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There are more than 200 results, only the first 200 are displayed here.
When it comes to creative license, a necessity when adapting a novel of the scope of IT, every decision comes with costs and benefits. In an era where creators of popular entertainment are increasingly, and rightly, held to account over matters of representation, it is strange and disappointing that decisions would be made where the cost is to reduce a major, richly written character to a mere side note, and in so doing to diminish diversity, in a story that already sorely lacks it.
A little over a year ago, Lionel Shriver delivered the opening address at the Brisbane Writers Festival, deriding political correctness and defending the practice of cultural appropriation by white writers. This year's festival didn't attract real controversy, but the memory of last year still lingered, and it's clear that parts of that mentality live on.
Franklin Delano Roosevelt famously said that 'The only thing we have to fear is fear itself.' From the roots of ISIS to Russiagate to North Korea to border control in Australia, current trends both international and at home bear this out.
Inspired by the exploits of Aboriginal AFL stars, the young Lumumba quickly recognised football as an arena in which a black man could flourish. This fact makes his treatment at the Collingwood Football Club years later all the more galling. The club so far has failed to Lumumba's comments in any meaningful way. He deserves better, and so do we.
The UK's Yorkshire moors seem like an ideal setting for a crude yet beautiful film about two shepherds falling in love. What's even better is a director bringing to the film his own history of such a place, adding the depth of familiarity with both the land and those who live off it. Such is the case with one-time Yorkshire farm boy Francis Lee's directorial debut, God's Own Country.
One lone man daring to interfere with the evil plans of the rich and powerful: it’s not exactly a new angle, but there are a few scraps of satisfaction to be found in Joel Hopkin’s latest film Hampstead – just not in the realm of originality. It’s a sleepy story that meanders along with a mildly pleasant mediocrity.
‘Would I lie to you? Would I lie to you honey? Now would I say something that wasn't true?’ The Eurythmics’ hit from 1985 has been played repeatedly in my head of late as I negotiate life as a Dad.
Today’s highly technological era amazes us with possibilities for human growth and innovation, but in our amazement we often forget to tackle various pitfalls. Arguably, the biggest risk is the emerging military technology, about which there are many unanswered questions. We are faced with many uncertainties: security risks due to loss of competitiveness, potential control over advanced weapons by terrorists and, most importantly, reduced comprehension by the wider society—let alone any participation in the decision making process, as the frenzied pace of technological development increases.
About one in six newlyweds in the United States is involved in a ‘mixed marriage’, according to the Pew Research Center. At home, the percentage is higher; in 2009 approximately 42 per cent of marriages involved at least one partner who was not born in Australia.
I came to the Planet of the Apes films a little late, thinking it was just a bit too far on the silly side for my tastes. But with time to kill on a holiday in 2014, I watched Rise of the Planet of the Apes and Dawn of the Planet of the Apes and found myself surprisingly invested in the emotions of the characters. Released in Australia today is the latest episode: War for the Planet of the Apes.
This is a deliberate subversion of typical, destructive Western tropes by Coppola, in which it is the male character who is objectified by the female gaze. In this she probes how this particular man either thrives under or is stymied by such objectification. John is more than aware of the sexual and romantic stirrings he has aroused among his new companions. But in his assumption that his objectification is empowering, he has utterly underestimated the emotional and psychic complexities of those doing the objectifying.
C is waiting for something; for the meaning of his truncated life, perhaps, and of his marriage to M, to become clear. Divorced from linear perceptions of time, he rushes into the future, to witness the cityscape that replaces the suburban neighbourhood; and into the past, where he views the aftermath of the massacre of a colonial family. Amid this in-folding of time, and the evidence of death and transience, the partygoer's nihilistic prognostications echo fiercely. But they do not satisfy the truth-seeking C.
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