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2025 Logie nominees revealed, all new category announced

The nominees for the 65th annual TV Week Logie Awards have been announced, with a fresh award category paying tribute to one of Australian television’s most respected journalists. The Ray Martin Award for Most Popular News or Public Affairs Reporter, named after the legendary Four Corners and 60 Minutes presenter, will recognise excellence in news and public affairs reporting. Among the inaugural nominees are A Current Affair’s Ally Langdon, 7.30 host Sarah Ferguson, and 60 Minutes veteran Tara Brown. In the race for television’s most coveted prize, the Gold Logie for Most Popular Personality, former ABC Breakfast presenter Lisa Millar is a standout contender. She’ll face stiff competition from Today star Ally Langdon, past winner Sonia Kruger, and two-time Gold Logie recipient Hamish Blake – the only man in this year’s field of nominees. Blake, who previously took home the top prize in 2012 and 2022, joked about his inclusion, telling Today viewers: “I think it really does need to go to a far more worthy recipient — and I’m not just saying that because it would be a PR nightmare if the only bloke got up and stole the Gold Logie from a sea of deserving women. It can’t happen and it shouldn’t happen!” The ABC led the pack with an impressive 44 nominations, thanks to popular titles such as Fisk, which earned five nods, and Guy Montgomery’s Guy Mont Spelling Bee, which secured Montgomery a nomination for Most Popular New Talent. Streaming platforms also made a strong showing, with Netflix emerging as the most nominated streamer, bolstered by hits like Apple Cider Vinegar and Territory. The 2025 Logie Awards will be held in Sydney on August 3, with comedian Sam Pang returning to host the event for a third consecutive year. <h2>Highlights of major categories:</h2> Most Popular Personality on Australian Television <ul> <li>Ally Langdon</li> <li>Hamish Blake</li> <li>Julia Morris</li> <li>Lisa Millar</li> <li>Lynne McGranger</li> <li>Poh Ling Yeow</li> <li>Sonia Kruger</li> </ul> Bert Newton Award for Most Popular Presenter <ul> <li>Hamish Blake (LEGO Masters Australia)</li> <li>Julia Morris (I’m A Celebrity … Get Me Out Of Here!)</li> <li>Ricki-Lee (Australian Idol)</li> <li>Sonia Kruger (The Voice, Dancing With The Stars, Logies Red Carpet Show)</li> <li>Todd Woodbridge (Tipping Point Australia, Australian Open, Paris 2024 Olympic & Paralympic Games)</li> <li>Zan Rowe (Take 5 With Zan Rowe, ABC New Year’s Eve)</li> </ul> Graham Kennedy Award for Most Popular New Talent <ul> <li>Guy Montgomery (Guy Montgomery’s Guy Mont Spelling Bee)</li> <li>Hailey Pinto (Home and Away)</li> <li>Jenny Tian (Taskmaster Australia)</li> <li>Kate Miller-Heidke (The Voice)</li> <li>Kylah Day (Territory)</li> <li>Sofia Levin (MasterChef Australia)</li> <li>Best Drama Program</li> <li>Bump (Stan)</li> <li>Heartbreak High (Netflix)</li> <li>Return To Paradise (ABC)</li> <li>Territory (Netflix)</li> <li>The Newsreader (ABC)</li> <li>The Twelve (BINGE/FOXTEL)</li> </ul> Best Comedy Program <ul> <li>Austin (ABC)</li> <li>Colin From Accounts (BINGE/FOXTEL)</li> <li>Fisk (ABC)</li> <li>Good Cop/Bad Cop (Stan)</li> <li>Melbourne International Comedy Festival (ABC)</li> <li>Optics (ABC)</li> </ul> With a blend of long-time favourites, fresh talent, and powerful new programs, the 2025 Logies are shaping up to be a night to remember. Images: TV Week / Channel 9

Gina Rinehart urges Liberal Party to embrace Trumpism after crushing defeat

Mining billionaire and Australia’s richest person, Gina Rinehart, has urged the Liberal Party to adopt policies inspired by Donald Trump in the wake of the Coalition's heavy federal election loss over the weekend. In a statement <a href="https://www.ginarinehart.com.au/comment-from-mrs-gina-rinehart-ao-regarding-the-election-results/" target="_blank" rel="noopener">published on her personal website</a>, Rinehart blamed the defeat on left-leaning media outlets and what she described as the party's failure to adopt bold, pro-business, Trump-style reforms. “The left media did a very successful effort, frightening many in the Liberal Party from anything Trump and away from any Trump-like policies,” Rinehart wrote. “This has been especially obvious this year, with the Liberals instead becoming known as the 'me too' party. Trump-style ‘make Australia great’ policies via cutting government tape, government bureaucracy and wastage, and hence being able to cut taxes, [were] too scarce in Australia this year.” Rinehart, whose net worth is estimated at $46.5 billion, has long supported the Liberal Party and has personally backed senior figures including former opposition leader Peter Dutton, notably providing him with flights on her private jet. She is also a vocal Trump supporter, having attended his election night party at Mar-a-Lago last year. Under Dutton’s leadership, the Coalition campaigned on cutting tens of thousands of public service jobs and named Senator Jacinta Nampijinpa Price as the shadow spokesperson for government efficiency – moves widely seen as echoing Trump-era governance tactics. Despite Rinehart’s praise, Trump himself distanced from Dutton this week, telling reporters he had "no idea" who the former Liberal leader was, while describing re-elected Prime Minister Anthony Albanese as "very good" and "very, very nice". Rinehart’s position contrasts sharply with that of many within the political mainstream who argue that aligning with Trump-like policies alienates centrist voters. During election night coverage, Nationals Senator Bridget McKenzie acknowledged that the "Trump factor" may have influenced voter sentiment and contributed to the Coalition’s defeat. Former senior Liberals have also weighed in. Simon Birmingham, former Senate leader and finance minister, argued the party must reclaim its centrist identity. “The broadchurch model of a party that successfully melds liberal and conservative thinking is clearly broken,” Birmingham said. “The Liberal Party is not seen as remotely liberal and the brand of conservatism projected is clearly perceived as too harsh and out of touch.” Still, Rinehart remains unmoved in her call for a sharp ideological pivot to the right. “No doubt the left media will now try to claim that the Liberal loss was because the Liberal Party followed Trump and became too right! The two simply don't add up,” she said. “It’s important to not throw away truth and analysing skills, and instead learn from the loss and rebuild.” Rinehart also took aim at what she sees as a lack of economic understanding among Australians, stating that “too many Aussies seem very short on understanding that new investment is needed to create revenue and living standards”. Despite her disappointment with the election outcome, Rinehart concluded her statement with a conciliatory note, wishing Albanese well as he begins his second term. “Australians have overwhelmingly voted in a returning ... PM and government, we must wish him well, with carefully considered policies,” she wrote. Image: ginarinehart.com.au

Legal

When can you expect to benefit from Albanese's election promises?

Following the sweeping victory for Prime Minister Anthony Albanese and the Labor Party over the weekend, Australians are now looking to the government to deliver on a suite of cost-of-living promises aimed at easing financial pressures across the country. Finance expert and Money editor Effie Zahos told the Today show that the scale of the Labor win should pave the way for campaign commitments to be swiftly translated into policy. "The strength of the government's win should make the passage from promise into law a lot easier," Zahos said. "And there were so many promises made – everything from a two-year beer tax freeze to a new 1800 Medicare line." Among the most anticipated reforms is a no-receipt $1000 tax deduction for work-related expenses, set to roll out on July 1 next financial year. Zahos described the measure as an "exciting" step in a broader tax overhaul, but she also offered a word of caution: "This is a tax deduction, not a refund. So how much you get will come down to your tax bracket. Assuming you're on a 30 per cent tax rate, your relief will be $300." The Albanese government estimates around six million Australians will benefit, with average savings of $205 per person. However, a broader income tax cut for those earning between $45,000 and $80,201 – reducing the rate from 16 per cent to 14 per cent – won't take effect until July 1, 2027. Housing and Construction Promises On the housing front, the government has committed to enabling five per cent deposits for home buyers and offering shared equity loans, starting July 1. However, Zahos noted that implementation could vary. "The shared equity one still is uncertain because they've got to be pushed out through the states as well," she said. Additional measures include the construction of 100,000 new homes and a $10,000 bonus for apprentice tradies such as bricklayers, electricians, carpenters, and plumbers living away from home. The bonus will be distributed in $2000 instalments beginning in the new financial year. Support for Students and Parents In a bid to appeal to younger voters, the government has pledged to cut 20 per cent off student HELP debts before June 1. The move is expected to reduce the average student loan by more than $5000. From January 5, 2026, parents will be entitled to three days of subsidised childcare per week – a policy that removes the activity test, meaning employment will no longer be a requirement for access. Energy Relief on the Horizon Households can also expect temporary relief on energy costs, with rebates and a 30 per cent discount on home batteries starting from July 1. But Zahos warned these benefits will expire by the end of 2025. "And then the pain will continue," she said, hinting at the ongoing challenges Australians face despite the short-term reprieve. With expectations high and timelines tight, all eyes are now on the Albanese government to turn its electoral promises into tangible support for everyday Australians. Image: ABC News

