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Nathan has been able to refine Ava's software thanks to his unmitigated access to internet users' search data, as well as to their telecommunications. Caleb, too, wonders if his attraction to Ava is due to her design being based on a review of his internet pornography profile. It is no coincidence that Ava replicates an idealised version of the female form. Nathan's and even Caleb's relationship to her is fundamentally exploitative and voyeuristic.
The boys possess the steel and resourcefulness that must come from living on the streets of one of the world's most dangerous cities, along with the fragility and artlessness that are hallmarks of youth. It is heartbreaking to witness the ease with which they are exploited or degraded, and inspiring to see the fervour and ingenuity with which they are able to fight back.
Vera, a latecomer to the gathering, interjects. She has worked as a nurse, has had her hands warmed by the blood of the maimed and the soon-to-be-dead of both sides of the conflict. She has lost loved ones, too — a brother, a friend, a fiancé — and the grief of their loss will be with her always. But how can violent conflict ever be truly redeemed through the trauma of more violent conflict? The German soldiers who died in the war left behind loved ones, too.
The manner in which Hugh drugs and binds Jay has strong overtones of 'date rape'. More than this, though, there is inherent violence in his having had sex with her at all, knowing that her consent hinged on her ignorance of the real consequences. Now, to be fair, there are men in the film who suffer, too. But the objectification of women by the male gaze and the predatory dynamic this entails is too pervasive to ignore.
Nathan was diagnosed when he was young, and was encouraged by his parents to view the diagnosis as a gift rather than a curse. It manifests in part as a prodigious talent for mathematics. Nathan finds patterns soothing, and so mathematics becomes a refuge as much as an academic interest. He shares a close bond with his father, but his mother, despite her best efforts, struggles to connect in the same way.
Cameron's illness is severe enough that he has been institutionalised at least once. He is on lithium but tends to neglect it, preferring to self-medicate with alcohol. His sensitive but strong-willed daughters do not make his life easy, but neither are their mother's absence and their father's illness easy on them. Still, there is a good reason why these events are viewed with nostalgia, and a good deal of humour.
At the height of the Troubles in Belfast, a young British soldier becomes separated from his unit and spends a night lost in one of the city's most dangerous locales. The city is fractured along numerous lines: it's not merely Catholic versus Protestant; the radicalised youths of the Provisional IRA are at odds with their established forebears. Rarely have the Troubles been so grippingly portrayed.
In 1993 Joaquin Phoenix's brother, River, died of a drug overdose, in front of a club owned by Johnny Depp. Depp later starred in an adaptation of Hunter S. Thompson's drug-addled Fear and Loathing in Las Vegas, prompting one film critic to wonder how Depp could see much humour in the material. One might now be tempted to ask the same question of Phoenix, who was present during his brother's fatal overdose.
Gameau's quest takes him to the Northern Territory, where the prevalence of high-sugar beverages has taken a dire toll upon Indigenous communities, whose access to nutritious foods has been stymied by government policy. Also to America, where he yarns with food industry spin doctors and witnesses the excruciating dental procedure a Kentucky teenager endures to reverse the effects of 'Mountain Dew Mouth'.
Abel's life is pointedly contrasted with Peter's, a young truck driver who has been the victim of several violent assaults on the job. Peter idolises Abel, for whom the Dream has apparently come true — if Abel can make it, so too can Peter. The problem is that Abel's Dream stands on the backs of ordinary workers like Peter. Peter is a tragic antihero coming to learn that for many, the Dream will remain just that.
Snowden is both passionate and highly articulate, wanting nothing less noble than to see the delineation between those with power and the people over whom they wield it redrawn. The real meat of the matter is not the revelations themselves, but how in their light governments and societies desiring security will move to decide just how much freedom they are willing to surrender in order to acquire it.
The theme song from Selma references Rosa Parks and Ferguson in the same breath. Indeed this is a powerful period drama that resonates loudly in a modern age where the injustice against which Martin Luther King raged continues to haunt Black America. Oyelowo's King is charismatic and proud, but plagued by doubts and capable of great sadness when even one of his followers falls in the midst of the struggle.
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