Welcome to Eureka Street
Looking for thought provoking articles?Subscribe to Eureka Street and join the conversation.
Passwords must be at least 8 characters, contain upper and lower case letters, and a numeric value.
Eureka Street uses the Stripe payment gateway to process payments. The terms and conditions upon which Stripe processes payments and their privacy policy are available here.
Please note: The 40-day free-trial subscription is a limited time offer and expires 31/3/24. Subscribers will have 40 days of free access to Eureka Street content from the date they subscribe. You can cancel your subscription within that 40-day period without charge. After the 40-day free trial subscription period is over, you will be debited the $90 annual subscription amount. Our terms and conditions of membership still apply.
There are more than 200 results, only the first 200 are displayed here.
An elderly couple renew their marriage vows, with a few cheeky variations. A young gay man comes out to his grandmother over the telephone. Life in a Day implicitly credits the online world as a physical space cohabited by many and varied individuals the world over.
Accused of conflating his Catholic faith with indestructibility, Brazilian Formula One driver Ayrton Senna responds, ominously, that he is ever conscious of his own mortality. His story is a tragedy of the highest order. You don't need to be a racing fan to be deeply affected by it.
50 years ago this week, migrants and refugees from Eastern Europe rioted at the Bonegilla migrant reception centre outside Albury-Wodonga. The Federal Immigration Minister said such behaviour was not tolerated in this country, but investigation prompted public sympathy for the demonstrators.
The participants on SBS's Go Back Where You Came From seem like rejects from a bad reality TV show and are stereotypical in their views. Some reflect on the difference between 'good' and 'bad' refugees: this false dichotomy is a sticking point for many refugee advocates too.
Karen has just been released from prison and is determined to make a fresh start. This means finding an honest job and reconnecting with her toddler daughter. No easy task for an Aboriginal ex-con whose own mother can't forgive her.
Director Brendan Fletcher calls it 'mad bastardry': a 'masculine energy' that is often either expelled through violence, numbed by alcohol, or both. Mad Bastards explores the roots and some solutions to male Aboriginal aggression.
Not one soul on that Easter morning long ago cared a whit about theological matters. They did not even care if the thin man once died and rose again. They were there for each other, out of respect and affection, and habit and custom, and because they wanted to give their children a thing they couldn't explain.
‘I don’t like middle class people very much,’ said Joe Bageant in an interview for the documentary Deer Hunting with Jesus. Bageant championed the cause of the ‘white redneck’, a social group he saw as being one of the most marginalised and disenfranchised in America.
I sat glued to US actor Charlie Sheen's fall from grace, which came to a head yesterday with his sacking from high-rating sitcom Two and A Half Men. The drama played out by his family, more so than the actor's meltdown, brought back a painful episode from my own past.
A lot of people say they committed Facebook suicide – deleting their profile – after seeing the new American documentary Catfish. 'Even I've scaled back,' says co-director Ariel Schulman. 'If a "virtual relationship" affects you emotionally, then it's not virtual at all.'
The Exorcist upheld an essentially fundamentalist, even romantic vision of religious experience. Its central character was an agnostic Jesuit whose encounters with demonic forces restore his faith. The Last Exorcism substitutes for the jaded Jesuit a troubled Middle American preacher.
Facebook founder Mark Zuckerberg is reportedly displeased with the film. The decay of his friendship with co-founder Eduardo Savarin during the creation of a site predicated on accumulating 'friends' is the film's greatest irony, and greatest tragedy.