Placeholder Content Image

New Aussie film starring Nicolas Cage is an absolute blast

<div class="theconversation-article-body">Nicolas Cage has made a career from his highly entertaining scenery chewing. He follows a performance style he calls “<a href="https://filmschoolrejects.com/nouveau-shamanic-the-enigmatic-style-of-nicolas-cage/">Nouveau Shamanic</a>” – an exaggerated form of method acting where he acts according to the character’s impulses. This allows for the wild, unpredictable outbursts his characters are known for.</p> <p>Cage films are also usually about masculinity: its worst excesses, the parameters restricting it, and what ennobling versions of it might look like.</p> <p>The Surfer, a new Australian feature film from Irish director Lorcan Finnegan, leans right into masculinity as a theme.</p> <p>Our unnamed protagonist (Cage) is returning to his former Australian home from the United States. He is newly divorced, and trying to buy a beachside property to win back his family.</p> <p>He takes his teenage son (Finn Little) for a surf near the property, but they are run off by an unfriendly pack of locals.</p> <figure><iframe src="https://www.youtube.com/embed/Tb6iY_p1Qi0?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Returning alone to the beachside car park to make some calls, he is besieged there over the next several days by the same gang. They are led by a terrifying middle-aged Andrew Tate-esque influencer, Scally (Julian McMahon), who runs the beach like a combination of a frat bro party and wellness retreat.</p> <p>The protagonist’s fast descent into dishevelled, dehydrated delirium as the group’s hazing escalates, fuels much of the first two acts.</p> <h2>Fish out of water</h2> <p>It is impossible to think of an actor other than Cage who could make a character like this so enjoyable to watch.</p> <p>From the first moments, he seems pathetic: giving his uninterested teenage son metaphorical speeches about surfing, losing arguments on the phone with his broker and real estate agent, reeking of pomposity and desperation.</p> <p>The sense of a man out of his depth is compounded by his Americanness contrasting with the particular brand of Australian masculinity the locals display. Both types are brash and entitled, but with entirely different ways of expressing it.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668067/original/file-20250515-74-v46zis.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=3 2262w" alt="Cage is in the face of another surfer, wearing a Santa hat." /></a><figcaption><span class="caption">This is a man out of his depth.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>Cage’s distinctively American confidence has no resistance to the terrifying switches of Australian masculinity from friendly to teasing to violent.</p> <p>“Don’t live here, don’t surf here,” they hiss at him on first meeting, forcing him to retreat, cowed, to the car park, where he remains for most of the rest of the film.</p> <h2>The wide-open and the claustrophobic</h2> <p>What a stroke of genius it is to use this single location.</p> <p>Filmed in Yallingup, Western Australia, The Surfer beautifully captures the natural surroundings, stunning views and shimmering heat of Australian coastal summer.</p> <p>At the same time, a confined, interstitial semi-urban feature like a beachside car park feels so bleak and uninviting. The only amenities are an overpriced coffee cart, ancient payphone and a dingy toilet block.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668068/original/file-20250515-68-lj0ags.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=3 2262w" alt="Cage stands next to a phone booth." /></a><figcaption><span class="caption">The beachside car park feels so bleak and uninviting.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>As a film setting, it is both a spectacular wide-open vista and stiflingly claustrophobic – a perfect mechanism for The Surfer’s psychological horror.</p> <p>It must have been attractive in getting the script funded as well. With such an affordable location, more of the budget would have been freed up for a big name like Cage.</p> <h2>A modern Wake in Fright</h2> <p>With its oppressive setting, overexposed orange and yellow light and grade, and a sweaty spiral into madness, The Surfer invites comparisons to <a href="https://theconversation.com/thats-not-us-wake-in-fright-at-50-a-portrait-of-an-ugly-australia-that-became-a-cinema-classic-159221">Wake in Fright</a>, Ted Kotcheff’s 1971 brutal depiction of Australian men and their drinking culture.</p> <p>Both take place at Christmas and feature an antagonist who enjoys confidently explaining their dubious moral worldview to everyone. However, Wake in Fright’s horror lingers because we know the culture remains even after the hero escapes it. The Surfer struggles a little more in landing the ending.</p> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=338&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/668069/original/file-20250515-56-ea6rb1.jpg?ixlib=rb-4.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=424&amp;fit=crop&amp;dpr=3 2262w" alt="Men in a sweaty hug: perhaps they are cheering, or maybe they are yelling." /></a><figcaption><span class="caption">The film’s depiction of masculinity echoes Wake In Fright.</span> <span class="attribution"><span class="source">Madman Entertainment</span></span></figcaption></figure> <p>For the mean, violent, misogynistic villains to be defeated, it would be unsatisfying for Cage to stoop to their level. This means – without spoiling too much – Cage remains an oddly passive character throughout the film, while others perform the avenging actions.</p> <p>The only way the protagonist’s masculinity can be resurrected as upright, ethical and empowering is for the character to literally turn his back on the vengeance we’ve been waiting for him to deliver.</p> <p>It’s not that the film has an inarticulate grasp of its own politics, but more that the otherwise terrific script by Thomas Martin feels written into a difficult corner.</p> <h2>A blast along the way</h2> <p>I don’t want to imply that this ending means The Surfer isn’t an absolute blast along the way. A lot of the fun is in anticipating each dreadful humiliation – and it somehow turning out worse than you could have expected.</p> <p>A spilled coffee leads to drinking recycled wastewater which leads to chewing on a dead rat, and we still haven’t reached the lowest rung on the ladder of indignities that Cage’s character suffers.</p> <p>In less skilled hands this could feel nasty or gross, but the hallucinatory quality of Finnegan’s direction makes it feel almost sublime. And Cage’s pleading, groaning, sobbing and gibbering feel believable and relatable.</p> <p>The pathos works – and it’s pretty funny too.</p> <p><em>The Surfer is in cinemas now and streaming on Stan from June 15.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/254580/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></em></p> <p><em><a href="https://theconversation.com/profiles/grace-russell-1459623">Grace Russell</a>, Lecturer, School of Media, Film and Journalism, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a></em></p> <p><em>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/dishevelled-dehydrated-delirium-new-aussie-film-the-surfer-starring-nicolas-cage-is-an-absolute-blast-254580">original article</a>.</em></p> <p><em>Main Image: Madman Entertainment</em></p> </div>