Money & Banking

Archibald Packing Room Prize winner announced

<div class="theconversation-article-body"> More than 50 years ago, when I was a junior curatorial assistant at the Art Gallery of NSW, I had the daunting experience of hanging the annual Archibald, Wynne and Sulman prizes. At the time the professional staff held the exhibitions in such disregard, they complained about the news media’s interest in this mediocrity while ignoring more worthy events. Attitudes changed in the 1980s with the <a href="https://www.abc.net.au/news/2019-03-18/former-director-of-sydney-agnsw-edmund-capons-dies/10911456">late director Edmund Capon</a>, who recognised popularity was an asset – not a disadvantage. Capon raised the prize money with sponsorships and started charging the public to see the winners. His strategy proved so successful that the Archibald, Wynne and Sulman exhibitions are now a significant source of revenue for the gallery. This year, the highly experienced Beatrice Gralton, Senior Curator of Contemporary Australian Art, has curated the exhibitions with support from a crew of more than 40 colleagues. <h2>Packing Room Prize goes to Abdul Abdullah</h2> In the 1970s, the media was refused access to the exhibitions until just before the winner was announced. Now it is actively courted with a public viewing of the works that survive the rigorous culling process. This takes place a week before the final judging, when the Packing Room Prize is announced. The changing status of this prize is also evidenced by changing personnel. Those who did the physical work of packing and loading artworks in the past were not expected to know much about art – and often gave the prize to paintings that would otherwise not be hung. In 2025, the specialist installation crew that handles the portraits in the packing room are most likely to be professional artists themselves – a reminder that most artists need another gig to stay afloat. This year’s Packing Room Prize winner is Abdul Abdullah’s portrait of fellow artist Jason Phu, <a href="https://www.artgallery.nsw.gov.au/media-office/packing-room-25/6ed&utm_source=email%20marketing%20software&utm_term=no%20mountain%20high%20enough">No mountain high enough</a>. There is a glorious irony in this, as Abdullah has long been a critic of the self-important art establishment. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=716&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=716&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=716&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=899&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=899&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665336/original/file-20250502-62-uqdqhg.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=899&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Winner Packing Room Prize 2025, Abdul Abdullah ‘No mountain high enough’, oil on linen, 162.4 x 136.7cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</figcaption></figure> His work is a riff on the heroic paintings of 19th century landscapes, except for the flock of twittering birds that surround the head of the solitary rider, a bit like a halo. His subject, fellow artist Phu, has to be seen as a serious contender for the main prize, which will be announced on May 9. Phu’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30814/">portrait</a> of actor Hugo Weaving – older hugo from the future fighting hugo from right now in a swamp and all the frogs and insects and fish and flowers now look on – has both the humour and energy that has long characterised his work. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=723&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=723&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=723&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=908&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=908&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665338/original/file-20250502-56-1483xl.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=908&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Archibald Prize 2025 finalist, Jason Phu ‘older hugo from the future fighting hugo from right now in a swamp and all the frogs and insects and fish and flowers now look on’, synthetic polymer paint on canvas, 183.2 x 152.5cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</figcaption></figure> But there are many serious contenders for this year’s prize. Kurdish refugee Mostafa Azimitabar first exhibited in the Archibald in 2022, with a <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2022/30409/">self-portrait painted in coffee, with a toothbrush</a>. Art became his refuge during the many years he spent incarcerated as an asylum seeker. He still uses a toothbrush, but has used paint for his wonderfully fierce painting of a taut Grace Tame, appropriately named <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30774/">The definition of hope</a>. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=871&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=871&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=871&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1095&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1095&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665340/original/file-20250502-56-m193k.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1095&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Archibald Prize 2025 finalist, Mostafa Azimitabar ‘The definition of hope’, oil on linen, 198.5 x 137.3cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</figcaption></figure> Then there’s Kaylene Whiskey’s delightful self-portrait <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30823/">From comic to canvas</a>, which manages to include images of her heroines, Dolly Parton and Tina Turner. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=418&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=418&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=418&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=525&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=525&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665341/original/file-20250502-62-7g3s6a.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=525&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Archibald Prize 2025 finalist, Kaylene Whiskey ‘From comic to canvas’, synthetic polymer paint and book pages on plywood, 79.8 x 114.3cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter, Kaylene Whiskey.</figcaption></figure> Not all works are so strident, however. Lucila Zentner’s <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/2025/30826/">Wendy in the gallery</a>, is a subdued portrait of fellow artist Wendy Sharpe, placing her in the context of her art, almost as a decoration. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=726&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=726&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=726&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=912&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=912&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665342/original/file-20250502-56-7qpjls.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=912&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Archibald Prize 2025 finalist, Lucila Zentner ‘Wendy in the gallery’, oil on canvas, 60.3 x 50.5cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</figcaption></figure> <h2>A suite of diverse storytelling</h2> As is spelt out in <a href="https://www.artgallery.nsw.gov.au/art/prizes/archibald/enter/">J.F. Archibald’s will</a>, the judges of the Archibald Prize must be the trustees of the gallery, and no one else may interfere in their decision. However, for decades after <a href="https://www.smh.com.au/culture/art-and-design/from-the-archives-1944-the-archibald-prize-court-hearing-begins-20191016-p531b6.html">a spectacular court case</a> resulting from the 1943 Archibald, the trustees were so nervous of litigation that the final judging was administered by the NSW electoral office. In a court case in 1944, plaintiffs claimed the trustees’ 1943 decision was a breach of trust as the winning painting wasn’t a portrait. And one trustee claimed he had accidentally voted for the winner, thinking he was voting against it. Today, all decisions are made in-house. Court cases have been fought over whether entries were paintings (or not), painted from life (or not), selected by the trustees (or not). In 1990 <a href="https://www.artgallery.nsw.gov.au/prizes/archibald/1988/17795/">Sidney Nolan</a> had to withdraw his entry after it was pointed out he could not be described as a “resident in Australasia for 12 months preceding the date of entry”. But once the entry conditions are met, the curator has a free hand. This year, Gralton has hung all three exhibitions on the premise they are “about stories and storytelling”. There is the joyous extravagance of Meagan Pelham’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30813/">Magic Nikki and Charlie fancy pants party … Djaaaaaaaay</a>, the stark analysis of Chris O'Doherty’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30810/">Self-portrait with nose tube</a>, and the wildly painterly approach of Loribelle Spirovski’s <a href="https://www.Artgallery.Nsw.Gov.Au/prizes/archibald/2025/30819/">Finger painting of William Barton</a>. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=808&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=808&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=808&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1015&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1015&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665343/original/file-20250502-56-4t1b71.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1015&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Archibald Prize 2025 finalist, Loribelle Spirovski ‘Finger painting of William Barton’, oil on canvas, 182.6 x 137cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.</figcaption></figure> In the Sulman prize exhibition – awarded for best subject painting, genre painting or mural project – the once academic modernist Mitch Cairns has gone full conceptual with his stark <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2025/30883/">Narrow cast (studio mural)</a>. It looks like something straight out of the 1970s Art & Language movement. But my money is on Thom Roberts’ <a href="https://www.artgallery.nsw.gov.au/prizes/sulman/2025/30901/">Mrs Picture Book and the three bears</a>, a painting as a book, in three canvases. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=685&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=685&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=685&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=861&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=861&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665344/original/file-20250502-68-t8tgtv.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=861&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Sulman Prize 2025 finalist, Thom Roberts ‘Mrs Picture Book and the three bears’, triptych: synthetic polymer paint on canvas, 120 x 106.5 x 13cm © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</figcaption></figure> The Wynne prize is for both Australian landscapes and sculptures. This year there are many three-dimensional works, ranging from the elaborate <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30829/">Billy Bain</a> to the almost agonised restraint of <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30872/">Heather B. Swann</a>. Lucy Culliton’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30842/">Cliff Hole, Bottom Bullock</a>, hangs alongside Betty Muffler’s <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30858/">Ngangkaṟi Ngura – healing Country</a> – both paintings of Country. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=488&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=488&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=488&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=614&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=614&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665345/original/file-20250502-56-ofrah4.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=614&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Wynne Prize 2025 finalist, Betty Muffler ‘Ngangkaṟi Ngura – healing Country’, synthetic polymer paint on linen, 197.3 x 243.5cm © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</figcaption></figure> Then there is Mehwish Iqbal’s beautiful, delicate <a href="https://www.artgallery.nsw.gov.au/prizes/wynne/2025/30849/">Zameen muqaddas (sacred earth)</a>, a pen and ink contrast of fine botanical drawing and delicate wash, all on handmade paper. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=731&fit=crop&dpr=1 600w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=731&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=731&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=918&fit=crop&dpr=1 754w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=918&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/665346/original/file-20250502-56-dh2f7q.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=918&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>Wynne Prize 2025 finalist, Mehwish Iqbal ‘Zameen muqaddas (sacred earth)’, watercolour and ink on handmade paper, 18 parts: 30 x 30cm each; 152 x 120cm overall © the artist, image © Art Gallery of New South Wales, Diana Panuccio.</figcaption></figure> While artist Elizabeth Pulie has already judged the Sulman prize, the judging for the Archibald and Wynne will be finalised early morning on May 9. This year’s result is anyone’s guess.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/253747/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> By <a href="https://theconversation.com/profiles/joanna-mendelssohn-8133">Joanna Mendelssohn</a>, Honorary Senior Fellow, School of Culture and Communication. Editor in Chief, Design and Art of Australia Online, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/archibald-packing-room-prize-goes-to-abdul-abdullah-for-jason-phu-portrait-among-broader-set-of-bold-and-deeply-personal-works-253747">original article</a>. </div>

Art

Coalition faces leadership crisis after devastating defeat

The Coalition is reeling from a crushing federal election defeat that has triggered a leadership vacuum, widespread soul-searching, and an urgent need for reinvention. After suffering an historic landslide loss, the party is now sifting through the wreckage of what many insiders are calling one of the most chaotic and miscalculated campaigns in recent memory. Opposition Leader Peter Dutton fronted the media on election night to accept responsibility for the outcome, which saw the loss of several senior Liberal figures and a significant erosion of the party's base. "There are good members, good candidates who have lost their seats or their ambition. And I'm sorry for that," Dutton said in a sombre concession speech. Nationals leader David Littleproud pointed to what he described as a brutal character assassination campaign by Labor, which he claimed rendered Dutton "unelectable in his own electorate and across the country". But political analysts say the problems run much deeper than Dutton’s public image. Nine’s national affairs editor Andrew Probyn argued that the Coalition failed to present a coherent and inspiring vision to voters, despite widespread discontent over cost-of-living pressures. Among the missteps was a proposal to end remote work for public servants – a plan that was swiftly abandoned early in the campaign – and a pledge to cut 41,000 public service jobs. The job-slashing rhetoric drew uncomfortable comparisons to the political style of Donald Trump, a connection reinforced by Senator Jacinta Nampijinpa Price’s controversial “make Australia great again” remark. “Restoring a viable opposition will start with recognising what went wrong,” Probyn said. “And it’ll need a new leader who’s prepared to take the party in a new direction.” Among those tipped to contest the leadership are Angus Taylor, Andrew Hastie, Sussan Ley and Dan Tehan. Former Coalition Minister Christopher Pyne echoed calls for change, urging the party to shift back towards the political centre if it hopes to win back mainstream support. Treasurer Jim Chalmers, fresh from Labor’s emphatic win, said voters had rejected what he termed the Coalition’s “backward-looking pessimism”. Nine political editor Charles Croucher said the result reflected a “seismic shift” in the electorate. “Labor ran a very disciplined campaign, surprised the electorate with tax cuts, and executed brutally effective attacks on Peter Dutton,” he said. Croucher also pointed to external factors that compounded the Coalition’s woes, including the global impact of Donald Trump’s tariffs and the party’s faltering stance on nuclear power. “For the Coalition, the campaign was disastrous,” he said. “Bad plus bad plus bad equals really bad for Peter Dutton.” As the dust settles, the Coalition must not only choose a new leader, but also decide what kind of party it wants to be in a rapidly changing political landscape. Image: ABC News

Legal

Older Australians are also hurting from the housing crisis. Where are the election policies to help them?

