we leave Antarctic proper; /we’ve seen the penguins and the whales, /the icebergs in their convolutions /and thought about the Age of Sail /whose heroes nosed around down here /sniffing out a sort of fame. /Or was it just the golden oil /that burned with such a lambent flame?
How about truth as an antidote to war? Who would have stomach for it, though we see war as part of existence? The trouble with its normalisation, such as in games, both in backyards and in cyberspace, is that becomes uncoupled from reality.
For those born in the wake of World War II, war stories seemed the greatest fun on earth. But the pity of it is monumental and we come to take it – if not for granted – then at least as part of the fabric of minds that had met with all that was terrible in human experience and all that called out for reverence.
Featuring a stellar cast of Hollywood’s finest actors, Apple TV's Extrapolations was a bold attempt to center a TV narrative around the dangers of our future on a warming planet, yet failed to capture audiences. But where Extrapolations failed as an effective cautionary tale for society, it may have succeeded as one for filmmakers.
Two books about a 1942 massacre of Australian nurses were released last year. One is reliable, the other is notable for factual omissions. If we leave something out, are we then guilty of censorship? Alternatively, if our truth-telling offends someone else, what is our justification for so doing?
February marks 15 years since the Black Saturday fires in Victoria when some 400 fires raced through 78 locations, taking 173 lives, injuring hundreds more, destroying more than 2,020 homes and the entire township of Marysville. In a warming climate, that reality of loss is likely to be repeated ad infinitum.
Since its release, audiences, critics and philosophers have grappled with Groundhog Day’s take on time and eternity. Like all great art, Groundhog Day resists easy categorisation and is a story that, in a wonderful irony, we can go to again and again.
A sparky, exuberant pop sub-genre with roots in the ’60s was meant to have died at the end of the ’70s, but its impact and influence are still being felt today. But what was it exactly and why does it matter?
The referendum result was a disaster for the country and a tragedy for First Australians and there has been little appetite for public discussion about lessons to be learnt from this abject failure. If we are to move forward, it’s time to begin the conversation about past mistakes.
The world of Fargo, like ours, is a fallen one, and it’s clear at the end of this season that the cycle of violence will continue. But we’re also left with a strong hope that some of the characters might have found a way out of that hellish cycle of debt and restitution. And if there’s hope for them, there’s hope for us all.
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