Movies

Placeholder Content Image

7 films to watch this Mother’s Day

<div class="theconversation-article-body"> <p>With Mother’s Day almost upon us, you may be wondering what gift you’ll give mum – or any of the mums in your life. This year, why not skip the fancy dinner and offer one of the most precious gifts there is: quality time, in front of the TV.</p> <p>When I asked seven experts what movies they’d recommend for Mother’s Day, I wasn’t expecting I, Tonya or Alien: Romulus – but their responses have made me realise just how multifaceted the experience of motherhood is, and how weirdly and wonderfully it can be reflected onscreen.</p> <p>So here’s what to watch if you want to laugh, cry, or scream, in an ode to mothers everywhere.</p> <h2>I, Tonya (2017)</h2> <p>The first film from Margot Robbie’s production company LuckyChap Entertainment – which earned Robbie an Oscar nomination for best actress – is an ideal viewing choice for anyone wanting to support Aussie female talent.</p> <p>Former American figure skater Tonya Harding became a household name in 1994, after her then-husband Jeff Gillooly <a href="https://time.com/5027311/i-tonya-movie-true-story/">orchestrated an assault</a> on her primary rival, Nancy Kerrigan, in a bid to block Kerrigan from representing the United States at that year’s Winter Olympics.</p> <p>I, Tonya presents the event, and those of Harding’s career leading up to it, from a more sympathetic perspective than usual. Although it is careful to open with the caveat that the story is derived from “irony-free, wildly contradictory, totally true interviews with Tonya Harding and Jeff Gillooly”, the film presents Harding’s life as one of abuse and cruelty at every turn.</p> <figure><iframe src="https://www.youtube.com/embed/OXZQ5DfSAAc?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The judges can’t stand her “unfeminine” power. Her husband only shows love through violence. And her heartless mother, LaVona (Alison Janney) is desperate to cash-in on the financial gains from her career success, while simultaneously resenting it.</p> <p>Janney’s performance as LaVona won her the Academy Award for best supporting actress, a title thoroughly deserved as an ice-cold LaVona chainsmokes through barbed criticisms and physical threats. While I, Tonya may not be the most obvious choice for a film to watch on Mother’s Day, it certainly will make you appreciate yours.</p> <p><em><strong>– Jessica Gildersleeve</strong></em></p> <h2>Stepmom (1998)</h2> <p>Stepmom, starring Julia Roberts and Susan Sarandon, is a family weepy for anyone who needs a cathartic cry. Directed by Chris Columbus, the comedy–drama follows the story of terminally ill woman Jackie Harrison (Sarandon) as she comes to grips with the fact her ex-husband’s new girlfriend Isabel (Roberts) will soon be her children’s stepmother.</p> <p>The film, like others under Columbus’ direction, is a critique of domestic dysfunction (think Home Alone, Mrs Doubtfire, or Nine Months), and an exploration of the lengths characters will go in order to restore the ruptured (nuclear) family, whether literally or symbolically.</p> <figure><iframe src="https://www.youtube.com/embed/QNUu1d7i26g?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Despite its melodramatic machinery and predictable ending, Stepmom offers a nuanced portrayal of the struggles of children during separation or divorce. We see 12-year-old Anna and her little brother, Ben, an aspiring magician, caught in an emotional tug-of-war between their loyalty to their dying mother and their natural affection for their new stepmum.</p> <p>In an honest moment, an anxious Ben asks his dad, “can you ever fall out of love with your kids?”</p> <p>“No, that’s impossible,” Dad responds.</p> <p>In an equally realistic thread, the sullen Anna begrudgingly turns to Isabel for advice on boys, clothes and makeup – their relationship soon resembling one of sisters rather than adversaries (controversially, Roberts’ character even takes it upon herself to explain the concept of “snowblowing” to the tween).</p> <p>In 1998, Stepmom was ahead of its time – not in its representation of motherhood, but in its acknowledgement the nuclear family was, even back then, a thing of the past.</p> <p><strong><em>– Kate Cantrell</em></strong></p> <h2>Double Jeopardy (1999)</h2> <p>Like most thrillers made in the 1990s, Double Jeopardy begins in the Pacific Northwest region of the United States: the epicentre for murder and mist.</p> <p>Libby Parsons (Ashley Judd) is living the idyllic waterfront life with her husband Nick (Bruce Greenwood) and son Matty. After being convinced by Nick to go yachting, Libby wakes up on the boat (during what could best be described as a mist storm) to discover Nick is missing, and there is an endless path of blood from her hands to the yacht’s edge.</p> <p>Libby is tried and convicted for Nick’s murder. While grieving her son in jail, she finds out her husband is actually alive and has framed her. Libby’s cellmate tells her about the “double jeopardy” rule: you can’t be tried for the same crime twice.</p> <p>The montage of Libby preparing for revenge in jail signals an uptick in campy action. Upon her release, we’re introduced to parole officer Travis (Tommy Lee Jones). A game of cat and mouse ensues that is equal parts thrilling and ridiculous.</p> <figure><iframe src="https://www.youtube.com/embed/u22fy9OTaxo?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Ultimately, Libby must choose between vengeance and getting her son back. Will she follow the rules and wait, or will she put her relentless jail workouts to good use? Double Jeopardy is profoundly stupid and fun, with all the unexpected charm of a midday movie that pulls you in, despite not making much sense.</p> <p>It’s just the kind of movie my mum and I have found ourselves glued to on a Saturday afternoon – cheerleaders for revenge.</p> <p><strong><em>– Kathleen Williams</em></strong></p> <h2>Monster-in-Law (2005)</h2> <p>What lengths would you go to protect your son from marrying someone unsuitable? One of the first references to the roles of the mother-in-law can be traced back to <a href="https://www.google.com.au/books/edition/Representations_of_the_Mother_in_Law_in/gdxfDwAAQBAJ?hl=en&amp;gbpv=1&amp;dq=mother+in+law+latin&amp;pg=PA73&amp;printsec=frontcover">Latin literature</a>, and the comedic play Hecyra, by Roman playwright Terence, which was first <a href="https://www.litencyc.com/php/sworks.php?rec=true&amp;UID=13480">successfully performed</a> in 160 BC. The play’s comedic twist is that the mother-in-law is accused of hating her son’s wife.</p> <p>The 2005 box office hit Monster-in-Law (2005) follows this trajectory and takes it to the extreme. Viola Fields (Jane Fonda) becomes manipulative and acts downright dirty to prevent her son, Kevin (Michael Vartan), from getting married to his fiancée Charlie (Jennifer Lopez) – who she thinks is not good enough for him.</p> <figure><iframe src="https://www.youtube.com/embed/njLr1z66EfA?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>This romantic comedy has the conventions of love, romance, a wedding, and overall impending chaos. It is about a mother trying to do what she thinks is best for her son, as well as the fragile links between romantic love, familial love and matriarchy.</p> <p>In parts, the film transgresses into slapstick territory, as Kevin remains oblivious of Viola’s volatile antics towards Charlie. The tension between the two strong female leads hilariously spirals out of control in the lead-up to the wedding.</p> <p>Monster-in-Law is a feel-good film that draws on the close bond between mother and child, making it good viewing for Mother’s Day.</p> <p><em><strong>– Panizza Allmark</strong></em></p> <h2>The Wild Robot (2024)</h2> <p>There’s a cultural belief that once your baby is in your arms, you’ll immediately know how to look after them, or that you can draw on your own experience of being mothered, or find the right path in one of eleventy billion parenting books.</p> <p>But even if you did have a good experience of being mothered (and many don’t), or you find some great books, parenthood remains a journey of uncertainty and trial and error.</p> <p>When I took my young children to see The Wild Robot, I laughed and cried way more than them. Not just because the animation was so beautiful, or because the story was so moving, but because of the non-didactic moments that resonated so strongly with how we parents feel.</p> <p>We often don’t know what we’re doing; we’re trying our best, and wishing it will be the right thing – playing out an internal war between wanting to protect our children and wanting them to forge their own path.</p> <p>In The Wild Robot, Roz the robot (voiced by Lupita Nyong'o) is focused on helping her adopted gosling Brightbill (Kit Connor) learn how to fly – something she has no experience of. More importantly, Brightbill must fly on a migration flight with other birds, where she can’t join him.</p> <figure><iframe src="https://www.youtube.com/embed/67vbA5ZJdKQ?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>The film mirrors the beautiful and horrifying knowledge parents carry: if we do our job, our children will become their own individuals who are able and willing to leave us. All we can hope is we’ve formed a bond that will make them want to return.</p> <p><em><strong>– Rebecca Beirne</strong></em></p> <h2>My Big Fat Greek Wedding (2002)</h2> <p>Was your mother born overseas? It’s likely. Nearly half of all Australians <a href="https://www.abs.gov.au/media-centre/media-releases/2021-census-nearly-half-australians-have-parent-born-overseas">have a parent born overseas</a>. Or perhaps you married into a family where your “new mum” was born overseas?</p> <p>Your mother-in-law counts on Mother’s Day. Don’t forget it. And if you married into a wonderfully loud Greek/Italian family as I did, then your mother-in-law is likely a hard worker who deserves to be entertained. So why not offer her, and all the mums in your life, a sweet, disarming rom-com about a clash of cultures and a life milestone all mums can get behind: a wedding. A Big Fat Greek Wedding, to be precise.</p> <p>Written by and starring Nia Vardalos, this film tells the tale of Toula Portokalos, who, at the “advanced” age of 30, remains persistently unmarried in the early aughts Chicago. In Greek terms, this is already a tragedy. The title does a lot of heavy lifting in terms of what comes next.</p> <p>The real charm of the film is the clash of cultures that anyone with any ethnic background will recognise.</p> <figure><iframe src="https://www.youtube.com/embed/O2mecmDFE-Q?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>My Big Fat Greek Wedding was a small film with huge global success. Will your mum care it was made with a budget of just US$5 million but <a href="https://fivethirtyeight.com/features/the-first-my-big-fat-greek-wedding-was-the-blockbuster-nobody-saw-coming/">grossed more than US$360 million worldwide</a>, making it one of the most profitable films of all time, with a more than 6,150% return? Probably not.</p> <p>But she’ll love John Corbett, that tall guy who was also in Sex in City (and he’s really good in this one). Just make sure you skip the sequels.</p> <p><strong><em>– Ruari Elkington</em></strong></p> <h2>Alien: Romulus (2024)</h2> <p>Not everyone wants to watch saccharine romantic comedies on Mothers’ Day. If you can relate, dystopian horror film Alien: Romulus (2024) offers much darker pleasures.</p> <p>Feminist scholars have long found the Alien franchise to be rife with symbolism and repressed fears about motherhood, birth and reproductive organs. Alien: Romulus goes further than the original 1979 film in making the theme of sexual violation explicit. As you might expect from Fede Álvarez, the director of Evil Dead (2013), there is plenty of body horror as human characters are assaulted and orally impregnated by Alien species.</p> <p>The film also includes neo-Marxist messages about “the company” and its violation of workers’ bodies. Working mums may enjoy the dark humour of a futuristic corporation that literally sucks the life out of workers before politely thanking them for their service.</p> <figure><iframe src="https://www.youtube.com/embed/OzY2r2JXsDM?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>Leading action woman Rain Carradine (Cailee Spaeny) is more vulnerable and relatable than the iconic character Ripley of previous films. When Rain discovers her work contract has tipped over into slavery, she joins up with her ex-boyfriend Tyler (Archie Renaux) and his pregnant sister Kay (Isabela Merced) to hijack a space station.</p> <p>They must then manage a coolly indifferent IT operating system called “MU/TH/UR” to control the ship. The fact Kay is pregnant does not bode well; her baby eventually bursts out as a hideous alien-human mutant which tries to eat her.</p> <p>Alien Romulus is basically every unspeakable anxiety about pregnancy and motherhood realised through spectacular special effects. It’s also the franchise’s best film since the original.</p> <p><em><strong>– Susan Hopkins</strong></em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/255004/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p>By <em><a href="https://theconversation.com/profiles/jessica-gildersleeve-141286">Jessica Gildersleeve</a>, Professor of English Literature, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a>; <a href="https://theconversation.com/profiles/kate-cantrell-444834">Kate Cantrell</a>, Senior Lecturer – Writing, Editing, and Publishing, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a>; <a href="https://theconversation.com/profiles/kathleen-williams-538927">Kathleen Williams</a>, Senior Lecturer in Media, <a href="https://theconversation.com/institutions/university-of-tasmania-888">University of Tasmania</a>; <a href="https://theconversation.com/profiles/panizza-allmark-198784">Panizza Allmark</a>, Professor of Visual &amp; Cultural Studies, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/rebecca-beirne-183948">Rebecca Beirne</a>, Senior Lecturer in Film, Media and Cultural Studies, <a href="https://theconversation.com/institutions/university-of-newcastle-1060">University of Newcastle</a>; <a href="https://theconversation.com/profiles/ruari-elkington-105955">Ruari Elkington</a>, Senior Lecturer in Creative Industries &amp; Chief Investigator at QUT Digital Media Research Centre (DMRC), <a href="https://theconversation.com/institutions/queensland-university-of-technology-847">Queensland University of Technology</a>, and <a href="https://theconversation.com/profiles/susan-hopkins-157472">Susan Hopkins</a>, Senior Lecturer in Education (Curriculum and Pedagogy), <a href="https://theconversation.com/institutions/university-of-the-sunshine-coast-1068">University of the Sunshine Coast</a></em></p> <p><em>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/stepmums-alien-mums-robot-mums-vengeful-mums-7-films-to-watch-this-mothers-day-255004">original article</a>.</em></p> <p><em>Image: Shutterstock</em></p> </div>