<div class="theconversation-article-body"> It would be impossible at this stage in the election campaign to be unaware that housing is a critical, potentially vote-changing, issue. But the suite of policies being proposed by the <a href="https://theconversation.com/how-do-the-coalition-and-labor-plans-on-housing-differ-and-what-have-they-ignored-253337">major parties</a> largely focus on young, first home buyers. What is glaringly noticeable is the lack of measures to improve availability and affordability for older people. Modern older lives are diverse, yet older people have become too easily pigeonholed. No more so than in respect to property, where a perception has flourished that older people own more than their fair share of housing wealth. While the value of housing has no doubt increased, home <a href="https://www.aihw.gov.au/reports/australias-welfare/home-ownership-and-housing-tenure#:%7E:text=The%20home%20ownership%20rate%20of,compared%20with%2036%25%20in%202021.">ownership rates</a> among people reaching retirement age has actually declined since the mid-1990s. Older people can also face <a href="https://www.anglicare.asn.au/research-advocacy/rental-affordability/">rental stress and homelessness</a> – with almost 20,000 <a href="https://www.abs.gov.au/statistics/people/housing/estimating-homelessness-census/latest-release">homeless people</a> in Australia aged over 55. Severe housing stress is a key contributing to those homelessness figures. It’s easy to blame older Australians for causing, or exacerbating, the housing crisis. But doing so ignores the fact that right now, our housing system is badly failing many older people too. <h2>No age limits</h2> Owning a home has traditionally provided financial security for retirees, especially ones relying on the age pension. This is so much so, that home ownership is sometimes described as the “fourth pillar” of Australia’s retirement system. But housing has become more expensive – to rent or buy – for everyone. Falling rates of <a href="https://grattan.edu.au/report/money-in-retirement/">home ownership</a> combined with carriage of mortgage debt into retirement, restricted access to shrinking stocks of social housing, and lack of housing affordability in the private rental market have a particular impact on older people. <h2>Housing rethink</h2> Housing policy for older Australians has mostly focused on age-specific options, such as retirement villages and aged care. Taking such a limited view excludes other potential solutions from across the broader housing system that should be considered. Furthermore, not all older people want to live in a retirement village, and fewer than <a href="https://www.abs.gov.au/statistics/health/disability/disability-ageing-and-carers-australia-summary-findings/latest-release#:%7E:text=5.5%20million%20Australians%20(21.4%25),a%20profound%20or%20severe%20disability.">5% of older people</a> live in residential aged care. During my <a href="https://www.churchilltrust.com.au/fellow/victoria-cornell-sa-2019/">Churchill Fellowship study</a> exploring alternative, affordable models of housing for older people, I discovered three cultural themes that are stopping us from having a productive conversation about housing for older people. <ul> <li> Australia’s tradition of home ownership undervalues renting and treats housing as a commodity, not a basic need. This disadvantages older renters and those on low income. </li> <li> There’s a stigma regarding welfare in Australia, which influences who is seen as “deserving” and shapes the policy responses. </li> <li> While widely encouraged, “ageing-in-place” means different things to different people. It can include formal facilities or the family home that needs modifications to make it habitable as someone ages. </li> </ul> These themes are firmly entrenched, often driven by policy narratives such as the primacy of home ownership over renting. In the past 50 years or so, many have come to view welfare, such as social housing, as a <a href="https://www.ahuri.edu.au/research/final-reports/390">last resort</a>, and have aimed to age in their family home or move into a “desirable” retirement village. <h2>Variety is key</h2> A more flexible approach could deliver housing for older Australians that is more varied in design, cost and investment models. The promises made so far by political parties to help younger home buyers are welcome. However, the housing system is a complex beast and there is no single quick fix solution. First and foremost, a national housing and homelessness plan is required, which also involves the states and territories. The plan must include explicit consideration of housing options for older people. Funding for housing developments needs to be more flexible in terms of public-private sector investment and direct government assistance that goes beyond first home buyer incentives. <h2>International models</h2> For inspiration, we could look to Denmark, which has developed numerous <a href="https://www.spatialagency.net/database/co-housing">co-housing communities</a>. Co-housing models generally involve self-managing communities where residents have their own private, self-contained home, supported by communal facilities and spaces. They can be developed and designed by the owner or by a social housing provider. They can be age-specific or multi-generational. Funding flexibility, planning and design are key to their success. Institutional investors include <ul> <li> so-called impact investors, who seek social returns and often accept lower financial returns </li> <li> community housing providers </li> <li> member-based organisations, such as mutuals and co-operatives. </li> </ul> Government also plays a part by expediting the development process and providing new pathways to more affordable ownership and rental options. Europe is also leading the way on social housing, where cultural attitudes are different from here. In Vienna, Austria, more than 60% of residents live in 440,000 <a href="https://www.wienerwohnen.at/wiener-gemeindebau/municipal-housing-in-vienna.html">socially provided homes</a>. These homes are available for a person’s entire life, with appropriate age-related modifications permitted if required. At over 20% of the total housing stock, <a href="https://lbf.dk/om-lbf/english-the-danish-social-housing-model/">social housing</a> is also a large sector in Denmark, where the state and municipalities support the construction of non-profit housing. <h2>Overcoming stereotyes</h2> Our population is ageing rapidly, and more older people are now renting or facing housing insecurity. If policymakers continue to ignore their housing needs, even more older people will be at risk of living on the street, and as a result will suffer poor health and social isolation. Overcoming stereotypes - such as the idea that all older people are wealthy homeowners - is key to building fairer, more inclusive solutions. This isn’t just about older Australians. It’s about creating a housing system that works for everyone, at every stage of life.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/255391/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> By <a href="https://theconversation.com/profiles/victoria-cornell-2372746">Victoria Cornell</a>, Research Fellow, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/older-australians-are-also-hurting-from-the-housing-crisis-where-are-the-election-policies-to-help-them-255391">original article</a>. Image: Shutterstock </div>

Money & Banking

Why are political parties allowed to send spam texts? And how can we make them stop?

<div class="theconversation-article-body"> Another election, another wave of unsolicited political texts. Over this campaign, our digital mailboxes have been stuffed with a slew of political appeals and promises, many from the new party Trumpet of Patriots (backed by Clive Palmer, a <a href="https://www.abc.net.au/news/2019-01-11/clive-palmer-united-australia-party-unsolicited-text-messages/10709106">veteran</a> of the mass text campaign). The practice isn’t new, and it’s totally legal under current laws. It’s also non-partisan. Campaigns of all stripes have partaken. Behold, the Liberal Party’s <a href="https://www.sbs.com.au/news/article/liberal-party-defends-sending-text-messages-to-voters-on-asylum-seeker-boat-intercepts/mmqwk5508">last-minute SMS</a> to voters about asylum seekers before the 2022 federal election, or Labor’s controversial “<a href="https://www.smh.com.au/politics/federal/federal-election-2016-shorten-confirms-labor-sent-mediscare-text-20160705-gpzasl.html">Mediscare</a>” text before the 2016 poll. Despite multiple cycles of criticism, these tactics remain a persistent feature of Australian election campaigns. A recent proposal to update decades-old rules could help change things – if a government would put it into practice. <h2>What does the law say about political spam?</h2> Several laws regulate spam and data collection in Australia. First, there is the Spam Act. This legislation requires that organisations obtain our consent before sending us marketing emails, SMSs and instant messages. The unsubscribe links you see at the bottom of spam emails? Those are mandated by the Spam Act. Second, the Do Not Call Register (DNCR) Act. This Act establishes a “do not call” register, managed by the <a href="https://www.acma.gov.au/say-no-to-telemarketers">Australian Communications and Media Authority</a> (ACMA), which individuals can join to opt out of telemarketing calls. Finally, there is the Privacy Act, which governs how organisations collect, use and disclose our personal information. Among other things, the Privacy Act requires that organisations tell us when and why they are collecting our personal information, and the purposes for which they intend to use it. It restricts organisations from re-purposing personal information collected for a particular purpose, unless an exception applies. This trio of laws was designed to offer relief from unsolicited, unwanted direct marketing. It does not, however, stop the deluge of political spam at election time due to broad political exemptions sewn into the legislation decades ago. The Spam Act and DNCR Act apply to marketing for goods and services but not election policies and promises, while the Privacy Act contains a <a href="https://classic.austlii.edu.au/au/journals/UNSWLawJl/2021/21.html#fn13">carve-out</a> for political parties, representatives and their contractors. The upshot is that their campaigns are free to spam and target voters at will. Their only obligation is to disclose who authorised the message. <h2>How do political campaigns get our information?</h2> Secrecy about the nature and extent of campaign data operations, enabled by the exemptions, makes it difficult to pinpoint precisely where a campaign might have obtained your data from. There are, however, a number of ways political campaigns can acquire our information. One source is the electoral roll (though not for phone numbers, as the Australian Electoral Commission <a href="https://x.com/AusElectoralCom/status/1434752533294194692">often points out</a>). Incumbent candidates might build on this with information they obtain through contact with constituents which, thanks to the exemptions, they’re allowed to re-purpose for campaigning at election time. Another source is data brokers – firms which harvest, analyse and sell large quantities of data and profiles. We know the major parties have long maintained voter databases to support their targeting efforts, which have become <a href="https://www.abc.net.au/news/2022-05-19/behind-liberal-labor-data-arms-race-this-election/101074696">increasingly sophisticated</a> over the years. Other outfits might take more haphazard approaches – former MP <a href="https://www.smh.com.au/politics/federal/united-australia-party-leader-craig-kelly-defends-spam-messages-20210829-p58mv7.html">Craig Kelly</a>, for example, claimed to use software to randomly generate numbers for his texting campaign in 2021. <h2>What can be done?</h2> Unwanted campaign texts are not only irritating to some. They can be misleading. This year, there have been <a href="https://www.abc.net.au/news/2025-04-17/monique-ryan-polling-amelia-hamer-trust-fund-kooyong/105185290">reports</a> of “push polling” texts (pseudo surveys meant to persuade rather than gauge voter options) in the marginal seat of Kooyong. The AEC has <a href="https://www.aec.gov.au/media/2025/03-31a.htm">warned</a> about misleading postal vote applications being issued by parties via SMS. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=738&fit=crop&dpr=1 600w, https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=738&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=738&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=927&fit=crop&dpr=1 754w, https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=927&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/664617/original/file-20250429-74-yothae.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=927&fit=crop&dpr=3 2262w" alt="Screenshot of a text message from Trumpet of Patriots." /></a><figcaption>This election campaign has seen a flood of texts from Trumpet of Patriots, among others. The Conversation, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></figcaption></figure> Generative AI is hastening the ability to produce misleading content, cheaply and at scale, which can be quickly pushed out across an array of online social and instant messaging services. In short, annoying texts are just one visible symptom of a wider vulnerability created by the political exemptions. The basic argument for the political exemptions is to facilitate freedom of political communication, which is protected by the Constitution. As the High Court has said, that freedom is necessary to support informed electoral choice. It does not, however, guarantee speakers a <a href="http://www6.austlii.edu.au/cgi-bin/viewdoc/au/cases/cth/HCA/2019/11.html">captive audience</a>. In 2022, the Attorney-General’s Department <a href="https://www.ag.gov.au/sites/default/files/2023-02/privacy-act-review-report_0.pdf">proposed</a> narrowing the political exemptions, as part of a suite of updates to the Privacy Act. Per the proposal, parties and representatives would need to be more transparent about their data operations, provide voters with an option to unsubscribe from targeted ads, refrain from targeting voters based on “sensitive information”, and handle data in a “fair and reasonable” manner. The changes would be an overdue but welcome step, recognising the <a href="https://bridges.monash.edu/articles/journal_contribution/Conceptualising_Voter_Privacy_in_the_Age_of_Data-Driven_Political_Campaigning/27330276?file=50073381">essential role</a> of voter privacy in a functioning democratic system. Unfortunately, the government has not committed to taking up the proposal. A bipartisan lack of support is likely the biggest obstacle, even as the gap created by the political exemptions widens, and its rationale becomes flimsier, with each election cycle.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/255413/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> By <a href="https://theconversation.com/profiles/tegan-cohen-1331144">Tegan Cohen</a>, Postdoctoral Research Fellow, Digital Media Research Centre, <a href="https://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-are-political-parties-allowed-to-send-spam-texts-and-how-can-we-make-them-stop-255413">original article</a>. Image: Shutterstock </div>

Legal

"Of course it's Demi!" World's Most Beautiful Person named for 2025

Demi Moore has been named People magazine’s World’s Most Beautiful Person for 2025, joining the ranks of past honourees like Cindy Crawford, Tom Cruise and Michelle Pfeiffer. At 62, the actress is not only making headlines for her timeless beauty but also for her candid reflections on body image, ageing and self-worth. In an exclusive interview accompanying the annual issue, Moore opened up about her evolving relationship with her body. “I think I've evolved into greater gentility toward myself,” she shared. Admitting that she once had a tendency to "punish" herself, the Ghost star revealed that she's now in a more accepting and appreciative place. “I have a greater appreciation for all that my body has been through that brought me to now,” she said. Though she still experiences moments of insecurity – “It doesn't mean that sometimes I look in the mirror and don't go, 'Oh God, I look old,' or 'Oh, my face is falling' – I do” – Moore said that acceptance has become a key theme in her life. Moore’s resurgence in the spotlight has been bolstered by her acclaimed performance in the 2024 thriller The Substance, alongside Margaret Qualley and Dennis Quaid. The film, which delves into the pressures of ageing in the entertainment industry, drew strong reviews and generated significant Oscar buzz. While she ultimately lost the Academy Award for Best Actress to Mikey Madison, Moore took home her first Golden Globe for the role. In her emotional acceptance speech, she urged the audience to reevaluate how they measure self-worth. “Know the value of your worth,” she said, “by putting down the measuring stick,” drawing cheers from the crowd. With a celebrated career spanning decades, Demi Moore’s new title is not just a recognition of beauty – it’s a tribute to reinvention and the power of self-acceptance. Images: Instagram

