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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.
For decades, Australian political satire has taken aim at the powerful with wit and irreverence, forging a distinct comedic tradition that holds up a mirror to society, revealing truths in the face of national absurdities. Now after 25 years, the iconic Wharf Revue takes its final bow, closing a celebrated chapter in the story of Australian satire.
Al Pacino is an actor we’re inclined to take for granted, given his presence in some of the greatest popular films of the last half century, not least his Michael Corleone in Coppola’s Godfather trilogy, which revealed an actor of extraordinary stature. Sonny Boy is a consistently diverting and illuminating book by a man who has little pomp and circumstance about him.
If you care about theatre and film and television you should be grateful to have lived at the same time as Maggie Smith. She was an artist of incomparable power and nuance, of tremendous wit and complementary poignancy. The Harry Potter kids are lucky to have experienced such style and know-how and grace.
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.
Recent media pressure led to two high profile resignations. Joe Biden, after resisting pressure to do so, has abandoned his re-election bid and English professional football manager Gareth Southgate resigned. The part played by the media merits reflection on the human vulnerability of persons in public life and of those involved in reporting on it.
Early every month Australians with big mortgages anxiously wait to find out if the Reserve Bank will raise interest rates and put more pressure on their domestic budgets. It is a bit like waiting for pronouncements from the modern day equivalent of the Delphic oracle.
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?
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.
It is a truism to say that the way money is constructed defines the power structure under which we live. But allowing private actors to manipulate and game the financial system has not just given them extraordinary power, it has undermined the way money itself is understood.
What are we to make of the enthusiasm that led to the discovery of the bus once used in The Adventures of Priscilla, Queen of the Desert and the plan to restore it for a remake, thirty years later?
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