Movies

Placeholder Content Image

Guy Sebastian's surprising new career move

<p>Guy Sebastian has announced his surprising new career move, just weeks after revealing he would be leaving his long-held judges role on <em>The Voice Australia</em>. </p> <p>After spending six seasons on the singing program, Sebastian is set to make a carer pivot into films, as he will make his big-screen debut later this year. </p> <p>Sebastian will appear in <em>Hindi Vindi</em>: an Australian indie film about a teen musician named Kabir, portrayed by Mihir Ahuja, who is trying to bridge a family generation gap through song.</p> <p>The Australian Idol winner was originally approached to just write an original song for the movie, before producers to ask him to take on the acting role of James, the father of the teenage singer.</p> <p>On Thursday, Sebastian was asked on <em>Sunrise</em> about the best part of working on the new film.</p> <p>“Working with great actors — in the film there is Nina Gunter, who has been in 180 Bollywood movies, and the actor who plays my son in the film as well — absorbing the craft,” Sebastian said</p> <p>“I am comfortable in the music world. I can sit in my studio knowing I have done my 10,000 hours but having actor friends and seeing how seriously they take the craft, I knew I was venturing into a world that I needed to pull something out from somewhere."</p> <p>“It is not the hat that I wear all the time. That was good, watching them and absorbing them in being able to turn on a dime and the emotion and that is the biggest thing I took away, how much is involved in bringing a character to life.”</p> <p>Sebastian spoke candidly about delving into his own ancestral roots for the role, tapping into his Malaysian and Sri Lankan Tamil heritage. </p> <p>“I moved to Australia when I was six years old or something,” he said.</p> <p>“There is a lot in this movie that I could draw on personally, my mum is from India and she had a pretty tough life. She was orphaned fairly young. Her story parallels that of my wife in the film."</p> <p>“My character gets married and takes her away from her family and that is kind of what happened to my mum. At 19 she moved away from her family, so there is a lot to tap into."</p> <p>“The accent, it actually came naturally because I generally soften my accent. When I am around my older aunties, you can’t be very Australian because they don’t know what you’re saying.”</p> <p>When asked if Sebastian thought acting would be a new career path for him, he responded, “I don’t know.”</p> <p>“Originally, I was just writing the music — I would be the singing voice of the character of my son — and it changed into me writing some songs for the film and then weirdly they saw a film clip where I played this ’70s porn star detective."</p> <div> </div> <p>“They saw that, and they were like ... ‘You are quite natural on camera, can you try out for the role?’ And now I am in it.”</p> <p>Sebastian has also written an original song, titled <em>Made of Heart</em>, for the film. </p> <p><em>Image credits: Sunrise </em></p>

Movies

Placeholder Content Image

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

<div class="theconversation-article-body"><em><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></em></p> <p>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.</p> <p>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.</p> <p>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.</p> <h2>Some well-made films, but nothing outstanding</h2> <p>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.</p> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/vgrXTvL_l_c?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/FdV-Cs5o8mc?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/Qlbr7gJgBus?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <h2>A few top contenders</h2> <p>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.</p> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/gDunV808Yf4?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <p>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.</p> <h2>The strongest nominee</h2> <p>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.</p> <figure><iframe src="https://www.youtube.com/embed/GdRXPAHIEW4?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>It is absolutely sensational – the kind of thing you never forget. Thankfully, it has been recognised through its nomination for best international feature film.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <figure><iframe src="https://www.youtube.com/embed/NdjhUNH5v3Q?wmode=transparent&amp;start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <p><a href="https://theconversation.com/profiles/ari-mattes-97857"><em>Ari Mattes</em></a><em>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a></em></p> <p><em>Image credits: Brookstreet Pictures</em></p> <p><em>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>.</em></p> </div>

Movies

Placeholder Content Image

Grease movie costumes sold at auction

<p>The iconic costumes worn by John Travolta and Olivia Newton-John in the film <em>Grease</em> are among the items going on sale in a film memorabilia auction.</p> <p>Their outfits are among more than 1,300 items of "unforgettable" movie memorabilia from films such as <em>Harry Potter</em>, <em>Star Wars</em> and <em>Ghostbusters</em> that are set to be sold an LA auction in March.</p> <p>Travolta's iconic T-Birds leather jacket, worn by his character Danny Zuko in the 1978 movie musical, is expected to fetch between $158,500 and $317,000 (AUD).</p> <p>A patterned dress worn by Newton-John, who died in 2022 aged 73, is also on sale for $47,500-$95,000 (AUD).</p> <p>Newton-John's character, Sandy Olsson, wore the dress in a scene where Sandy confronted Danny in the ice cream parlour about his behaviour while choosing music on a jukebox. </p> <p>Other film items going up for auction include a bomber jacket worn by Tom Cruise as Pete “Maverick” Mitchell in the 1986 action film <em>Top Gun</em>, a ghost trap from 1984 comedy horror <em>Ghostbusters</em>, Angelina Jolie’s jacket from 2003’s <em>Lara Croft: Tomb Raider – The Cradle Of Life</em>, and the robe worn by Sir Michael Gambon as Professor Albus Dumbledore in 2009 fantasy <em>Harry Potter And The Half-Blood Prince</em>.</p> <p>“This auction brings together an exceptional line-up of some of the most recognisable and well-loved props and costumes in Hollywood history,” Propstore chief operating officer Brandon Alinger said.</p> <p>“From <em>Star War</em>s and <em>Superman</em> to <em>Grease</em> and <em>Ghostbusters</em>, these unforgettable pieces resonate with fans across the globe, sparking nostalgia and deep connection to the films and characters they love.”</p> <p><em>Image credits: Paramount Pictures</em></p> <p class="mb-4 font-serif text-article-body" style="font-family: var(--font-google-newsreader),serif; box-sizing: border-box; border: 0px solid; margin: 0px 0px 24px; font-size: 1.2275rem; line-height: 26.514px; caret-color: #2a2a2a; color: #2a2a2a;"> </p>

Beauty & Style

Placeholder Content Image

Disney to change content warnings shown before "problematic" classics

<p>Disney will tone down the language of the content warnings on its streaming service that accompany classic movies with racial stereotypes. </p> <p>The current disclaimers played before older titles like <em>Dumbo</em> and <em>Peter Pan</em> said the film “includes negative depictions and/or mistreatment of peoples or cultures” adding, “these stereotypes were wrong then and are wrong now.”</p> <p>The new disclaimers will state: “This program is presented as originally created and may contain stereotypes or negative depictions,” and will not appear as introductory text that plays before the beginning of a film. </p> <p>The disclaimers will also only appear in the details section of certain films, where viewers will have to navigate to find it, decreasing their visibility. </p> <p>Disney will also replace its “Diversity &amp; Inclusion” performance factor used to evaluate executive pay with a new “Talent Strategy”, according to Sonia Coleman, Disney’s senior executive vice president and chief human resources officer. </p> <p>Other rollbacks of its diversity, equity and inclusion measures include the closure of its  Reimagine Tomorrow initiative, a website that highlighted stories and talent from underrepresented communities. </p> <p>Disney first added content warnings to older movies like <em>Dumbo </em>and Peter Pan in November 2019, due to racist depictions included in some of the films created by the studio in the 40s and 50s. </p> <p>Disney has become the latest major organisation to roll back its diversity measures following Donald Trump’s re-election as US President.</p> <p><em>Image: spatuletail / Shutterstock.com</em></p> <p> </p>