Beauty & Style

Remains of 4 Australian soldiers discovered just days ahead of Anzac Day

The remains of four Australian soldiers who perished in World War I have been uncovered in northern France, more than a century after they were killed in the brutal Second Battle of Bullecourt. According to the Australian Department of Defence, the discovery was made during a recent fieldwork operation conducted by the Australian Army’s Unrecovered War Casualties unit. The soldiers were among the thousands who fought in the battle in May 1917, a fierce attempt by the Australian Imperial Force to penetrate the German Hindenburg Line. Up to 10,000 Australian troops were either killed or wounded during the operation, with approximately 3,700 confirmed dead between April and May 1917. Tragically, more than half of these fallen soldiers are believed to lie in unmarked graves across the region. The site of their final stand lies near Villers-Bretonneux, where the Australian National Memorial to the Missing was erected to honour the many who have no known grave. Australian Army Chief Lieutenant General Simon Stuart acknowledged the emotional timing of the find, just days before Anzac Day. “As we approach Anzac Day, recovering these four Australian soldiers reminds us the search for the missing is tireless and ongoing,” Lieutenant General Stuart said. “We do not forget the service and sacrifice of those who serve our nation.” Efforts are now underway to identify the soldiers using forensic analysis and historical research. The Defence Department has vowed to ensure they are reburied with full military honours and the dignity they deserve. The Unrecovered War Casualties unit continues to receive dozens of leads each year regarding the locations of Australian war dead. Discoveries like this are not uncommon: nine soldiers from the Battle of Fromelles were identified in 2018, with another five identified as recently as 2023. More than 44,000 Australians died on the Western Front during World War I, and around 17,000 remain without known graves. This Friday, Australians around the world will pause to reflect at dawn services in honour of the more than 103,000 servicemen and women who have laid down their lives in conflicts past, with the latest discovery serving as a reminder of the war's enduring legacy. Image: Wikimedia Commons

Caring

Australian Cardinal among select group tasked with choosing next Pope

In the wake of Pope Francis' death, a 45-year-old Ukrainian-born bishop based in Melbourne has emerged as one of the most significant figures in the Catholic Church’s transition to new leadership. Cardinal Mykola Bychok, who was elevated to the cardinalate by Pope Francis last year, will participate in the sacred and centuries-old process of electing the next pope. As the youngest cardinal in the entire Catholic Church and Australia’s sole representative in the College of Cardinals, Bychok's inclusion marks a historic moment for the local and global Catholic community. Born on February 13, 1980, in Ternopil, a city in western Ukraine, Bychok joined the religious life in 2003 and was ordained a priest in 2005. His path through the church has included serving as abbot of a Ukrainian monastery and working as a parish priest in the northeastern United States. In 2020, Pope Francis appointed him bishop of the Ukrainian Greek Catholic Church’s Diocese of Saints Peter and Paul in Melbourne. He was formally installed as a cardinal during a Vatican ceremony last October, alongside 21 other senior church figures. In a heartfelt tribute following the pope’s passing, Bychok described Francis as a "pope of peace" whose legacy would endure through his unwavering commitment to justice and unity. "In a world devastated by war, he called for peace and justice," said Bychok. "I am grateful for the late Holy Father's frequent appeals for a just peace in Ukraine and for the efforts of the Holy See that he oversaw, known and secret, that in some way helped bring relief to the imprisoned and suffering." Bychok also praised Francis’ ecumenical efforts, noting his work to bridge divides between Eastern and Western traditions, as well as foster dialogue among different faiths. "He worked for the healing of divisions… building on that which we have in common rather than our differences,” he said. Though currently en route to the Middle East on a pilgrimage, Bychok is expected to return to Rome as soon as possible to participate in the conclave – a closed-door gathering of cardinals under the age of 80 who are eligible to vote for a new pontiff. Church law limits the number of voting cardinals to 120, although the latest Vatican figures indicate 136 cardinals are currently eligible, a number that may fluctuate before voting begins. The conclave will involve a series of solemn rituals, including the piercing of ballots with needle and thread and the traditional burning of votes to produce black or white smoke – the latter signalling the election of a new pope to lead the world’s 1.3 billion Catholics. Cardinal Bychok’s participation in this historic process is a significant moment not only for the Ukrainian diaspora and Australian Catholic community, but also for a Church at a crossroads – searching once again for a spiritual leader to guide it through a complex and divided world. Images: Wikimedia Commons

Legal

What would – and should – happen to the ABC under the next federal government?

<div class="theconversation-article-body">Who could possibly argue with the idea that the ABC should be efficiently run and produce excellent programs? No one, you would think. So why, then, has there been immediate resistance to Opposition Leader Peter Dutton’s <a href="https://www.smh.com.au/politics/federal/dutton-tells-abc-to-show-excellence-or-face-funding-razor-gang-20250402-p5lofu.html">statement</a> that, if elected next month, a Coalition government would “reward excellence” and “keep funding in place” if the ABC is “being run efficiently”? The fact that Coalition governments – and Dutton himself – have historically been deeply hostile to the public broadcaster is part of it. Many have picked up on the implicit threat that if his government did not find “excellence”, its funding would be cut. But there’s more than that. For example, who defines “excellence” and “efficiency”? Second, the ABC is set up by statute to be run independent of government. Third, the ABC has been subjected to a slew of efficiency reviews, in 1988, 1997, <a href="https://www.abc.net.au/news/2006-03-15/abc-efficient-under-funded-kpmg-report/8183700">2006</a>, <a href="https://www.infrastructure.gov.au/sites/default/files/ABC_and_SBS_efficiency_report_Redacted.pdf?acsf_files%20_redirect">2014</a> and <a href="https://www.infrastructure.gov.au/sites/default/files/2018-national-broadcasters-efficiency-review-redacted.pdf">2018</a>. Overwhelmingly, they found the ABC does more with fewer resources than its counterparts in the commercial media. For example, in 2006, at the behest of the Coalition government led by John Howard, KPMG found the ABC was a “broadly efficient organisation” providing a “high volume of outputs and quality relative to the level of funding it receives”. Let’s translate the consulting-speak. The ABC’s annual budget of $1.2 billion costs $43 per person in Australia. The cheapest subscription to Netflix costs more than twice that amount - $95.88 – and of course the ABC provides much more than a single streaming service. Fourth, Coalition governments’ record of antipathy towards the ABC is most obvious in how they fund it. <hr /> <iframe id="WOgDZ" class="tc-infographic-datawrapper" style="border: 0;" src="https://datawrapper.dwcdn.net/WOgDZ/" width="100%" height="400px" frameborder="0" scrolling="no"></iframe> <hr /> As ABC chair Kim Williams said <a href="https://www.abc.net.au/about/media-centre/speeches-and-articles/abc-chair-kim-williams-am-address-to-the-melbourne-press-club/105132866">last week</a>, in real terms the ABC’s funding is $150 million less than it was in 2013 when the coalition last came to power. This is notwithstanding the current Labor government’s restoring of at least some lost funding. Add to this the fear that Dutton is seeking to emulate Donald Trump. Amid the tempest of economic and social measures the US president has brought in since his inauguration in January, his attacks on public and international broadcasting have passed unnoticed by many. By executive order, Trump has <a href="https://mailchi.mp/poynter/president-trumps-latest-press-target-voice-of-america?e=1e851c3327">abolished Voice of America </a>(VOA), which began during the second world war. VOA has provided news to nearly 50 countries, including those that did not have press freedom. Its broadcasts are by statute meant to be accurate and objective. It has been an arm of soft power diplomacy for the US. Trump has also threatened to defund the public broadcasters, National Public Radio (NPR) and the Public Broadcasting Service (PBS), labelling them “radical left monsters”. The difference between public broadcasting in the US and Australia is that for the former, the government provides only a small percentage of its funding. Most of it comes from donations from citizens, grants from foundations and corporate sponsorship, according to <a href="https://www.forbes.com/sites/antoniopequenoiv/2025/03/27/will-trump-defund-npr-and-pbs-heres-what-we-know-as-president-attacks-the-broadcasters/">a recent report</a> in Forbes. PBS and NPR occupy a smaller part of the overall US media landscape than the ABC and SBS in Australia, but NPR’s reporters in particular have been actively, if dispassionately, reporting on the Trump Mark II administration’s tumultuous first few months. Like the VOA, the ABC’s international broadcasting arm is largely invisible to audiences in its host country. This means any cuts could well pass unnoticed, unlike, say, if the ABC said it could no longer afford to air the children’s TV series, Bluey. Through radio, TV, and now online, the ABC has broadcast to Australia’s neighbours since the second world war, initially as an agent to spread democratic value, but in more recent decades to model effective public interest journalism. The ABC, like the BBC, has a charter of independence. The ABC’s work in the international arena, through Radio Australia and ABC Australia, is vital, not only to bolster national security by providing trusted news and information about Australia and its allies, but by working alongside and supporting local Indo-Pacific news organisations. The Albanese Labor government appears to have understood this threat, providing some extra funding for the international services mostly in response to China’s increased presence in the region, as Alexandra Wake argued in her <a href="https://link.springer.com/book/10.1007/978-3-031-47571-9">2024 book</a> Transnational Broadcasting in the Indo-Pacific. Labor’s funding boost remains inadequate, though, to properly broadcast an Australian voice to the region because, she argued, of increasingly fraught relations between nations, and a complex political and media environment. One of the most pressing priorities now is to extend the Labor government’s Pacific Security and Engagement Initiatives (the original $8 million per year) which is due to end in June 2026. Without this, the ABC will have transmission to the region, but next to no appropriate content. Australia needed to rectify past mistakes by increasing international broadcast funding and protecting that funding from future government cuts. Australia also needed to adopt the long-term thinking that China displayed if it was to counteract China’s strategic ambitions for the region. By closing VOA, Trump and his government efficiency wrecking ball, Elon Musk, have actually left open an opportunity for Australia to lean into the unique strategic advantage granted by Australia’s economic and geographical place in the region. The move to cut US aid supporting journalism extends to smaller outfits such as Benar News Pacific, which recently <a href="https://www.benarnews.org/english/news/philippine/letter-from-editors-benarnews-pauses-operations-04022025104657.html">told its audience</a> it was “pausing operations”. For the past decade, Benar News (and its parent Radio Free Asia) has been reporting across the region on security, politics and human rights. “The US administration has withheld the funding that we rely on to bring our readers and viewers the news from Indonesia, Malaysia, Thailand, Bangladesh, the Philippines and island-states and territories in the Pacific,” it said in a letter from the editors. Such local news services may be small but are a vital bulwark in the multi-polar world Trump seeks to shape.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/248117/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> By <a href="https://theconversation.com/profiles/matthew-ricketson-3616">Matthew Ricketson</a>, Professor of Communication, <a href="https://theconversation.com/institutions/deakin-university-757">Deakin University</a>; <a href="https://theconversation.com/profiles/alexandra-wake-7472">Alexandra Wake</a>, Associate Professor, Journalism, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a>, and <a href="https://theconversation.com/profiles/michael-ward-421548">Michael Ward</a>, PhD candidate in media and communications, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-would-and-should-happen-to-the-abc-under-the-next-federal-government-248117">original article</a>. Image: Instagram </div>

