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There are more than 200 results, only the first 200 are displayed here.
Starring Cate Blanchett at the height of her powers, Disclaimer, the new streamer by Alfonso Cuarón, has already been dubbed the finest thing ever made for the new television, with the director claiming not to have made a serial, but a continuous film.
As house prices soar, half the nation finds itself locked out of the property market. In conversation with Eureka Street, Alan Kohler untangles the web of tax incentives, population pressures, and government policies fueling the housing crisis to discover why, despite public outcry, solutions remain frustratingly out of reach.
When we look back a decade hence on the way we lived in 2020, Shirley is going to serve as a literary time capsule. If you’re in search of a visceral feel for what it’s like to live in a specific place at a specific time — namely Melbourne in 2020, as the first pandemic in a century casts a pall over the zest for life itself — this book is a must read.
Blanche DuBois is a character defined by her fragility, and her descent into madness is a harrowing testament to the pressures of a society that offers little mercy to women. But when Blanche is portrayed as a figure of power and defiance, she lacks the vulnerability of her predecessors and the logic of her descent into ‘madness’ isn’t as clean-cut.
It’s easy, isn’t it – much too easy – to invoke the standard response that only in the so-called Land of the Free could these things transpire. A vulgar, mendacious man who has refused to believe that he lost the last election is now the improbable victim of an assassination attempt. And the incumbent president, who has not done badly at his impossible job, surrenders his chance at re-election.
It's been eight months since the Voice referendum, and people are starting to grapple with what its defeat means for Australia. There are few voices in Australia as qualified to conduct a postmortem of the outcome of the Voice referendum campaign as Frank Brennan. We examine what lessons can be learned and crucually, whether there’s reason for hope for Indigenous constitutional recognition.
With Furiosa, George Miller returns to the Mad Max franchise that launched his almost five-decade-long career. Apocalyptic wastelands with their cacophony of blaring engines and vistas of desert panoramas are second nature to him by now. But fans of the film (myself included) must sadly admit that Furiosa is tanking at the box office, and is only the most recent in a string of female-led actioners that have flopped.
In the latest Quarterly Essay profile of Peter Dutton, author Lech Blaine may well describe his work as character delineation, rather than character assassination. But we seem to be at an impasse in Australian market of ideas, and scorn gives greater bang for the buck than dialogue.
In light of the gains made in lifting people out of poverty during the pandemic, it seems critics are justified in viewing this year’s budget with more than a little disappointment. I wonder, when it comes to the federal budget, who are we trying to serve?
Jerry Seinfeld makes his directorial debut Unfrosted, a gleefully silly family comedy about the invention of the Pop-Tart. But the problem with this film is whether the sheer weight of comedic talent involved translates to actual laughs. Packed with countless cereal-based gags, it raises the question: Are disposable, pointless things worth anything?
There is money to be made in war, especially from making weapons, and what we are witnessing at the moment in Ukraine and the Middle East is simply the latest episode in a story that goes back centuries.
The national conversation is very much spotlighting domestic violence and violence towards women. As a nation, we need to consider hard questions around the abundant factors within our society with connections to violence. Over three decades, we have made gains, but there’s more work to be done.
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