Movies

Placeholder Content Image

Modern memories: Forget the memoir, create a life story film

<p>Every single person has a story to share, and a growing number of older Australians are choosing to record their life memories as short films. While writing memoirs can take years, creating a life story film takes just a few hours—and the resulting films are far more vivid than writing or looking through photo albums.</p> <p>Television producer and director Danika Armytage, known for producing shows like <em>The Block</em>, <em>River Cottage Australia</em>, <em>Travel Guides</em>, and <em>The Living Room</em>, has launched a company called Big Stories Little Films, which specialises in creating life legacy films. Since its inception in 2024, Danika has been busy bringing people's stories to life in film.</p> <p>“Our films tell life stories, capture family ancestry, and allow wisdom to be passed between generations,” Danika explains. “They are often a gift between family members—either commissioned as a birthday present from the kids, or as a film gifted from the grandparents to their grandkids - it’s like a film heirloom to pass between generations.”</p> <p>“I’ve created life story films for people from all walks of life,” says Danika, “from Commodores in the Navy, restaurateurs, fifth-generation sheep farmers, to immigrants who were born in concentration camps or fled war-torn countries. The films and stories are as unique as the people in them.”</p> <p>Danika was inspired to start the company after filming an interview with her own grandmother, Halimah, before she passed away. “The film became priceless to my family, especially after Granny died. Now my own children can meet their great-grandmother and feel connected to our family history, even though they never met her in person. Memories fade, but films are a time capsule that safeguards stories, keeping them as vivid as if you're sitting at the kitchen bench hearing them directly from your grandparent.”</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Danika-and-gma.jpg" alt="" width="1280" height="720" /></p> <p><em>Big Stories Little Films creator</em> <em>Danika Armytage (L) and her inspiration, her grandmother Halimah </em></p> <p>“One of my favourite films was about brother and sister Raymond and Jennice Kersh (A.M.), now in their 80s, who ran the iconic Sydney restaurant Edna’s Table and were pioneers in serving indigenous ingredients in the Sydney restaurant scene. It was one of the first restaurants to serve Indigenous ingredients. Their story is inspiring, and their recollections of growing up in Pyrmont in the 1940s, a suburb where ‘everyone was poor but no one was lonely’ are a perfect example of how these films capture living history.” </p> <p>“Another of my favourite films was the story of John French, a fifth-generation sheep farmer from Tumut, in regional NSW. John can trace his family history all the way back to 1840, when his ancestors arrived from Scotland to work as shepherds. He still lives and works on the same land at the age of 79. His film was a gift from his daughter.”</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2025/02/Raymond-and-Jennice.jpg" alt="" width="1280" height="720" /></p> <p><em><span style="font-size: 16px; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; background-color: #ffffff;">Raymond and Jennice Kersh, who appeared in one of Danika's first films</span></em></p> <p>Big Stories Little Films began in Sydney but can film across Australia. To view examples of their films and learn more about their packages and pricing, visit their website: <a href="http://www.bigstorieslittlefilms.com.au">www.bigstorieslittlefilms.com.au</a>.</p> <p><em>Image credits: Supplied </em></p>

Movies

Placeholder Content Image

2025 Oscar nominations revealed

<p>The nominations for the 97th Academy Awards have been announced after being postponed twice due to the devastating wildfires in LA. </p> <p>Aussie actor Guy Pearce has picked up a best supporting actor nomination for his role in The Brutalist. </p> <p>A few other Aussies who were nominated include Adam Elliot,  an Oscar-winning animator, who is up for best animated feature for <em>Memoir of a Snail,</em> and Greig Fraser for his cinematography in<em> Dune: Part Two</em>. </p> <p>This year's early star is Spanish-language Netflix film<em> Emilia Pérez</em>, with 13 nominations, followed by <em>The Brutalist </em>and <em>Wicked</em> on 10 each.</p> <p><em>Emilia Pérez </em>dominated the nominations picking up best picture, as well as best actress for Karla Sofía Gascón, the first openly trans actor ever nominated for an Oscar.</p> <p>The film also landed nominations for directing, original screenplay, two of its songs, and for supporting actress Zoe Saldaña.</p> <p>The Broadway adaptation of <em>Wicked</em> picked up 10 nominations including best picture and acting nods for Cynthia Erivo and Ariana Grande.</p> <p><em>The Brutalist </em>also scored 10 nominations including best picture, best director, and nominations for actor Adrien Brody, Guy Pearce, and Felicity Jones. </p> <p>The 97th Academy Awards will take place on March 2, 2025, at the Dolby Theatre in Hollywood, Los Angeles, which will be around 10am AEDT on March 3. </p> <h3><strong>Here is the full list of nominees</strong></h3> <p><strong>Best Picture</strong></p> <ul> <li>Anora</li> <li>The Brutalist</li> <li>A Complete Unknown</li> <li>Conclave</li> <li>Dune: Part Two</li> <li>Emilia Pérez</li> <li>I'm Still Here</li> <li>Nickel Boys</li> <li>The Substance</li> <li>Wicked</li> </ul> <p><strong>Director</strong></p> <ul> <li>Anora — Sean Baker</li> <li>The Brutalist — Brady Corbet</li> <li>A Complete Unknown — James Mangold</li> <li>Emilia Pérez — Jacques Audiard</li> <li>The Substance — Coralie Fargeat</li> </ul> <p><strong>Leading Actor</strong></p> <ul> <li>Adrien Brody in The Brutalist</li> <li>Timothee Chalamet in A Complete Unknown</li> <li>Colman Domingo in Sing Sing</li> <li>Ralph Fiennes in Conclave</li> <li>Sebastian Stan in The Apprentice</li> </ul> <p><strong>Leading Actress</strong></p> <ul> <li>Cynthia Erivo in Wicked</li> <li>Karla Sofia Gascon in Emilia Perez</li> <li>Mikey Madison in Anora</li> <li>Demi Moore in The Substance</li> <li>Fernanda Torres in I'm Still Here<span style="font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Open Sans', 'Helvetica Neue', sans-serif;"><br /></span></li> </ul> <p><strong>Supporting Actor</strong></p> <ul> <li>Yura Borisov in Anora</li> <li>Keiran Culkin in A Real Pain</li> <li>Edward Norton in A Complete Unknown</li> <li>Guy Pearce in The Brutalist</li> <li>Jeremy Strong in The Apprentice</li> </ul> <p><strong>Supporting Actress</strong></p> <ul> <li>Monica Barbaro in A Complete Unknown</li> <li>Ariana Grande in Wicked</li> <li>Felicity Jones in The Brutalist</li> <li>Isabella Rossellini in Conclave</li> <li>Zoe Saldana in Emilia Perez</li> </ul> <p><strong>Animated Feature Film</strong></p> <ul> <li>Flow</li> <li>Inside Out 2</li> <li>Memoir of a Snail</li> <li>Wallace &amp; Gromit: Vengeance Most Fowl</li> <li>The Wild Robot</li> </ul> <p><strong>Cinematography</strong></p> <ul> <li>The Brutalist — Lol Crawley</li> <li>Dune: Part Two — Greig Fraser</li> <li>Emilia Perez — Paul Guilhaume</li> <li>Maria — Ed Lachman</li> <li>Nosferatu — Jarin Blaschke</li> </ul> <p><strong>Costume design</strong></p> <ul> <li>A Complete Unknown — Arianne Phillips</li> <li>Conclave — Lisy Christl</li> <li>Gladiator II — Janty Yates and Dave Crossman</li> <li>Nosferatu — Linda Muir</li> <li>Wicked —  Paul Tazewell</li> </ul> <p><strong>Documentary feature film</strong></p> <ul> <li>Black Box Diaries</li> <li>No Other Land</li> <li>Porcelain War</li> <li>Soundtrack to a Coup d'Etat</li> <li>Sugarcane</li> </ul> <p><strong>Documentary short film</strong></p> <ul> <li>Death by Numbers</li> <li>I Am Ready, Warden</li> <li>Incident</li> <li>Instruments of a Beating Heart</li> <li>The Only Girl in the Orchestra</li> </ul> <p><strong>Film editing</strong></p> <ul> <li>Anora — Sean Baker</li> <li>The Brutalist — David Jancso</li> <li>Conclave — Nick Emerson</li> <li>Emilia Pérez — Juliette Welfling</li> <li>Wicked — Myron Kerstein</li> </ul> <p><strong>International feature film</strong></p> <ul> <li>Brazil: I'm Still Here</li> <li>Denmark: The Girl with the Needle</li> <li>France: Emilia Pérez</li> <li>Germany: The Seed of the Sacred Fig</li> <li>Latvia: Flow</li> </ul> <p><strong>Makeup and hairstyling</strong></p> <ul> <li>A Different Man — Mike Marino, David Presto and Crystal Jurado</li> <li>Emilia Pérez — Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini</li> <li>Nosferatu — David White, Traci Loader and Suzanne Stokes-Munton</li> <li>The Substance — Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli</li> <li>Wicked — Frances Hannon, Laura Blount and Sarah Nuth</li> </ul> <p><strong>Music (original score)</strong></p> <ul> <li>The Brutalist — Daniel Blumberg</li> <li>Conclave — Volker Bertelmann</li> <li>Emilia Pérez — Clément Ducol and Camille</li> <li>Wicked — John Powell and Stephen Schwartz</li> <li>The Wild Robot — Kris Bowers</li> </ul> <p><strong>Music (original song)</strong></p> <ul> <li>El Mal from Emilia Pérez; Music by Clément Ducol and Camille; Lyric by Clément Ducol, Camille and Jacques Audiard</li> <li>The Journey from The Six Triple Eight; Music and Lyric by Diane Warren</li> <li>Like A Bird from Sing Sing; Music and Lyric by Abraham Alexander and Adrian Quesada</li> <li>Mi Camino from Emilia Pérez; Music and Lyric by Camille and Clément Ducol</li> <li>Never Too Late from Elton John: Never Too Late; Music and Lyric by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin</li> </ul> <p><strong>Production design</strong></p> <ul> <li>The Brutalist — Production Design: Judy Becker; Set Decoration: Patricia Cuccia</li> <li>Conclave — Production Design: Suzie Davies; Set Decoration: Cynthia Sleiter</li> <li>Dune: Part Two — Production Design: Patrice Vermette; Set Decoration: Shane Vieau</li> <li>Nosferatu — Production Design: Craig Lathrop; Set Decoration: Beatrice Brentnerová</li> <li>Wicked — Production Design: Nathan Crowley; Set Decoration: Lee Sandales</li> </ul> <p><strong>Short film (animated)</strong></p> <ul> <li>Beautiful Men</li> <li>In the Shadow of the Cypress</li> <li>Magic Candles</li> <li>Wander to Wonder</li> <li>Yuck!</li> </ul> <p><strong>Short film (live action)</strong></p> <ul> <li>A Lien</li> <li>Anuja</li> <li>I'm Not a Robot</li> <li>The Last Ranger</li> <li>The Man Who Could Not Remain Silent</li> </ul> <p><strong>Sound</strong></p> <ul> <li>A Complete Unknown — Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco</li> <li>Dune: Part Two — Gareth John, Richard King, Ron Bartlett and Doug Hemphill</li> <li>Emilia Pérez — Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta</li> <li>Wicked — Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis</li> <li>The Wild Robot — Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts</li> </ul> <p><strong>Visual effects</strong></p> <ul> <li>Alien: Romulus — Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin and Shane Mahan</li> <li>Better Man — Luke Millar, David Clayton, Keith Herft and Peter Stubbs</li> <li>Dune: Part Two — Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer</li> <li>Kingdom of the Planet of the Apes — Erik Winquist, Stephen Unterfranz, Paul Story and Rodney Burke</li> <li>Wicked — Pablo Helman, Jonathan Fawkner, David Shirk and Paul Corbould</li> </ul> <p><strong>Adapted screenplay</strong></p> <ul> <li>A Complete Unknown — Screenplay by James Mangold and Jay Cocks</li> <li>Conclave — Screenplay by Peter Straughan</li> <li>Emilia Pérez — Screenplay by Jacques Audiard; In collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi</li> <li>Nickel Boys — Screenplay by RaMell Ross &amp; Joslyn Barnes</li> <li>Sing Sing — Screenplay by Clint Bentley, Greg Kwedar; Story by Clint Bentley, Greg Kwedar, Clarence Maclin, John "Divine G" Whitfield</li> </ul> <p><strong>Original screenplay</strong></p> <ul> <li>Anora — Written by Sean Baker</li> <li>The Brutalist — Written by Brady Corbet, Mona Fastvold</li> <li>A Real Pain — Written by Jesse Eisenberg</li> <li>September 5 — Written by Moritz Binder, Tim Fehlbaum; Co-Written by Alex David</li> <li>The Substance — Written by Coralie Fargeat</li> </ul> <p><em>Image: Al Seib/AMPAS/ Shutterstock Editorial</em></p>