Big changes are planned for aged care in 2025

<div class="theconversation-article-body">There has been little new in pre-election promises for Australia’s aged-care workers, providers or the <a href="https://www.gen-agedcaredata.gov.au/topics/people-using-aged-care#agedcareuseinaustralia">1.3 million people</a> who use aged care. In March, Labor announced <a href="https://www.health.gov.au/ministers/the-hon-anika-wells-mp/media/extra-26-billion-to-deliver-another-pay-rise-for-aged-care-nurses">A$2.6 billion</a> for another pay rise for aged-care nurses in addition to previous <a href="https://theconversation.com/aged-care-workers-have-won-a-huge-pay-rise-what-about-the-cleaners-cooks-and-admin-staff-who-support-them-226236">pay increases</a>. There’s been <a href="https://stories.theconversation.com/policy-tracker/">nothing substantial on aged care</a> from Labor or the Opposition since. Major changes are scheduled for the sector later this year, four years after the damning <a href="https://www.royalcommission.gov.au/aged-care/final-report">Royal Commission report into aged care</a>. Yet no additional funding has been announced. Estimates suggest funding is short <a href="https://www.stewartbrown.com.au/images/documents/StewartBrown_-_Taskforce_Funding_Reforms_Analysis_September_2024.pdf">around $5 billion</a> to address losses by residential care providers or the shortfall in <a href="https://www.health.gov.au/our-work/hcp/about">Home Care Packages</a>. <h2>What can we expect this year?</h2> A <a href="https://www.health.gov.au/our-work/aged-care-act">new Aged Care Act</a> will come into force on July 1 with a much greater emphasis on the rights of older people to get the care that suits their needs. This will mean: <ul> <li> a new system to regulate aged care </li> <li> a new independent complaints commissioner </li> <li> a new <a href="https://www.health.gov.au/our-work/support-at-home">Support at Home</a> program for older people who want to live at home, and in the community </li> <li> changes to fees for residential aged care. </li> </ul> But a number of problems remain and it is not clear the reforms being introduced this year will fix them. <h2>Access is still an issue</h2> Access to aged care <a href="https://www.igac.gov.au/sites/default/files/2024-08/2024-progress-report-on-the-implementation-of-the-recommendations-of-the-royal-commission-into-aged-care-quality-and-safety.pdf">continues to be a problem</a>, particularly in rural and remote areas. The system is difficult to navigate for often vulnerable and confused consumers and their families. The government relies heavily on the <a href="https://www.myagedcare.gov.au/">My Aged Care website</a> to inform older people and their families about aged care options. But this provides only basic information and it is difficult to get individualised support. There is also a “digital divide” for a significant group who are unfamiliar with, and lack confidence in, using online services. So we need a much greater emphasis on providing local “one stop shops” for personalised support and advice, particularly when people first enter the aged-care system. These services could be provided through Centrelink or new regional aged-care offices. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=288&fit=crop&dpr=1 600w, https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=288&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=288&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=361&fit=crop&dpr=1 754w, https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=361&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/660643/original/file-20250409-56-a7c9ej.png?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=361&fit=crop&dpr=3 2262w" alt="Screenshot of My Aged Care website" /></a><figcaption>Not everyone can navigate websites to get information about the care they need. <a class="source" href="https://www.myagedcare.gov.au/">Screenshot/My Aged Care</a></figcaption></figure> About <a href="https://www.abs.gov.au/statistics/health/disability/disability-ageing-and-carers-australia-summary-findings/latest-release">one-third of older people</a> say they need help to live at home. But to get assistance you need an aged-care assessment and that process too needs improving. <a href="https://www.pc.gov.au/ongoing/report-on-government-services/2024/data-downloads/rogs-2024-partf-overview-and-sections.pdf">Waiting times for assessment</a> have blown out, with reported delays of up to <a href="https://www.theweeklysource.com.au/home-care/older-australians-are-increasingly-dying-waiting-for-home-care-packages-to-be-assigned">five months</a>. <h2>Older people prefer to stay at home</h2> There are some concerns the number of new aged-care beds is <a href="https://www.theweeklysource.com.au/aged-care/the-repercussions-of-a-need-for-6600-new-aged-care-beds-in-fy24-colliers">not increasing fast enough</a>. For instance, there are shortages of residential aged care in particular areas such as <a href="https://www.abc.net.au/news/2025-02-13/act-government-shuts-burrangiri-aged-care-respite-facility/104927780">Canberra</a>. But admission times to residential aged care generally <a href="https://www.pc.gov.au/ongoing/report-on-government-services/2024/data-downloads/rogs-2024-partf-overview-and-sections.pdf">have not increased</a> and occupancy rates are <a href="https://www.pc.gov.au/ongoing/report-on-government-services/2024/data-downloads/rogs-2024-partf-overview-and-sections.pdf">declining</a>. This suggests older people <a href="https://www.australianageingagenda.com.au/royal-commission/most-want-home-based-aged-care/#:%7E:text=A%20survey%20of%20more%20than,to%20live%20in%20a%20facility.">would prefer home</a> to residential care. Yet increased demand for home-care packages is <a href="https://www.gen-agedcaredata.gov.au/getmedia/c2339cbc-3e13-4893-9d03-9ca43ecdc55f/Home-Care-Packages-Program-Data-Report-2nd-Qtr-2024-2025">not being met</a>. For those who need more intensive services at home, <a href="https://www.gen-agedcaredata.gov.au/getmedia/c2339cbc-3e13-4893-9d03-9ca43ecdc55f/Home-Care-Packages-Program-Data-Report-2nd-Qtr-2024-2025">waiting times</a> remain stubbornly and unacceptably long because there aren’t enough home care packages. Despite years of complaints, there are still more than <a href="https://www.theweeklysource.com.au/government-policy/home-care-wait-list-climbs-to-over-81000-with-six-month-delays-at-all-levels">80,000 people</a> on the waiting list for care at home. The new <a href="https://www.health.gov.au/our-work/support-at-home/about">Support at Home program</a> will introduce an eight-level system of support. The highest level of home-care funding will <a href="https://www.health.gov.au/our-work/support-at-home/features#key-elements-of-the-new-program">increase to $78,000</a> to bridge the gap between funding for home and residential care. But many more intensive care packages for home care will be needed to reduce waiting times. The Support at Home program also introduces significantly higher out-of-pocket costs for older people. Such costs for everyday services – such as meals, cleaning and gardening – currently funded through the Commonwealth Home Support Program will <a href="https://www.health.gov.au/sites/default/files/2025-02/support-at-home-program-handbook.pdf">increase significantly</a>. Most controversially, there will also be <a href="https://www.health.gov.au/sites/default/files/2025-02/support-at-home-program-handbook.pdf">greater out-of-pocket costs</a> for “independence” services including personal care, social support, respite care and therapy. <h2>Staff shortages still a concern</h2> For aged-care providers, <a href="https://theconversation.com/we-have-too-few-aged-care-workers-to-care-for-older-australians-why-and-what-can-we-do-about-it-232707">chronic workforce shortages</a> are still the biggest problem. Recent <a href="https://theconversation.com/aged-care-workers-have-won-a-huge-pay-rise-what-about-the-cleaners-cooks-and-admin-staff-who-support-them-226236">increases in wages</a> for aged-care workers, including nurses, are a step in the right direction. But wages are still low. It remains hard to attract staff, staff turnover is high and staff are under-trained, risking the quality of care. Shortages are particularly acute in rural areas. The <a href="https://ageingaustralia.asn.au/media-releases/ageing-australia-calls-on-all-parties-to-make-aged-care-an-election-priority/">aged-care industry is calling for</a> streamlined migration, better training and incentives for regional workers to make up the shortfall. But so far no new election announcements have been made. <h2>No real reform</h2> Despite changes we’ll see from July, the organisation and financing of aged care remains fundamentally unchanged. Overall, Australia’s aged-care system is still heavily privatised and fragmented. In <a href="https://www.health.gov.au/sites/default/files/2024-08/financial-report-on-the-australian-aged-care-sector-2022-23.pdf">2022-23</a> there were 923 home-care providers, 764 residential-care providers and 1,334 home-support providers, nearly all in the private and not-for-profit sectors. The Commonwealth continues to manage the sector through a cumbersome combination of highly centralised regulation and prescriptive funding contracts. It has not put into place an effective, regional management structure to plan, organise and govern the sector to drive quality, innovation, equity, responsiveness and efficiency. Nor has the Commonwealth been willing to adequately finance the system either through a levy, a social insurance scheme or via increased taxation. Instead, it’s upping the reliance on user fees to meet the cost of providing services.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/253727/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> By <a href="https://theconversation.com/profiles/hal-swerissen-9722">Hal Swerissen</a>, Emeritus Professor of Public Health, <a href="https://theconversation.com/institutions/la-trobe-university-842">La Trobe University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/big-changes-are-planned-for-aged-care-in-2025-but-youd-never-know-from-the-major-parties-253727">original article</a>. Image: Shutterstock </div>

Caring

Sweet feat: high schooler smashes Raelene Boyle's 57-year-old sprint record

Australian sprinting has a new superstar in the making! In a jaw-dropping performance at the national junior athletics championships in Perth, 17-year-old Leah O’Brien rocketed to glory, obliterating a 57-year-old record set by the legendary Raelene Boyle. O’Brien, a WA schoolgirl, stunned the athletics world by storming to victory in the under-18 100 metres, clocking an electrifying 11.14 seconds – with a perfectly legal tailwind of +1.7 metres per second. Her blistering run toppled Boyle’s iconic mark of 11.20 seconds from the 1968 Mexico City Olympics, a record many believed would stand for generations. “I think I have really put my name out there,” an elated O’Brien said, beaming with pride. “It's crazy to be running these times while still in high school!” But the milestones didn’t stop there. O’Brien’s dazzling dash also catapulted her into Australian sprinting history, drawing level with Olympic gold medallist Sally Pearson on the all-time national open 100m list – now tied at fourth-fastest ever. Only Torrie Lewis (11.10), Melissa Breen (11.11) and Melinda Gainsford-Taylor (11.12) have ever run faster. To make the feat even sweeter, O’Brien now finds herself ranked ninth in the world under-18 rankings, a remarkable achievement for the young star. Cheered on by family and friends, O’Brien soaked up the moment. “This is definitely the most support I’ve ever had. It’s so great to experience this moment with the people I love and share the happiness.” And she wasn’t done yet. Earlier in the championships, O’Brien also stormed to victory in the 200m, clocking a personal best of 23.37 seconds despite facing a stiff headwind of -1.1 m/s. In a thrilling race, she powered past Queensland’s Thewbelle Philp with her trademark long stride and high knee lift, leaving the field in her wake. The sprint sensation isn’t slowing down anytime soon. O’Brien will return to the track this week at the WA Athletics Stadium to contest the open 100m, where she’ll face established stars like Torrie Lewis, Bree Rizzo and Ebony Lane. With talents like O’Brien, Lewis, <a href="https://www.oversixty.com.au/entertainment/tv/i-m-saying-that-hands-down-matt-shirvo-s-bold-prediction" target="_blank" rel="noopener">Gout Gout</a> and Lachlan Kennedy rising rapidly through the ranks, Australia’s sprinting future looks brighter than ever as the countdown to the Brisbane 2032 Olympics begins. Images: Australian Athletics

Body

"Yes, Burger Boy!": Australian Idol winner crowned for 2025

What a night to remember! After two electrifying evenings packed with powerhouse performances and surprise guest appearances, Australian Idol has officially crowned its 2025 winner. In a grand finale brimming with excitement, finalists Iilysh Retallick, Gisella Colletti and Marshall Hamburger delivered unforgettable performances – but it was 19-year-old Marshall Hamburger who stole the show and captured the hearts of the nation. Marshall’s victory marks a sensational end to the show’s tenth season, earning him not only the coveted title of Australian Idol 2025 but also a life-changing prize package: $100,000 in cash and an exclusive recording deal with Hive Sound Studios. Overflowing with gratitude, Marshall beamed moments after his name was announced. “Thank you, Australia, thank you so much. You're gonna hear a lot of me in the future, I'll be out there,” he promised, as cheers erupted across the studio. Fans didn’t hold back their excitement, lighting up social media with praise for the newly crowned star. "I’m so happy congratulations Marshall," one fan wrote, while another cheered, "What a legend!" And in a playful nod to his surname, another delighted supporter exclaimed, "Yes, Burger Boy!" <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/DIJN6_MiD5_/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/DIJN6_MiD5_/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Australian Idol (@australianidol)</a> </div> </blockquote> Behind the scenes, Australian Idol host Scott Tweedie shared some fun insights into the suspenseful process of announcing the winner live on air, revealing the team’s clever methods to avoid any mishaps during such high-stakes moments. "We have it written down, so there’s no way that communication can be wrong," he explained. "On the card we've got in our hands, it has the winner's name – and we even use the 'thumb rule.' Your thumb has to be on the name you’re about to announce, so you cannot say the wrong name." Adding to the excitement, co-host Ricki-Lee, who has a deep-rooted history with Idol, typically takes centre stage for the final announcement. "Because of her DNA with Idol, I think she is the best at doing those really big announcements," Scott said, noting he’s always ready to back her up live on air. With a thrilling season now complete, all eyes are on Marshall Hamburger as he embarks on what promises to be an incredible musical journey. If his grand finale performance is any indication, Australia – and the world – will be hearing plenty from this rising star. Images: Instagram

