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When I watch the video 'How women become gay', it hurts. Not because of the anti-gay content, but because it uses language about God's love, the type of religious language I grew up with, to sneak past my defenses. For a moment, despite years of learning to accept myself, I waver.
In the Philippines and elsewhere, the spread of disinformation appealing to fear and hatred has helped create what Rappler CEO Maria Ressa describes as a 'spiral of silence that has had an incredibly negative impact on our democracy'. Social media platforms are far from blameless.
Standing and waiting in a crowd at peak hour outside Newtown train station at the pedestrian crossing. A crossdresser wearing a one piece orange swimsuit, a tiny matching frilly skirt and platform shoes pushes through. The sound of a communal inbreath as she runs dangerously through the traffic to the other side.
For too long, the media has been complicit in maintaining the conditions which allow the likes of Cottrell and Hanson to become 'figures'. They fuel history wars, demonise migrants, target Aboriginal activists, objectify and ridicule women while ensuring at the end of the day, the Murdochs and Packers of the world still have hefty pay cheques.
Last week, Javier Rebolledo, an investigative journalist specialising in uncovering dictatorship era crimes, was taken to court by a convicted torturer and former member of Pinochet's secret police. It is an act of political violence against a committed journalist. Chile needs people like Rebolledo if memory is to survive.
A thread of male entitlement binds the American literary world to a shepherd's world in India's Kashmir valley. Days ago, the American author Junot Diaz left the Sydney Writers Festival amid allegations of sexual abuse. In India there is another, more sinister and tragic manifestation, woven with the use of rape as a weapon of war.
The commentary around the film's appropriation of Japanese culture has been sustained and substantial. At least these allusions are for the most part detailed and respectful; that the hero is named after a defunct American video game company is less palatable. Trickier still are the creative decisions related to language.
When Cynthia Nixon announced she was running for governor of New York the excitement was instantaneous. Not because she was a woman, as there have been no female governors of the state, nor because she once played Miranda on Sex and the City, but because she spoke in a way that captured leftie hearts the world over.
Kane insists God doesn't make mistakes: 'That's what makes him God.' Lena retorts with reference to the Hayflick limit — the naturally occurring limit on the number of times cells can divide. Never mind cancer; the very fact of ageing, she says, comes down to a flaw in our DNA. It's a telling scene, pointing to a scientifically enlightened humanity at odds with its own physiology.
Last year Brooklyn Museum exhibited radical 20th century works by American women of colour alongside The Dinner Party, a 1970s Second Wave feminist piece noted for its white, middle-class preoccupations. The resonance of this pairing illuminates the plight of Christian, hero of the Swedish art-world farce The Square.
Is it any wonder that when I came to work in the press gallery I was cynical about arts policy? In those lockup hours scouring budget papers it was clear yet again the arts would not see any wins. It wasn't always this way. Prime ministers and arts ministers of yesteryear produced arts policy informed by their personal and political interest.
Many films and TV shows use mental illness to explain violent behaviour. The stereotype is so ingrained that after the recent Florida shooting, Trump said he would deal with 'the difficult issue of mental health', but didn't mention guns once. In reality, people with mental illness are more likely to be the victims than perpetrators of violence.
97-108 out of 200 results.