Movies

Placeholder Content Image

Legendary Hollywood director dies at age 78

<p>Hollywood director David Lynch, who was known for directing iconic films such as <em>Mulholland Drive</em> and <em>Twin Peaks</em>, has passed away at the age of 78. </p> <p>Lynch’s family confirmed his passing on social media early on Friday morning with an emotional statement that reads, “It is with deep regret that we, his family, announce the passing of the man and the artist, David Lynch.” </p> <p>“We would appreciate some privacy at this time."</p> <p>“There’s a big hole in the world now that he’s no longer with us. But, as he would say, ‘Keep your eye on the doughnut and not on the hole’,” Lynch’s family added.</p> <p>“It’s a beautiful day with golden sunshine and blue skies all the way.”</p> <p>Lynch's family did not confirm his cause of death. </p> <p>In 2020, the acclaimed writer and director was diagnosed with emphysema, a chronic obstructive pulmonary disease. </p> <p>After being a heavy smoker all his life, Lynch revealed in November 2024 that he needed supplemental oxygen to go on a walk.</p> <p>“What you sow is what you reap,” Lynch told <em>People</em> magazine. “In the back of every smoker’s mind is the fact that it’s healthy, so you’re literally playing with fire. It can bite you. I took a chance, and I got bit.”</p> <p>Lynch's filmmaking career began in the 1960s, although his first feature film was <em>Eraserhead</em> in 1977. </p> <p>His next film was 1980’s <em>The Elephant Man</em>, which was nominated for eight Oscars — including Best Director for Lynch.</p> <p>He followed up <em>The Elephant Man</em> with 1984’s <em>Dune</em>, 1986’s <em>Blue Velvet</em>, 1990’s <em>Wild At Heart</em> and 2001’s <em>Mulholland Drive</em>.</p> <p>Lynch also created the hit TV series <em>Twin Peaks</em> in 1990, as well as the 1992 movie prequel and 2017 reboot season. </p> <p>During his stellar career, Lynch was nominated for four Oscars and nine Emmy Awards. He won the César Award for Best Foreign Film twice and the Palme d’Or at the Cannes Film Festival once.</p> <p><em>Image credits: Zuma/Shutterstock Editorial </em></p>

Caring

Placeholder Content Image

New hope for prostate cancer patients this Christmas

<p dir="ltr">For David Southward, Christmas is a time for family, gratitude, and hope. Diagnosed two years ago with advanced prostate cancer, he has been navigating his battle with hormone therapy and a determination to stay active.</p> <p dir="ltr">“I’ve found regular exercise helps me stay positive,” he says. “But at the end of the day, we need better treatments. Research gives men like me a chance to spend more time with our loved ones.”</p> <p dir="ltr">This year, the <a href="https://giving.pcfa.org.au/">Prostate Cancer Foundation of Australia</a> (PCFA) is making that wish a reality through its Christmas Appeal, focused on advancing targeted nuclear medicines. </p> <p dir="ltr">These therapies offer new hope for men like David by addressing metastatic prostate cancer, the most aggressive form of the disease.</p> <p dir="ltr">Australia is leading the development of nuclear medicines that target cancer cells with precision. However, PCFA Chief Executive Anne Savage stresses the need for more research to understand why patients respond differently to these therapies.</p> <p dir="ltr">“For every 10 men diagnosed with prostate cancer, three will develop an aggressive form,” Savage says. “We’re working to help researchers predict which patients will become resistant to radioligand therapy, so they can win the battle and live longer.”</p> <p dir="ltr">One of PCFA's key projects is led by Dr. Kevin Koo, focusing on Alpha Therapy, an emerging treatment for metastatic prostate cancer. This innovative approach aims to shrink tumors and harness the immune system to eradicate cancer cells.</p> <p dir="ltr">“Targeted Alpha Therapy is a promising treatment for metastatic prostate cancer,” says Dr. Koo. “Our challenge is to identify men at risk of developing metastasis, sparing others from unnecessary treatments.”</p> <p dir="ltr">While Alpha Therapies show great potential, researchers still lack a full understanding of their mechanisms.</p> <p dir="ltr">“With most radioligand therapies, tumors shrink on scans, but we don’t fully understand the biological pathways driving this,” Dr. Koo notes. “This becomes problematic when patients develop resistance.”</p> <p dir="ltr">Dr. Koo’s team is collecting blood samples to identify biomarkers that predict resistance.</p> <p dir="ltr"> “In three to five years, we could significantly improve how we tailor therapies to individual patients,” he says.</p> <p dir="ltr">The Christmas Appeal is part of PCFA’s broader mission to lift survival rates and improve quality of life for prostate cancer patients. Over the past 30 years, the organization has helped increase survival rates from 82% to nearly 96%, but more work is needed.</p> <p dir="ltr">“Despite progress, 10 men die every day from prostate cancer in Australia,” Savage says. “With an ageing population, research has never been more important.”</p> <p dir="ltr">For David Southward, new treatments represent a chance to keep celebrating Christmas with his family. “Research is hope,” he says.</p> <p dir="ltr">To support PCFA’s Christmas Appeal and help fund lifesaving research, visit: <a href="https://giving.pcfa.org.au/">https://giving.pcfa.org.au</a></p> <p><em><span id="docs-internal-guid-e29e3cd9-7fff-3836-247e-32ca4264f5a5">Image credits: Shutterstock / Supplied</span></em></p>