Albanese calls May 3 election, with cost of living the central battleground

<div class="theconversation-article-body">Australians will go to the polls on May 3 for an election squarely centred on the cost of living. Prime Minister Anthony Albanese visited Governor-General Sam Mostyn at Yarralumla first thing on Friday morning. Later he told an 8am news conference at parliament house the election choice was “between Labor’s plan to keep building or Peter Dutton’s plan to cut. "Only Labor has the plan to make you better off over the next three years,” he said. “Now is not the time for cutting and wrecking, punching down.” Less than a week after the federal budget and following an earlier delay caused by Cyclone Alfred, the formal campaign starts with government and opposition neck and neck and minority government considered a real possibility. But in recent days, the government has gained more momentum and Labor enters the campaign more confident than at the start of the year. The aggregated January-March quarterly Newspoll had the Coalition leading Labor 51-49%, but Albanese leading Peter Dutton as preferred PM 45% to 40%. A YouGov poll published March 21 had Labor and Coalition on 50-50. Polling only shows a snapshot of the present, and the campaign itself could be crucial to the election result. This is the fourth consecutive election launched off the back of a budget, with both sides this week bidding for voters’ support with big handouts. Labor pushed through legislation for its $17 billion tax cut, the first stage of which comes in mid next year. Opposition leader Peter Dutton in his budget reply promised a 12-month halving of excise on petrol and diesel and a gas reservation scheme. Labor goes <a href="https://www.abc.net.au/news/elections/federal/2025/guide/pendulum">into the election</a> with 78 seats in the lower house, and the Coalition with 57 (counting the seats of two recent Liberal defectors). The large crossbench includes four Greens and half a dozen “teals”. With a majority being 76 seats in the new 150-seat parliament, the Coalition needs to win 19 seats for an outright majority. This would require a uniform swing of 5.3% (although swings are not uniform). A swing of less than 1% could take Labor into minority. The Coalition would need a swing of about 3.6% to end with more seats than the government. While all states are important if the result is close, Victoria and NSW are regarded as the crucial battlegrounds. If the Coalition won, it would be the first time that a first-term government had been defeated since 1931, during the great depression. Since the end of the second world war, while all first term governments have been reelected, each saw a two-party swing against them. One challenge for Albanese is that he has only a tiny majority, providing little buffer against a swing. The combined vote of the major parties will be something to watch, with the vote steadily declining from 85.47% of the vote just 19 years ago at the 2007 election, to only 68.28% at the 2022 election. Labor won the last election with a two-party vote of 52.13% to the Coalition’s 47.87%. As of December 31 2024, 17,939,818 Australians were enrolled to vote. The start of the formal campaign follows a long “faux” campaign in which both leaders have been travelling the length and breadth of the country non-stop, with the government making a series of major spending announcement but the opposition holding back on policy.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/250774/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <h2>Marginal seats based on the redistribution</h2> <img src="https://oversixtydev.blob.core.windows.net/media/2025/03/Antony-Greens-ABC-Electoral-Pendulum.jpg" alt="" width="1280" height="1535" /> * Seat with a sitting ALP member ** Seat with a sitting Liberal member *** Warringah MP Zali Steggall was elected before the 2022 ‘teals’, but is regarded as one of them. <a href="https://www.abc.net.au/dat/news/elections/federal/2025/guide/FED2025_PostRedistPendulum.pdf" target="_blank" rel="noopener">Antony Green's ABC Electoral Pendulum</a> By <a href="https://theconversation.com/profiles/michelle-grattan-20316">Michelle Grattan</a>, Professorial Fellow, <a href="https://theconversation.com/institutions/university-of-canberra-865">University of Canberra</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/albanese-calls-may-3-election-with-cost-of-living-the-central-battleground-250774">original article</a>. Images: <em style="background-color: #ffffff; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; box-sizing: border-box;">Image credits: LUKAS COCH/EPA-EFE/Shutterstock Editorial <div class="footer-container" style="box-sizing: border-box; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;"> </div> </div>

Legal

Federal Budget 2025: The short, sharp and – sort of – sweet version

The federal budget is always a massive, jargon-filled beast, but don’t worry – we’ve got your back. Here’s a quick and easy rundown of the key numbers, economic forecasts and big-ticket promises (without making your head spin). Whether it’s tax cuts, energy bill relief, or debt figures that sound like someone’s phone number, this summary gives you the essentials in plain English. THE BIG PICTURE: WHERE THE MONEY’S GOING (AND COMING FROM) Economic Growth: The economy is expected to grow by 1.5% in 2024-25, which isn’t exactly fireworks but at least it’s moving in the right direction. Unemployment Rate: The jobless rate is set to rise to 4.25%, meaning more people might be dusting off their résumés. Inflation: The cost of living squeeze is easing slightly, with inflation forecast to drop to 2.5%, finally giving our wallets a breather. Wages Growth: Paychecks are expected to grow by 3%, so while you won’t be rolling in cash, you might afford an extra coffee per week. Living Standards: Household disposable income is expected to rise a bit faster than planned, so that’s a small win for the grocery bill. Migration: Net overseas migration is slowing down, dropping from 435,000 in 2023-24 to 225,000 by 2026-27, as the government tweaks immigration settings. The Big One: Budget Deficit: The country will be $27.6 billion in the red this year, which sounds bad, but hey, it’s better than some past years. Commonwealth Debt: The nation’s credit card balance will hit $940 billion in 2024-25 before cracking $1 trillion the year after, making it one of the biggest IOUs in Aussie history. Net Debt: The government’s net debt will rise to $556 billion, proving once again that we’re all experts at spending more than we have. WHAT’S IN IT FOR YOU (IF LABOR STAYS IN POWER)? If Labor wins the next election, they’ve got a shopping list of goodies lined up. From tax cuts and cheaper meds to more affordable childcare and a crackdown on dodgy workplace contracts, here’s what they’re promising in order to make life a little easier (or at least a little less expensive). Tax Cuts: Everyone gets a tiny tax break worth about $10 a week, starting in July 2026 – not enough for a holiday, but maybe an extra beer, depending on where you buy your drinks. Energy Bill Relief: Households and small businesses will get $150 off their power bills, because, let’s face it, electricity prices are still a killer. Cheaper Medicines: Prescription drugs will be capped at $25 per script, meaning fewer nasty surprises at the pharmacy checkout. Healthcare Boost: More bulk-billing, 50 new urgent care clinics, and extra funding for nurses and GPs, costing a whopping $9 billion over four years – great news if you hate long waits at the doctor. Childcare Help: Families earning up to $500,000 (yes, you read that right) will get at least three days of subsidised childcare, costing $427 million over five years. First Home Buyer Support: The Help to Buy scheme will get a boost, making it a bit easier for first-home buyers to get into the market (assuming they can still afford avocado toast). Workplace Shake-Up: Banning non-compete clauses for low- and middle-income workers could boost wages by $2,500 a year – so no more weird contracts stopping you from getting a better job. HECS Debt Slash: A 20% cut to student loan debt, wiping $16 billion from the books – a rare win for anyone still haunted by their HECS balance. Disaster Recovery: $1.2 billion is going towards helping communities in southeast Queensland and northern NSW recover from ex-Tropical Cyclone Alfred – because Mother Nature isn’t playing nice. Big Infrastructure Plans: Expect major upgrades like $7.2 billion for Queensland’s Bruce Highway, $2 billion for a new rail hub in Melbourne, and $1 billion for Sydney’s southwest rail corridor – so maybe, just maybe, your commute will be a little less torturous. Defence Spending: A fast-tracked $1 billion investment in guided weapons, submarines and frigates, because apparently, we’re getting serious about military hardware. And that’s the budget in a nutshell! More spending, some relief for households, and a debt number that’ll make your calculator cry. Images: WikiCommons

Money & Banking

A late start, then a big boom: why it took until 1975 for Australians to finally watch TV in colour

<div class="theconversation-article-body"> Some 50 years ago, on March 1 1975, Australian television stations officially moved to colour. Networks celebrated the day, known as “<a href="https://artsandculture.google.com/story/c-day-and-the-colour-monster-national-archives-of-australia/LAWRcgnnNY1cKA?hl=en">C-Day</a>”, with unique slogans such as “come to colour” (ABC TV), “Seven colours your world” (Seven Network), “living colour” (Nine Network) and “first in colour” (<a href="https://televisionau.com/feature-articles/network-ten">0-10 Network</a>, which later became Network Ten). The ABC, Seven and Nine networks also updated their logos to incorporate colour. <figure><iframe src="https://www.youtube.com/embed/T7gZdYVZJNc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> For most viewers, however, nothing looked much different. The majority owned a black and white TV, while a coloured broadcast required a colour TV set. Advertisers were initially reluctant to accept the change, which required them to re-shoot black and white commercials with colour stock at a significantly higher cost. Many reasoned viewers were still watching the ads in black and white. And initially this assumption was correct. But by nine months later, 17% of Australian homes <a href="https://trove.nla.gov.au/newspaper/article/110829595?searchTerm=colour%20television%20in%20australia%201975">had a colour receiver</a>. This rose to 31% by July 1976. By 1978, 64% of Melbourne and 70% of Sydney households owned colour TV sets, making Australia one of the world’s fastest adopters of colour TV. According to the Federation of Australian Commercial Television Stations (FACTS) annual report for 1975–76, colour TV increased overall viewership by 5%, with people watching for longer periods. The 1976 Montreal Olympics also led to an <a href="https://www.nfsa.gov.au/collection/curated/asset/96836-olympic-games-coverage-colour">increase in TV sales</a>, with the colour broadcast shared between the ABC, Seven and Nine. <figure><iframe src="https://www.youtube.com/embed/L-75iIoshak?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Highlights from the Montreal 1976 Olympic Games marathon event.</figcaption></figure> <h2>A late start</h2> With the United States introducing colour TV from 1954, it’s peculiar that Australia took so long to make the transition – especially since conversations about this had been underway since the 1960s. In 1965, a report outlining the process and economic considerations of transitioning to colour was tabled in parliament. Feedback from the US highlighted problems around broader acceptance in the marketplace. Colour TV sets were expensive and most programs were still being shot in black and white, despite the availability of colour. Networks were the most hesitant (even though they’d go on to become one of the most major benefactors). In 1969, it was <a href="https://australianfoodtimeline.com.au/colour-tv-introduced/">estimated transitioning to colour</a> would cost the ABC A$46 million (the equivalent of $265,709,944 today) over six years. The federal government, led by then prime minister Robert Menzies, decided to take a cautious approach to the transition – allowing manufacturers, broadcasters and the public time to prepare. The first colour “test” broadcast took place on June 15 1967, with <a href="https://televisionau.com/2025/03/tv-50-years-in-colour.html">live coverage</a> of a Pakenham country horse racing event in Victoria (although few people would have had coloured TV sets at this point). Other TV shows also tested broadcasting in colour between 1972 and 1974, with limited colour telecasts aired from mid-1974. It wasn’t until March 1975 that colour TV was being transmitted permanently. <figure><iframe src="https://www.youtube.com/embed/vIqqiK4ncfs?wmode=transparent&start=40" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Aunty Jack Introduces Colour’ was a one-off television special of The Aunty Jack Show, broadcast on the ABC on February 28 1975.</figcaption></figure> <h2>The cinema industry panics</h2> <a href="https://anzacportal.dva.gov.au/wars-and-missions/vietnam-war-1962-1975/events/withdrawal-from-1971">Australia’s involvement</a> in the Vietnam War created further urgency to televise in colour. With the war ending in April 1975, Australians watched the last moments in colour. Other significant events broadcast in colour that year included the December federal election, in which Malcolm Fraser defeated Gough Whitlam after the latter was <a href="https://www.youtube.com/watch?v=SXq056TJhU4">dramatically dismissed</a> as prime minister on November 11. With the public’s growing interest in colour TV, local manufacturers began lobbying for higher tariffs on imports to encourage domestic colour TV production. In the mid 1970s, a new colour set in Australia cost between $1,000 and $1,300, while the average full-time annual income was <a href="https://www.abs.gov.au/AUSSTATS/abs@.nsf/Lookup/6302.0Main+Features1Sep%201975?OpenDocument=">around $8,000</a>. Still in the throes of a financial recession, customers began seeking out illegally-imported colour TV sets – which were appearing at car boot markets across the country. <figure><iframe src="https://www.youtube.com/embed/wTKMqPg4hM8?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>British childrens show The Wombles came to Australian screens shortly after colour TV was introduced.</figcaption></figure> The government also created an advertising campaign warning the public of scammers who would offer to convert black-and-white TVs to colour. These door-to-door “salesmen” <a href="https://hoaxes.org/archive/permalink/instant_color_tv#google_vignette">claimed to have</a> a special screen which, when placed over a TV, would magically turn it colourful. By 1972, the estimated cost of upgrading broadcasting technology to colour <a href="https://www.nfsa.gov.au/latest/colour-tv-part-1">had reached $116 million</a>. The cinema industry, in a panic, even questioned whether colour TV could damage a viewer’s eyesight. The industry had previously suffered huge losses in cinema attendance with the introduction of black-and-white TV from 1956. Cinemas had a monopoly on colour and were petrified over what the introduction of colour to television could do to their attendances. Such fears were founded. In 1974 Australia had 68 million admissions to the cinema. By 1976, there were just 28.9 million admissions. Never again would yearly cinema admissions reach <a href="https://www.screenaustralia.gov.au/fact-finders/cinema/industry-trends/historical-admissions">above 40 million</a>. But despite the complaints – from the cinema industry, advertisers, broadcasters and manufacturers – audiences were ready for colour. And any network that dared to program in black and white would subject itself to a barrage of annoyed viewers. Colour TV was here to stay.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/251363/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-gaunson-265553">Stephen Gaunson</a>, Associate Professor in Cinema Studies, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/a-late-start-then-a-big-boom-why-it-took-until-1975-for-australians-to-finally-watch-tv-in-colour-251363">original article</a>. Image: Youtube/Austvarchive </div>

