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Mustafa speaks very good English, and his professional skills are going to help him get work in Australia. He is not going to take an 'Australian's job' - he will work and contribute to the economy, as we all try to do. Ali's situation is far less certain. He came on a boat after being approved as a refugee by the UNHCR in Indonesia. He saw no movement in resettlement from Indonesia so he came to Australia. He is one of the thousands who, if they can prove their refugee case, only get a temporary visa.
In one scene, as Taylor and Davis argue, the dialogue comes down and the score comes up; her voice is literally taken from her. When Davis then physically assaults her, the message is clear: his music and his violence are notches on the same spectrum. This conflation of creativity with destructiveness is a typical error of mainstream biopics about great artists who were not nice people. Yet applied in the context of spousal abuse it is not only specious but ethically dubious, even dangerous.
At the epicentre of all this is a place where young, queer men and women had felt safe and free to be themselves. The dead are almost all black, brown, gay and working class. If, as Dr Cornel West has often said, justice is what love looks like in public, then injustice must be what hate looks like, and there is perhaps no greater injustice than murder. Mass murder is hatred realised in full grotesque proportion. This means is that the little things we do to validate hatred are not inconsequential.
The show's implicit subversiveness runs deep. It is embodied in the fact that its cast consists of mostly Black and Latino performers portraying White characters, using a vernacular and musical styles popularly associated with these cultural groups. It thus stands as a riposte to the history of black/brownface and whitewashing in popular entertainment. Crucially, in a show about 'founding fathers', it is the story's women who not only provide its emotional core but are also the most fundamentally heroic.
Ellis' work is a prime example of the notion advanced by the French existentialist philosopher Jean-Paul Sartre: that committed literature, and the act of writing, are political and ethical acts. Even in a film script, one can ponder social political change. Always of the left, but never formally the structured party man of faction and following, the dishevelled, sometimes wild Ellis proved contrarian even to Labor stalwarts. There were never pious reflections, or unqualified praises.
To many the challenge to endurance comes from a public world in which small gains are overtaken by huge losses. Why bother about people who seek protection from persecution or about our natural environment when the small initiatives we take are overrun by a flood tide of brutality and cynicism? What hope of building harmony in society when the Paris bombings are followed by those of Brussels? This challenge is universal, so the Christian celebration of Easter is of wider interest.
It's time someone called out this whole Billy Brownless/Garry Lyon saga for what it is. These former AFL footballers and sports media colleagues have fallen out over the past few months, over a reported affair between Lyon and Brownless' ex-wife, Nicky. This is not merely a salacious non-story. It is the nadir of a grubby grain of sports journalism that serves as the mouthpiece for an industry that has a long way to go before it leaves accusations of racism, homophobia and misogyny in its wake.
193-200 out of 200 results.