Caring

Placeholder Content Image

How to deal with narcissistic relatives over the holidays

<div class="theconversation-article-body"><em><a href="https://theconversation.com/profiles/ava-green-1396648">Ava Green</a>, <a href="https://theconversation.com/institutions/city-st-georges-university-of-london-1047">City St George's, University of London</a></em></p> <p>The holiday season is here, and streets are filled with festive sparkles, twinkling lights and cheerful Christmas songs. While many of us are looking forward to spending the holiday period with family and friends, Christmas is anything but jolly for others.</p> <p>Some people are dreading to spend the period without loved ones. Others are fearful of spending it in the company of their extended family and relatives.</p> <p>Will your cousin provoke heated arguments at the dinner table again, outright bullying others and refusing to consider their perspective? Will your dad bring extravagant gifts and criticise others for their presents that he deems are inadequate? Will your aunt steal the show and make it all about her?</p> <p>Such behaviour <a href="https://journals.sagepub.com/doi/abs/10.1177/09637214211044109">is common in narcissism</a>, a personality trait which we all exhibit to various degrees. Narcissistic people have an <a href="https://theconversation.com/narcissism-why-its-less-obvious-in-women-than-in-men-but-can-be-just-as-dangerous-231392">insatiable need for attention</a> and validation. They feel entitled to special treatment, are unable to empathise with others, exploit people to boost their own self-esteem and display controlling and manipulative behaviour.</p> <p>It is not surprising, therefore, that many with narcissistic family members and relatives come to dread the holiday season.</p> <p>The good news, hopefully, is that this holiday season does not need to crash and burn into discord and frustration. Here’s how you can navigate these interactions while looking after yourself.</p> <h2>Limit your exposure</h2> <p>Not everyone has the ability to avoid difficult people, particularly if they are your own parents or siblings. If you can’t avoid your narcissistic relatives entirely, consider limiting the amount of time you spend with them.</p> <p>Imagine your sister ambushing you or creates a scene to draw attention to herself. Have a plan in place for gracefully exiting the conversation or the event itself if it becomes too emotionally draining.</p> <p>This could involve having a couple of emergency exits up your sleeve to avoid confrontation, such as “I am going to go and help mum and dad in the kitchen” or “I am going to go play with the kids”. Alternatively, you could be more straightforward, and comment that “I think I need some space, we can catch up later”.</p> <h2>Set healthy boundaries</h2> <p>A hallmark of narcissism is a <a href="https://www.sciencedirect.com/science/article/abs/pii/S0092656622001428">lack of empathy</a>. Because of their inability to empathise with others, narcissistic people will push boundaries and put their needs before yours. Having realistic expectations and planning accordingly can help ease feelings of frustration and disappointment.</p> <p>For instance, if you engage with your cousin during arguments, he will probably disregard your needs, perspective and feelings. He might make a comment that crosses the line.</p> <p>In any situation, set healthy boundaries by redirecting the conversation to neutralise a potential conflict. You could speak to his interests by asking questions such as “by the way, did you watch the latest episode of (his favourite show)” or “are you going to the football game next week (his favourite team)”?</p> <p>If that fails, set your boundaries firmly and concisely by saying “I do not want to talk about this right now”.</p> <h2>Focus on what you can control</h2> <p>Another hallmark of narcissism is poor emotional regulation – in other words, people with narcissistic traits may feel indignant to respond with <a href="https://psycnet.apa.org/buy/2014-57455-001">rage and aggression</a> if they feel mistreated or criticised.</p> <p>In these situations, they may <a href="https://link.springer.com/article/10.1007/s11199-024-01477-y">manipulate, bully and undermine others</a> to elevate themselves. Resist defensiveness and try to focus on what you can control: how <em>you</em> respond.</p> <p>If someone belittles you for a “mundane present” or for not having reached the same success in life as they think have, use the tactic of <a href="https://www.theguardian.com/science/2022/aug/31/grey-rocking-how-to-bore-a-toxic-narcissist-out-of-your-life">“grey rocking”</a> – being non-reactive, dull and uninteresting. This will avoid fuelling their need for attention.</p> <p>Remind yourself that their attack is not personal – this isn’t about you, it’s about their need for control.</p> <h2>Reframe empathy</h2> <p>If all else fails, you could try to manipulate a narcissistic relative into showing a bit of empathy. Research suggests that it may be possible to reframe empathy in <a href="https://link.springer.com/chapter/10.1007/978-3-319-92171-6_36">a way that makes it desirable</a> to narcissistic individuals.</p> <p>While this is more likely to work in the hands of a trained psychologist, and could backfire, it may be worth a try in a desperate situation.</p> <p>For example, you could quote facts or stories about how people who are good at taking the perspective of others are more successful as leaders than those who are not. Narcissistic people want to be seen to be good at everything, so if you make empathy look advantageous, they may be more likely to show it – or at least pretend to do so.</p> <h2>Look after yourself</h2> <p>While attempting all this, make sure you prioritise your mental and emotional wellbeing. It is okay to retreat to a quiet room to get some headspace or stepping outside for a walk. Remind yourself that you do not need to engage, interact or stay for the whole duration for the sake of family togetherness.</p> <p>Take time to relax in a space where you feel safe and create the time for things you enjoy, be it baking cookies, watching your favourite Christmas movie or wrapping gifts. Try to minimise one-to-one time with people who drain you and instead surround yourself with family members who are more understanding, empathetic and supportive.</p> <p>Whatever the power dynamics in your life might be, you can maintain your authenticity with grace and not only survive, but thrive, this holiday season.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/245877/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><a href="https://theconversation.com/profiles/ava-green-1396648"><em>Ava Green</em></a><em>, Lecturer in Forensic Psychology, <a href="https://theconversation.com/institutions/city-st-georges-university-of-london-1047">City St George's, University of London</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>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/how-to-deal-with-narcissistic-relatives-over-the-holidays-245877">original article</a>.</em></p> </div>

Family & Pets

Placeholder Content Image

Prince William and Kate share poignant Christmas card

<p>Prince William and Kate have released their annual Christmas card. </p> <p>After a difficult year for the royal family, Prince William and Kate shared the poignant card to social media on Friday morning. </p> <p>The royal couple shared a clip of the card sitting open on a table in front of a lit-up Christmas tree and surrounded by fake snow, with the message inside the card reading: "Wishing you a very Happy Christmas and New Year." </p> <p>The image used in the Christmas card was taken earlier this year from a video that marked the end of Kate's chemotherapy treatment. It shows Prince Louis, Prince William, Kate, Princess Charlotte and Prince George all sitting arm-in-arm together in Norfolk last summer. </p> <p>The happy family are seen smiling broadly and the reason why they chose this photo was to highlight their family-first focus this year. </p> <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/DDwzZTct7Vw/?utm_source=ig_embed&amp;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/DDwzZTct7Vw/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank" rel="noopener">A post shared by The Prince and Princess of Wales (@princeandprincessofwales)</a></p> </div> </blockquote> <p>Prince and William and Kate have already posted out their Christmas card  to family, friends and the couple's charities. </p> <p>The release of the card comes after A Kensington Palace source told UK news outlets that the royal couple have skipped the Buckingham Palace Christmas luncheon for the first time, as they had travel plans and it was not a last-minute change. </p> <p>The royal couple are reportedly already in their Norfolk home with their three kids and are said to be looking forward to celebrating Christmas Day with their family in Sandringham.</p> <p><em>Image: Instagram/ Kensington Palace</em></p> <p> </p>

Family & Pets

Placeholder Content Image

Entire block of flats forced to evict before Christmas

<p>An entire block of flats have been subject of a mass eviction, just days before Christmas. </p> <p>More than 150 residents units are facing uncertainty in the new year after they were served notice to vacate their South London homes.</p> <p>According to the <a href="https://www.bbc.com/news/articles/cy8ykm23lrko" target="_blank" rel="noopener">BBC</a>, some tenants only signed their lease a few months ago. </p> <p>Aitch Group, which owns the building, said tenants were asked to leave to facilitate refurbishments, with all 83 flats in the building receiving their notices over December. </p> <p>Every resident has been given an individual notice with varying dates, they said, which has contributed to widespread confusion and stress, the BBC reported.</p> <p>The tenants were turfed out after being served a Section 21 notice, which means the landlord wants you to leave and does not need to provide a reason for eviction. </p> <p>These clauses have been outlawed in Victoria and New South Wales. </p> <div id="paragraph-14"> <div> <p>One resident of the building, Kamelia Yotava, said her hair has been falling out due to the stress of the eviction. </p> </div> </div> <div id="paragraph-15"> <div> <p>“It’s not humane what they are doing,” she told the BBC. “Instead of spending time with family and enjoying the holidays, people need to stress about moving."</p> </div> </div> <div id="paragraph-16"> <div> <p> </p> <p>“There’s not many houses available and now they’re going to put 150 people on the market looking for houses, it’s going to make it even harder.”</p> <p><em>Image credits: Google Maps</em></p> </div> </div> <p> </p>

Legal

Placeholder Content Image

Queen Mary's special Aussie Christmas tribute

<p>Queen Mary has revealed her special tribute to her Australia heritage on her family Christmas tree inside the Danish royal residence. </p> <p>The large tree is lavishly decorated with colourful baubles and upon closer inspection, several of them have an extra special connection to the King and Queen.</p> <p>One ornament that has pride of place on the tree is a glass kangaroo, representing Australia where Mary was born in 1972. </p> <p>The royal couple have been using the same ornament for years, as it was first seen on King Frederik and Queen Mary's Christmas tree in a video they shared in 2017.</p> <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-permalink="https://www.instagram.com/p/DDuIvJ6s5hX/?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/p/DDuIvJ6s5hX/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by DET DANSKE KONGEHUS 🇩🇰 (@detdanskekongehus)</a></p> </div> </blockquote> <p>Another personal ornament is that of British rockstar David Bowie as his iconic Ziggy Stardust character.</p> <p>King Frederik has long been a fan of the musician and in 1987, he and his brother Prince Joachim were photographed meeting Bowie backstage at a show in Hamburg.</p> <p>King Frederik and Queen Mary's Christmas display also included an Ib Laursen Christmas Goat decoration, made from straw.</p> <p>The inclusion of the Christmas goat is popular throughout Scandinavia and is believed to date back to the ancient Viking custom of sacrificing goats at the winter solstice to ensure a good year ahead.</p> <p><em>Image credits: The Danish Royal Family - Instagram </em></p>

Family & Pets

Placeholder Content Image

Australians are embracing chatbots this Christmas, but what does it mean for retailers and consumers?