Travel expert shares top luxury destinations for 2025

More travellers are prioritising luxury holidays than ever before, with a travel expert revealing the top luxury destinations for 2025. Mark Trim, founder and managing director of <a title="Onboard Luxury" href="https://onboardluxury.com.au/" target="_blank" rel="noopener">Onboard Luxury</a>, said there are a selection of hotspots around the world that keep reappearing in online searches. Whether you're after a city stay or a relaxing resort getaway, Trim shared the top luxury spots with <a href="https://travel.nine.com.au/destinations/top-luxury-destinations-for-aussie-travellers-for-2025-in-pictures/d92ae530-7f82-4e49-ab2b-46cbd25758d6" target="_blank" rel="noopener">9Travel</a>. One destination that Trim said has become a particular hotspot is Sardinia in Italy. "This sophisticated island boasts pristine beaches, charming villages, and world-class golf courses like Pevero Golf Club," says Mark. Blessed with an array of spectacular swim spots, Sardinia has long been a bucket list holiday spot for many eager travellers. Trim said it's best to visit during the months between June to September to make the most of the weather, but be aware that this is the busiest time for tourists. For those looking for more of an adventure, the Okavango Delta in Botswana is a once-in-a-lifetime trip with its array of incredible animals. "This untamed beauty is one of Africa's Seven Natural Wonders, and it offers a unique opportunity to witness incredible biodiversity up close," says Mark. Those in search of a picturesque tiny town holiday should add the Norwegian town of Bergen to their itinerary. "This UNESCO World Heritage City is nestled amidst stunning fjords and boasts colourful wooden houses and panoramic views of the Northern Lights," says Mark. If you're in search of the ultimate beach resort getaway, Trim says you can't go past the Maldives. "If you're dreaming of a tranquil island escape with unparalleled luxury, the Fari Islands in the Maldives should be at the top of your list," says Mark. "With its convenient location just a short flight from Australia, it's the perfect getaway for those seeking a luxurious and rejuvenating experience," he added. For others looking for a beach holiday but wanting to stay closer to home, Fiji is always a popular choice, with many opting to explore the Mamanuca Islands. "This stunning archipelago boasts idyllic beaches, vibrant coral reefs and showstopping sunsets," says Mark. "Plus, with direct flights to Nadi and a short boat or helicopter ride to Malolo Island, it's incredibly convenient to reach for Australians." Image credits: Shutterstock

International Travel

Your 2025 Oscars wrap!

<div class="theconversation-article-body">In a year with few surprises in the awards categories, there was also a dearth of surprises on the red carpet. The sartorial themes included sparkling metallics, coloured menswear and bows, bows and more bows. Metallic gowns that resemble the Oscar statue are a familiar sight at the Academy Awards and this year was no different. Some of the standouts included best actress nominee Demi Moore in a magnificently glittering silver Armani Privé gown, Selena Gomez in custom Ralph Lauren encrusted with 16,000 individual blush-toned jewel teardrops, and Emma Stone in a minimalist Louis Vuitton sheath covered in iridescent fish scales. In the menswear category, tuxedos reign supreme. This year was notable only for the diversity of colours in which these suits came. Best actor nominee Timothée Chalamet lived up to his reputation for monochrome, richly hued ensembles in a custom butter yellow leather suit by Givenchy, paired with a matching silk shirt and delicate neck brooch in place of a tie. His best actor nominated compatriot, Colman Domingo (one of the best dressed men in Hollywood) was pristine in a double-breasted red silk jacket with black lapels, black trousers and matching red shirt by Valentino, similarly eschewing a tie in favour of a fine gold brooch. Andrew Garfield wore louche chocolate brown Gucci and Jeremy Strong wore a suit by Loro Piana in an unusual tone of olive green. Bows of varying size and stature were perhaps the strongest theme of the night. Best actress winner Mikey Madison in black and pink Dior, best supporting actress nominee Felicity Jones in shimmering liquid silver Armani, Elle Fanning in white and black Givenchy and Lupita Nyong’o in white Chanel were all adorned with bows at their waists. The most remarkable bow of the night though was best actress nominee Cynthia Erivo in a structured deep emerald-green velvet Louis Vuitton gown, the broad, wing-like sleeves of which were crafted as a bow. Notable mentions must also go to those attendees who do not fit neatly into any thematic category. Best supporting actress nominee Ariana Grande wore a meticulously crafted pale pink Schiaparelli confection and Lisa (of Blackpink and now White Lotus fame) perfected a feminine take on masculine suiting in a tuxedo dress by Markgong. The only real surprise was the lack of political statements on display. Unlike recent years, when pins and ribbons in support of Ukraine and Palestine were widely worn, this year only Guy Pearce was spotted wearing a Free Palestine pin, Conclave writer Peter Straughan wore a Ukrainian flag pin and Kayo Shekoni had “free Congo” emblazoned on the sole of her high heels. – Harriette Richards <h2>The best picture: Anora</h2> And the best picture Oscar goes to … Anora – the film that was favoured to win, so no surprises here. Though he had been working for more than a decade at the time, writer-director-editor Sean Baker came onto the independent movie scene with a bang with 2015’s Tangerine, a gimmicky film that was mainly celebrated for being shot on an iPhone. Why this would be celebrated is anyone’s guess. I suspect it’s because of the “I could do it too” factor – something the average person certainly couldn’t say if we’re talking 35mm celluloid. Since then, Baker’s films have relished in embracing the digital, neon world, but always in a kind of sentimental and shallow, rather than critical, register. None of his films are awful – and maybe that’s saying something in this day and age. Anora also is not awful, but it’s not particularly memorable either. <figure><iframe src="https://www.youtube.com/embed/z20wJkdKz98?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Anora follows a run of the mill American dream-type story about a hard-working stripper who seems to strike fairytale gold when a young, fun Russian oligarch falls in love with her. Only the dream turns out to be more of a nightmare (kind of) when things don’t quite work out and the film ends with the titular character once again independent and free. The idea of undercutting the fairytale setup of the typical rom-com is not at all original, and the film strikes me as even more schmaltzy in its rejection of the fairytale dream than if it had embraced it and played like a tween-focused Nickelodeon film (it’s about as poignant as this). The film’s cardinal sin, however – and it’s certainly not alone in this – is its critical overlength. Each of the film’s sections could have had some 20 minutes cut and we would have had an enjoyably tight romp at 80 minutes. Instead, Anora drags on, swept up in its imagining of its own profundity – at times pretentious, but mainly tedious. – Ari Mattes <h2>Not the year to stick a neck out</h2> The speeches this year were conspicuously meek. No announcer majorly insulted anyone else. No winner assaulted anyone else. Even the James Bond retrospective lacked energy. What’s going on in Hollywood? There are clues that help explain this curious flatness. Host Conan O’Brien mentioned the pressure of “divisive politics” while reflecting on California’s wildfires. Several winners spoke about the importance of shared experience, of what unites us, of film as a medium that brings people together, a force for “<a href="https://pitchfork.com/news/oscars-2025-clement-ducol-and-camille-win-best-original-song-for-el-mal-from-emilia-perez/">good and progress in the world</a>” and “<a href="https://www.townandcountrymag.com/leisure/arts-and-culture/a63981052/adrien-brody-best-actor-oscars-2025-speech-transcript/">a reminder not to let hate go unchecked</a>”. The directors of No Other Land, receiving their Oscar for best documentary, shared the one clear critical voice. Palestinian Basel Adra wished his newborn daughter a life without the fear that governs daily life in his homeland. Israeli co-director Yuval Abraham agreed: “There is another way. It’s not too late for life and for the living. There is no other way.” However, that was the only moment people at the Oscars seemed willing to confront the political elephant in the room. Anora director Sean Baker used his last (of four!) acceptance speeches to compel more people to help keep cinema doors open. He made his point passionately: this was the best way to sustain an industry that could continue to make brilliant movies. That said, the most emotive speeches of past Oscars events went much further than just commenting on the bread and butter concerns of the film industry. This year, there were more clues in what people did not say. There were feints at Russian dictators – but nobody mentioned the war in Ukraine. There was no discussion of a certain election result, nor of filmmakers’ fears that Washington is now in the control of a governing faction that loathes them. Most revealing of all: nobody raised a peep about the President or his friends. Hollywood’s collective discipline was on show tonight – and 2025 is not the year to stick a neck out. – Tom Clark <h2>A banner year for independent film</h2> Independent films were the big winners for this year’s Oscars. While many of the technical awards went to the big budget films, such as Wicked (the US$145 million film won costume design and production design) and Dune: Part 2 (made at a budget of US$190 million, and winning sound and visual effects), the night’s major awards went to small productions. While the definitions of “independence” and “studio” films don’t exist in a neat binary when it comes to production and global distribution, we can distinguish between film juggernauts and smaller films. Three independent films won significant awards that are of note. Latvian film Flow was the first independent film to win best animated feature, up against major films Inside Out 2 (Pixar Films) and The Wild Robot (DreamWorks). The film follows a cat, a dog, a capybara, a secretary bird and a ring-tailed lemur navigating a post-apocalyptic world with rising sea levels. The film also only used free and open-source software Blender and mostly used sounds from real world counterparts of the various characters. It was made for a budget of just €3.5 million (A$5.9 million). The best documentary film nominees were dominated by independent films. Notably, the winner No Other Land has sadly been unable to find a distributor to release the film in the United States. (It is available for streaming in Australia on DocPlay, and in select cinemas.) The film was only eligible because the Film Lincoln Centre in New York facilitated a one-week, qualifying theatrical run. The night’s top glories went to Anora, made on a budget of just US$6 million (A$9.7 million) and taking home the awards for best film, director, actress, screenplay and editing. In his acceptance speech for best director, Sean Baker spoke of the importance of films getting a theatrical release. Films, he said, are about humanity – and that is best experienced in watching a film with other people. <figure><iframe src="https://www.youtube.com/embed/ozpV7LyJ4YQ?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> During awards season, Baker has often spoken about the importance of small budget films in the expression of core human experiences. The final message of the night went to Baker when he thanked the Academy for recognising a truly independent film: “Long live independent film!” Indeed, independent films ruled this year’s Oscars. – Stuart Richards <h2>Best actor and actress</h2> Mikey Madison, who won the best actress award for Anora, is quite good in the role. That said, it’s difficult to evaluate her performance in such a meandering film. She tries hard playing a stripper who falls for Prince Charming – a Russian oligarch (Hollywood’s anti-Russian sentiment has certainly grown in recent years) who turns out to be a bit of a weakling with meanie parents. But Madison never really convincingly embodies the character, and we’re ever aware as we watch the film that she’s an actress working her way through relevant emotions and intensities. That said, Madison is good at yelling and stripping, and this is the main way she shows her chops here. She screamed well in Once Upon a Time… in Hollywood (2019), too. The bar this year was admittedly pretty low, and truth be told Madison’s performance in Anora (aside from Fernanda Torres for I’m Still Here) is probably the best out of the nominees. In contrast, Adrien Brody, who won the best actor award, is absolutely unforgettable in the flawed but magnificent The Brutalist – the best he’s been since The Pianist, and the deserved winner by a mile out of a similarly mediocre field. Brody is simply a pleasure to watch, and drives, in a wholly embodied way, this grandiose and exceedingly long film (the fact it doesn’t feel long is largely due to his magnetism). The screenplay, in which the character comes across as a combination of arrogant, sweet and at times comedic, allows Brody to display the full range of his talent, and he plays the whole thing with an endearing vulnerability. But, again, it’s unfair to compare Brody and Madison – The Brutalist is a spectacularly accomplished cinematic epic, while Anora feels as stylish and profound as a social media video (I know that’s the point, but that doesn’t make it any more compelling). – Ari Mattes <h2>A lacklustre year for music</h2> This was a strong year for music-based films, with three of the most nominated ones being musicals of various types: the big-budget Broadway adaptation Wicked, the original film musical Emilia Pérez, and the musician biopic A Complete Unknown. The music of the ceremony itself was nicely assembled, with a live orchestra (conducted by Michael Bearden) accompanying proceedings from above the stage. But the show was marred by an absence: the best song nominations were not performed live. The new songs this year were so bland, however – especially when compared to the Wicked score and Bob Dylan – that I can hardly blame the producers. The nominations included a dull Elton John song, some soft guitar rock from Sing Sing, Diane Warren’s 16th (!) nominated song (more soft rock), and two forgettable songs from Emilia Pérez (one of which, El Mal, was the winner). So little faith did the Academy have in the songs that only a few seconds were played from each, mostly covered by a montage of interviews with the songwriters. This year’s nominated best scores were not much more memorable, but Daniel Blumberg deserved his win for The Brutalist. It demonstrates a high level of composition and orchestration craft. It uses edgy instrumental textures to increase the feelings of uncertainty and imbalance that the film imparts. The show included a lot of Wizard of Oz. Ariana Grande sang Over the Rainbow from the 1939 film and Cynthia Erivo sang Home from The Wiz, the 1974 soul musical based on the book. Then they performed Defying Gravity from Wicked together. Another subtle Wizard of Oz nod was the music played during the commercial breaks: a loop based on Brand New Day from The Wiz, whose 1979 film version had its music produced by the late Quincy Jones. Queen Latifah and backup dancers brought some much needed energy to the last hour of the ceremony with Ease on Down the Road, also from The Wiz, as part of a Jones tribute. One surprise was an unnecessary but enjoyable James Bond sequence featuring Margaret Qualley dancing to John Barry’s famous theme, a performance of Live and Let Die by K-pop star Lisa, Doja Cat singing Diamonds Are Forever, and Raye’s rendition of Skyfall. This plus the various numbers from the Oz Musical Universe only highlighted how lacklustre this year’s nominated music was. – Gregory Camp By <a href="https://theconversation.com/profiles/harriette-richards-992933">Harriette Richards</a>, Senior Lecturer, School of Fashion and Textiles, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a>; <a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a>; <a href="https://theconversation.com/profiles/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, School of Music, <a href="https://theconversation.com/institutions/university-of-auckland-waipapa-taumata-rau-1305">University of Auckland, Waipapa Taumata Rau</a>; <a href="https://theconversation.com/profiles/stuart-richards-9983">Stuart Richards</a>, Senior Lecturer in Screen Studies, <a href="https://theconversation.com/institutions/university-of-south-australia-1180">University of South Australia</a>, and <a href="https://theconversation.com/profiles/tom-clark-4911">Tom Clark</a>, Chair of Academic Board, <a href="https://theconversation.com/institutions/victoria-university-1175">Victoria University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/from-the-fashion-to-the-speeches-to-the-music-this-was-an-oscars-of-few-surprises-5-experts-break-it-down-251264">original article</a>. </div>