<div> <p><em><strong>By Richard Valente, Executive Vice President of Business Solutions at<a title="https://www.teleperformance.com/" href="https://www.teleperformance.com/" target="_blank" rel="noopener" data-outlook-id="b381e4a3-fd96-44ea-ac4f-2162ce2e7cfe"> </a><a title="https://www.teleperformance.com/" href="https://www.teleperformance.com/" target="_blank" rel="noopener" data-outlook-id="6a609d2f-3bfa-4e4d-b9b1-9936ebdc3ade">Teleperformance</a> (TP)</strong></em></p> </div> <p>The festive season is upon us and Australians are turning to technology to make their Christmas shopping easier. A new study reveals that nearly one-third of Australian shoppers are more open to using AI chatbots this year than last, a significant shift in consumer behaviour. </p> <p>Surprisingly, it’s not just the younger generations leading the charge. Australians aged 55 and over are also showing a growing willingness to embrace chatbots for finding the best deals and simplifying their holiday shopping. But what does this mean for retailers, and how are consumers balancing convenience with the desire for personalised service?</p> <p> AI chatbots are revolutionising how we shop. From generating tailored gift recommendations to answering product questions in real-time, chatbots are no longer just a novelty, they’re a powerful tool in the modern retail landscape. </p> <p>Retail giants like Amazon have adopted these advancements, offering AI-powered buying guides that help consumers navigate complex purchasing decisions. Whether you’re looking for the latest tech gadget or the perfect pair of shoes, these tools streamline the shopping experience, saving time and effort during the busy Christmas rush.</p> <p>Older Australians are joining the AI revolution and the adoption of over 55s highlights a fascinating trend - older consumers are increasingly willing to experiment with technology. Their openness to chatbots suggests a broader acceptance of AI in everyday life, driven by its ability to simplify tasks and provide instant support. </p> <p>However, this rapid technological adoption doesn’t come without concerns. Many Australian consumers are apprehensive about the fast changing shopping experience. They fear losing the personal touch that has traditionally defined retail interactions. But the reality is that these advancements can enhance the shopping journey by freeing up staff to engage in more meaningful ways with customers. </p> <p>Here at TP, we feel the key to maintaining customer trust lies in using AI to complement human assistance, not replace it. Automating repetitive tasks, answering questions and providing tailored recommendations. </p> <p>For retailers the messaging is clear, innovation must go hand-in-hand with empathy. Businesses that invest in both AI technology and high quality customer service teams will be positioned to meet evolving customer expectations. </p> <p>AI isn’t just transforming the customer experience, it’s also delivering cost efficiency for retailers. Automated systems reduce the burden on support staff enabling faster responses to customer enquiries while lowering operational costs. This dual benefit is why brands are rushing to integrate AI-powered solutions like customer relationship management (CRM) systems, omnichannel tracking and loyalty programs. </p> <p>It’s important retailers find balance and use AI to enhance the customer journey and not overshadow it. Self-service options and chatbots are invaluable but they should be backed by a strong human support team for more complex queries. </p> <p>For customers, the rise of chatbots means faster service, better deals and smoother shopping journeys. But it also highlights the growing importance of choosing brands that value customer care. TP’s research shows that half of consumers now prioritise companies with excellent service, a trend likely to shape the future of retail. </p> <p>As Australians embrace AI this Christmas, the message is clear, technology is not the enemy of personalisation. Instead, it’s a tool that when used thoughtfully, can make holiday shopping less stressful and more enjoyable for everyone. </p> <p>This holiday season, chatbots are proving to be the ultimate shopping assistant but only for brands willing to blend innovation with a human touch. As we look ahead, one thing is certain, the future of retail will be shaped by how well technology and empathy can co-exist.</p> <p><em>Image credits: Shutterstock </em></p>

Technology

Placeholder Content Image

Christmas can be challenging for people with hearing loss. Here are 7 ways you can help

<div class="theconversation-article-body"> <p><em><a href="https://theconversation.com/profiles/katie-ekberg-1534998">Katie Ekberg</a>, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> and <a href="https://theconversation.com/profiles/louise-hickson-2280688">Louise Hickson</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p>For many people, Christmas can be the most social time of the year. The holiday period is often filled with parties, lunches, dinners and celebrations of all kinds with family, friends and colleagues.</p> <p>For adults with hearing loss, however, these social gatherings can bring unique challenges. Communicating with others can be difficult, particularly in group conversations. And the more <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2019.1670363">background noise</a> there is (for example, Christmas music or children playing), the harder it is.</p> <p>For age-related or acquired hearing loss, hearing ability typically starts to decline from <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0107720">age 50 onwards</a>. <a href="https://www.health.gov.au/hearing-health/resources/publications/one-in-six-australians-experience-hearing-loss-poster-0?language=en">One in six Australians</a> experience some hearing loss, so it’s possible someone around your Christmas dinner table will be struggling to hear.</p> <p>Unfortunately, many adults with hearing loss suffer these challenges in silence. Our <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2023.2293651">research</a> shows adults with hearing loss often hide their hearing loss from others, even close family members and friends, because of feeling shame due to stigma.</p> <p>But there are some things you can do to ensure a loved one with hearing loss is included this Christmas.</p> <h2>Stigma and stereotypes</h2> <p>Stigma is when someone is treated differently by others due to a particular physical or social attribute.</p> <p>Across a <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2023.2293651">series of studies</a>, we conducted surveys and interviews with adults with hearing loss, their families and hearing care professionals to explore experiences of stigma for adults with hearing loss. Our research also included video recordings of real-life conversations between adults with hearing loss and their families and friends.</p> <p>The <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2024.2353862">results</a> suggested people often associate hearing loss with negative stereotypes of ageing, disability, reduced intelligence, having a problem or weakness, and difference. For example, one participant with hearing loss told us:</p> <blockquote> <p>Once they are aware that you can’t really comprehend or hear what they’re saying, they treat you different. And it’s not always positive, it’s quite often negative […] Even people who are familiar with you, my twin brother, he thinks that there’s something wrong with me because I can’t hear him properly.</p> </blockquote> <p>Old age was the most common stereotype associated with hearing loss. For example, one adult with hearing loss commented:</p> <blockquote> <p>I guess it’s just a sign of ageing. Like wearing glasses and grey hair.</p> </blockquote> <p>But as hearing can start declining from middle age, many adults experiencing hearing difficulties do not fit this stereotype.</p> <p>We see this stereotype appear in popular media as well. For example, in the TV show Bluey, the character Bingo dresses up as a “<a href="https://www.bluey.tv/characters/granny-rita/">Can’t-Hear-Anything granny</a>” in a number of episodes.</p> <p>In <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2024.2418970">our research</a>, people with hearing loss reported feeling embarrassment, shame, frustration, sadness and fatigue from trying to manage their hearing difficulties during everyday conversations.</p> <p>In the results of <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2023.2293651">a survey</a> currently under peer review, almost two-thirds felt other people laughed about or treated their hearing loss as a joke, often making them feel uncomfortable.</p> <p>An example <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2024.2389189">of this teasing</a> can be seen in a real-life conversation we recorded with a grandfather with hearing loss and his extended family while having afternoon tea.</p> <p>After the older man has ongoing trouble hearing his granddaughters, his wife teases him with the question “You got your hearing aids in Grandpa?”, which receives laughter from his son and granddaughters.</p> <p>While this sort of teasing might seem light-hearted, it can cause someone with hearing loss to feel embarrassed when they have trouble hearing.</p> <p>A key finding from <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2024.2406885">our interview research</a> was that adults with hearing loss respond to experiences of stigma by not telling others about their hearing loss.</p> <p>Similarly, in an international <a href="https://www.tandfonline.com/doi/full/10.1080/14992027.2023.2293651">survey of 331 adults</a> with hearing loss, the results of which are yet to be published in a peer-reviewed journal, one in four had not told anyone about their hearing loss. Others only told certain people in specific circumstances.</p> <p>There might, therefore, be family and friends at your Christmas gatherings facing the challenges of hearing loss without anyone knowing.</p> <h2>Supporting loved ones with hearing loss this Christmas</h2> <p>For adults with hearing loss, experiences of stigma can cause them to start to withdraw from social situations, participate less in conversations, and become more <a href="https://journals.lww.com/psychosomaticmedicine/abstract/2013/02000/social_isolation_and_loneliness__relationships.9.aspx">socially isolated and lonely</a>.</p> <p>But a greater awareness about hearing loss and inclusive communication can help tackle the stigma. Here are some simple ways you can be more inclusive of people with hearing loss this festive season:</p> <ol> <li> <p>Think about the location of your event – how noisy is it? When possible, choose restaurants and social settings that are quieter. Outdoor settings will generally be less noisy than indoor ones (apps such as <a href="https://theambientmenu.com.au/">The Ambient Menu</a> can help you choose).</p> </li> <li> <p>Turn down background noise if you can (for example, TV, radio, music).</p> </li> <li> <p>Speak face-to-face as much as possible. This allows for lip-reading so that people are not just reliant on their hearing. If you know someone has difficulty hearing, move closer to them and talk clearly and slightly more slowly.</p> </li> <li> <p>Arrange seating in a way that allows everyone to face each other. Round tables are best.</p> </li> <li> <p>Give people the opportunity to choose where they are seated around a table or in a restaurant. Adults with hearing loss may position themselves in the middle of a table or next to specific people they need to hear.</p> </li> <li> <p>If you are at an event with speeches, use a microphone when possible.</p> </li> <li> <p>If you notice a person not joining in the conversation you could ask them if they can hear OK and, if not, what you can do to help.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><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/245943/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> </li> </ol> <p><em><a href="https://theconversation.com/profiles/katie-ekberg-1534998">Katie Ekberg</a>, Senior Lecturer, College of Nursing and Health Sciences, <a href="https://theconversation.com/institutions/flinders-university-972">Flinders University</a> and <a href="https://theconversation.com/profiles/louise-hickson-2280688">Louise Hickson</a>, Professor of Audiology, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p><em>Image credits: Shutterstock </em></p> <p><em>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/christmas-can-be-challenging-for-people-with-hearing-loss-here-are-7-ways-you-can-help-245943">original article</a>.</em></p> </div>

Body

Placeholder Content Image

"Just leave Christmas": Barnaby Joyce fires up over gender-neutral cookies

<p>Some stories are big: wars, elections, pandemics. Others are tiny – crispy, vaguely human-shaped and destined for dunking in tea.</p> <p>The humble Gingerbread Man – or rather, its gender-neutral successor, the Gingerbread Person – has sent shockwaves through Parliament House and left a trail of crumbs all the way to the nearest bakery.</p> <p>The biscuit's modern makeover has Barnaby Joyce and Nationals Senator Matt Canavan crying "Save Christmas!" faster than you can say, "Not my gumdrop buttons!"</p> <p>While many of us would struggle to find outrage over baked goods – especially baked goods with no opinion on pronouns – Joyce sees a far darker picture. For him, this is political correctness gone so far off the rails it could inspire an army of ginger-fuelled Trump supporters.</p> <p>“It’s just like, all this stuff has been forced on me, just leave it,” he declared, presumably staring down a gender-neutral cookie in his local parliamentary cafeteria. “Just leave Christmas. If you don’t want to buy Gingerbread men, you don’t have to.” Then, proving politicians aren’t immune to comedic flair, he added: “Can I have one for me and one for it on table 3?”</p> <p>Meanwhile, Senator Canavan was equally distraught at the development, lamenting the apparent death of whimsy. “Please tell me they haven’t done this to the muffin man as well?” he begged, as if imagining a bleak future where fairytale characters are stripped of gender and fun.</p> <p>If you thought Parliament was alone in this existential ginger-crisis, think again. Supermarket giant Woolworths has already abandoned the “man” for a more inclusive “Gingerbread People”, and even <em>Women’s Weekly</em>, that wholesome bastion of baking, has shared a recipe for the modern, genderless cookie.</p> <p>It was Woolworths' decision that drew particular ire from a radio caller named Harry, who tattled to Melbourne’s 3AW like a child narking on a sibling. “Woolies has decided to start selling – under their own brand – non-binary Gingerbread people,” he reported solemnly.</p> <p>This news rocked radio host Tom Elliott, who lamented that none of the gingerbread figures “resemble women”. (For clarity’s sake, it’s worth noting that Gingerbread Men have never been renowned for their realistic depiction of human anatomy.)</p> <p>Online, the social media masses weighed in with their usual measured, level-headed takes. One user proclaimed they were “too busy caring about my electricity bill doubling” to give a crumb about cookies. Another’s sarcastic sympathy dripped from the screen: “If you can’t handle a biscuit with ‘man’ in the name, simply grab a box of tissues and retreat to your safe space.”</p> <p>And in the darkest corner of the internet, one person’s exasperation boiled over: “Jesus Christ. It’s a biscuit vaguely shaped like a human. Do we need to make a biscuit gender neutral so we don’t offend people?”</p> <p>Let’s face it: the Gingerbread Man is not, and has never been, the hill anyone expected society to die on. It doesn’t vote, drive or go to Centrelink. It’s a biscuit. Yet, here we are, watching as Barnaby Joyce and Matt Canavan rise like knights to defend a sugary snack from the insidious forces of progress.</p> <p>Does the average person truly care if their Gingerbread Man identifies as a Gingerbread Person? Is anyone truly shaking with rage while browsing the supermarket biscuit aisle? Or are most of us too busy, well, eating them?</p> <p>In the end, we must ask ourselves the hard questions: Will the Muffin Man survive the purge? Is Santa’s reindeer team next? And most importantly: if they’re still delicious, does it even matter?</p> <p>For now, the only certainty is that political correctness has officially reached the snack table. Somewhere, a batch of gender-neutral gingerbread people is cooling, blissfully unaware that their mere existence has triggered a full-scale political bake-off.</p> <p>And so, in the spirit of the festive season – let’s agree to eat the biscuit and leave the outrage for another day.</p> <p><em>Images: Supplied</em></p>

Food & Wine

Placeholder Content Image

Prince Harry and Meghan share rare glimpse of their kids in Christmas card

<p>Prince Harry and Meghan Markle have released their annual Christmas card, featuring a collage of photos of their humanitarian work. </p> <p>Amidst the photos was a charming family photo, with royal fans delighted for their first glimpse of Archie and Lilibet in many months. </p> <p>The Christmas card has been sent to those who signed up to their subscription list, compiling moments of Prince Harry and Meghan at various appearances throughout the year.</p> <p>The photo with Archie, five, and Lilibet, two, seems to have been taken on the grounds of the couple's Montecito mansion.</p> <p>In the photo, we see Harry and Meghan standing on the driveway at their home with their arms outstretched as their children run into them.</p> <p>Archie is running towards his mum and Harry is crouched down as his Lilibet runs into his arms.</p> <p>Fans were quick to point out both the children's flaming red hair, reminiscent of Prince Harry's signature red locks.</p> <p>The family's three dogs are also in the shot, a black Labrador called Pula, and two Beagles called Guy and Mamma Mia.</p> <p>The message on the card read: "On behalf of the office of Prince Harry and Meghan, the Duke and Duchess of Sussex. Archewell Productions and Archewell Foundations. We wish you a very Happy Holiday Season and a joyful new year."</p> <p>Other photos on the card include images from the couple's trip to Nigeria as well as snaps from their trip to Colombia in August.</p> <p>Archie and Lilibet last featured on the Sussexes Christmas card in 2021, when Lililbet was just six months old. </p> <p><em>Image credits: The Duke and Duchess of Sussex</em></p> <p> </p>

Family & Pets

Placeholder Content Image

Meet the grandparents giving a unique gift to their grandkids for Christmas

<p>The Wallis family are one of many who are steering away from traditional Christmas presents for their grandchildren. </p> <p>Instead of standard presents, Grandpa John and Grandma Chris have found a way to invest in their grandchildren to make a difference in their future. </p> <p>"These days kids have got so much they don't really need a lot more stuff," John Wallis told <a href="https://www.9news.com.au/national/the-grandparents-giving-investments-instead-of-presents-this-year/8c4307f7-0ee3-45d2-acfa-50814d18abde" target="_blank" rel="noopener"><em>9News</em></a>. </p> <p>Instead of buying gifts for their grandkids, the Wallis' give something to their offspring all year round. </p> <p>"We give a monthly donor a contribution, so $25 each to the six grandchildren each month, and then the fund gets topped up occasionally by uncles and aunts."</p> <p>This kind of unique investment is part of a growing trend for baby boomers to help them invest in their grandchildren's futures.</p> <p>"We are seeing a real rise in those over 60 years, about 25 per cent increase in Australians over 60 opening a kids account," a spokesperson for Vanguard Australia said.</p> <p>Vanguard isn't the only platform, with many banks offering trust accounts for minors, with other portfolios designed for children include online adviser Stockspot and micro-investing platform Raiz.</p> <p>"Even if it was $10 or $15 a month, putting money aside adds up," Chris Wallis said.</p> <p><em>Image credits: Nine </em></p>

Money & Banking

Placeholder Content Image

Why the holiday season can be triggering - and what to do to protect yourself

<p>The Christmas rush is on, with people buzzing around purchasing gifts, seeing family and friends, and planning a joy-filled annual catch up. </p> <p>But for many, this time of year can be difficult. Holiday traditions tend to revolve around family and sometimes those relationships can bring their own challenges. It may be tempting to want to hit the fast forward button and skip through Christmas altogether.</p> <p>The festive season can be isolating for some people, but if you are also navigating emotions like grief it can feel overwhelming and be a harsh reminder of what has been lost, whether in recent times or even years ago. </p> <p>There’s an expectation from society that Christmas should be about having fun and being happy, yet if you’re grieving you may be feeling the weight of heavy emotions. It’s also hard for friends and family who want to help, but who may feel awkward and be unsure of what to say. </p> <p>Planning ahead can help make this holiday season feel more bearable. Start by setting specific boundaries on what you are prepared to do (or not do) this holiday season. What you will attend or not attend, and what feels right for you, right now.</p> <p>Acknowledge your grief and make space for it. All emotions and feelings are valid at this time of the year. Practice gentle self-compassion and don’t be tempted to over-commit to activities and events. Instead, take pressure off by setting realistic expectations that allow you the time and space to ride the waves of emotion as they appear.</p> <p>It’s also okay to re-evaluate your holiday traditions. Maybe consider adapting existing traditions and adding new and comforting rituals that are meaningful at this time. This doesn’t have to represent permanent change, adapting this year’s plans for this year’s emotions makes perfect sense. </p> <p>If it feels right, take time to commemorate. Fondly remember loved ones through activities such as lighting a special candle, playing their favourite song, creating a memorial ornament, cooking a much-loved family recipe or creating a memory box of photos and stories. </p> <p>Most importantly, remember that you are not alone. Reach out for assistance whenever you need it by connecting regularly with trusted friends and family, and consider getting some professional grief support as you navigate the holidays.</p> <p>As the rest of us rush toward the end of the year, let’s pause for a moment to think of others who may have an empty seat at the Christmas table. If you know someone who might be grieving these holidays, reach out regularly and check in. A call or even a text message can help people feel more seen and can make all the difference as they navigate this holiday season.</p> <p><em><strong>This article was written by Bare Counsellor Carolyn Ganzevoort, who is an experienced bereavement professional.</strong></em></p> <p><em><strong>Image credits: Shutterstock </strong></em></p>

Mind

Our Partners