Movies

Oscars 2025: who will likely win, who should win, and who barely deserves to be there

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> We’ve probably all had a moment when we stopped taking the Oscars too seriously. For me, it was when Denzel Washington <a href="https://www.forbes.com/sites/timlammers/2024/05/02/why-denzel-washington-once-told-a-co-star-losing-an-oscar-is-better/#:%7E:text=Washington's%20second%20Oscar%20win%20%E2%80%94%20which,called%20at%20the%20Academy%20podium.">won best actor</a> for Training Day (2001), a crime film in which he displays virtually none of his acting chops. And as popular cinema becomes uglier (it’s mostly shot on digital video now, which almost never looks as good as film) and streamers (or logistics companies such as Amazon) take over film production, it’s becoming increasingly difficult to appreciate the point of the ceremony. From this year’s ten nominees for best picture, The Brutalist, Conclave and I’m Still Here are good – while (most of) the other nominees are only okay. <h2>Some well-made films, but nothing outstanding</h2> Writer-director Sean Baker’s Anora is nominated for best picture this year, after already <a href="https://aframe.oscars.org/news/post/2024-cannes-film-festival-winners-list-palme-dor">winning the Palme d’Or</a>. It’s a moderately sweet film in the tradition of Pretty Woman – having more nudity and sex, and a disappointing ending, doesn’t automatically make it edgier. It’s too long by at least half an hour, with some okay performances. It’s certainly not bad, but the idea that this is one of the “best pictures” of 2024 is alarming – or would be, if I wasn’t already so cynical. Most importantly, there’s nothing formally or aesthetically compelling about it, in which case I might have forgiven the silly (anti) Cinderella story. <figure><iframe src="https://www.youtube.com/embed/vgrXTvL_l_c?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Another nominee, A Complete Unknown, is similarly well-made. Timothée Chalamet gives a predictably moody performance as Bob Dylan, and it’s fun to learn something about the relationships between Dylan and musical legends Joan Baez and Pete Seeger. But there’s also something fundamentally weird about watching a memoir about a person as iconic as Dylan. It veers too often into the terrain of impersonation, and this is even more off-putting given Dylan is still alive. Throw in Chalamet’s (certainly accomplished) singing of Dylan’s songs, and it feels like we’re watching someone do karaoke really well. <figure><iframe src="https://www.youtube.com/embed/FdV-Cs5o8mc?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The Substance tries to shock and titillate the viewer with its caricature of celebrity in an era of body modification and mega-media corporations. Demi Moore, Margaret Qualley and Dennis Quaid try hard to be funny, but the whole thing plays like an undergraduate essay that makes the same point ad nauseam. Though the actors surely had fun, there’s nothing compelling about their guffawing. This is also the problem with messy hybrid musical-thriller Emilia Pérez, the other over-the-top genre film tipped by some to win the award. The film, following a cartel leader who disappears and transitions into a woman, is overly dependent on making a point about the world outside of itself. This point is so obvious that it rapidly becomes tedious, with insufficient attention given to the formal and narrative tensions and ambiguities that compel an audience to engage with a film on a serious, visceral level. Dune: Part Two sounds and looks good, but is more meandering than Part One in developing Herbert’s unwieldy epic. If you liked Part One, you’ll probably like Part Two, but it’s not exactly cutting-edge material. <figure><iframe src="https://www.youtube.com/embed/Qlbr7gJgBus?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Nickel Boys is a low-key, sentimental rendition of Colson Whitehead’s novel about two African American boys sent to a reform school in Florida in the early 1960s, and their coming of age as they survive myriad abuses. It’s watchable, if not particularly memorable. Finally, Wicked is, well … Wicked. If you like the musical you may like the film (although the live aspect of musicals makes this one play better on the stage than on the screen, unlike The Wizard of Oz, which was made for the screen). In any case, it’s not ridiculously bad, even though it is too long. <h2>A few top contenders</h2> Walter Salles’ I’m Still Here – which traces the struggle of an activist in Brazil after the forced disappearance of her husband in 1970 – works well in its evocation of place and time, and should soften the heart of even the most cynical viewer. Based on Marcelo Rubens Paiva’s 2015 memoir, the entire film is washed over with a faint scent of nostalgia that complements the idea of failing to find, and then remembering, that which is missing. <figure><iframe src="https://www.youtube.com/embed/gDunV808Yf4?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Conclave, adapted from Robert Harris’ novel, is another solidly made affair. It follows the political machinations of the Vatican as the Dean of Cardinals sets up a conclave to elect a new pope after the previous one dies of a heart attack. Ralph Fiennes is as effective and sombre as usual in the lead role as Cardinal Lawrence and various twists and turns keep us watching throughout. But one suspects the primary pleasure of the film is that it seems to offer an insider’s view of the Vatican, including all the fetishistic processes and rituals. Despite its serious tone, Conclave is a fun romp. And what a pleasure it is to watch Isabella Rossellini on the big screen once again. <h2>The strongest nominee</h2> The film that is most classically like a best picture nominee is The Brutalist – an epic, visually-magnificent study of the struggles of (fictional) architect László Toth, a Hungarian Jew who moves to America following the Holocaust. <figure><iframe src="https://www.youtube.com/embed/GdRXPAHIEW4?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Testament to the technical accomplishments of the film, and its superb creation of a coherent world, The Brutalist runs close to four hours (thankfully with an intermission) without becoming tedious. It chugs along with the relentless momentum of a steam engine. Adrien Brody is charming as Toth, endowing the character with a roguish and playful quality, and the supporting cast are solid. Akin to one of Toth’s constructions (as we hear in the epilogue section), the film neither indicates nor tells us anything beyond itself. There may be conclusions to be drawn regarding the relationship between art, power and capitalism, but the film gives you the space to devise these yourself. The film is, in a sense, beautifully mute. Out of all the nominations, The Brutalist is the only one that feels like a genuine best picture contender (with something of the grandeur of classical Hollywood cinema about it). Although many critics <a href="https://www.hollywoodreporter.com/movies/movie-features/oscars-2025-who-will-win-should-win-1236146220/">are</a> <a href="https://variety.com/lists/2025-oscars-predictions/">predicting</a> Anora will win, The Brutalist is the strongest of the nominees. That said, my pick for the best film of 2024 goes to a production that didn’t get a best picture nomination (as usual). Magnus von Horn’s The Girl With the Needle is a stunning Danish expressionistic nightmare that seamlessly integrates formal experimentation with a thrilling and horrific true crime narrative. It is absolutely sensational – the kind of thing you never forget. Thankfully, it has been recognised through its nomination for best international feature film.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/250783/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <figure><iframe src="https://www.youtube.com/embed/NdjhUNH5v3Q?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> Image credits: Brookstreet Pictures This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/oscars-2025-who-will-likely-win-who-should-win-and-who-barely-deserves-to-be-there-250783">original article</a>. </div>

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