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Fitness influencer gets lifetime ban from NYC marathon for filming content

A Texas social media influencer has been disqualified and banned from future races at the New York City marathon. Last weekend, fitness influencer Matthew Choi ran the race with his camera crew on e-bikes, endangering other runners. He finished the 42.2-kilometre course with a time of 2:57:15, about 50 minutes behind Abdi Nageeye, the winner of the men's race. Choi issued an apology to his 400,000 followers after receiving the lifetime ban. "I have no excuses, full-stop," he said on Wednesday AEDT. "I was selfish on Sunday to have my brother and my videographer follow me around on e-bikes, and it had serious consequences. "We endangered other runners, we impacted people going for PBs, we blocked people from getting water and with the New York City Marathon being about everyone else and the community, I made it about myself. "And for anyone I impacted, I'm sorry." He added that the decision "was 100 per cent on me" as he did not receive pressure to film content from any partners or sponsors. New York Road Runners, the organisers of the race, said in a statement that Choi's actions violated the code of conduct and competition rules. "One of the incidents brought to NYRR's attention was that Choi ran with the assistance of two unauthorised people riding the course on electric bicycles, obstructing runners," the group said. The fitness influencer posted several videos of him running the marathon on social media, which immediately drew backlash. "As a runner, seeing him was amazing. Gave me extra motivation to pass him and make sure I never had to see him and his dumb crew for the rest of the race," wrote one user on Reddit. He has since acknowledged the criticism and has vowed to stop the practice. "It won't happen again. My word is my bond." Images: Instagram

Travel Trouble

Babyfaced Sam Armytage unrecognisable in resurfaced clip

Aussie TV presenter Sam Armytage appears unrecognisable in a resurfaced clip. A video has emerged of a baby-faced Armytage early on in her media career, presenting for news for WIN in Canberra in the '90s. Armytage appeared on the Today show on Monday morning to discuss the launch of Nine's new reality series The Golden Bachelor, which she will host. It didn't take long before Today host Karl Stefanovic teased her with a throwback video. “You were part of the Nine family going way back to the early ’60s, have a look at this,” Stefanovic joked. Today co-host Sarah Abo and Armytage laughed as footage of a younger Armytage appeared onscreen wearing a white blazer and rocking a bob cut. Abo told Armytage “you haven’t changed at all!” “Oh darling, thank you. Listen to that little high-pitched voice — I was a baby,” Armytage replied. Armytage's new stint comes just months after she left the Seven Network, where she was previously the host for another reality TV show, Farmer Wants A Wife. The show will air in 2025, with Armytage explaining that it is a similar show to The Bachelor that Aussies love but with a focus on those in their 50s and 60s. “This is bringing it forward to the golden ages, as we like to call it. We’re all heading towards some of this faster than others,” Armytage joked before announcing that they're currently casting. “What we’re looking for here is a Golden Bachelor, most likely in his 60s, and some ladies who will be in their 50s or 60s … because we’re casting now. “This is for people who are looking for love again, so people who’ve got some miles on their tyres who are ready to fall in love again.” She said there would be some “great stories” along with some “kind of sad” ones; however, the aim is for a “happy fairytale ending”. Stefanovic then joked that it was a shame Richard Wilkins was “off the market” before adding he was shocked people over the age of 50 were “so active”. “It’s shocking. I just feel like it’s like a lot to look at on the TV,” Stefanovic said, admitting that he'd watched the US version of the show that debuted last year. “I just find some of it confronting in a physical way.” Abo and Armytage were quick to cut off Stefanovic's train of thought before it went down “a path perhaps that we don’t want it to go down”. “I know what you’re talking about, but I don’t think it’s confronting. I think it’s lovely,” Armytage said. “I think that it’s life. It is. And there’s a huge percentage of the population in this age bracket who are active and looking for love.” Images: Today

Never-before-seen footage shows moments after JFK assassination

Never-before-seen footage of aftermath of United States President John F. Kennedy's assassination has emerged, more than six decades after his murder. The film footage will soon be sold through RR action, and shows the moment JFK's motorcade sped toward Parkland Hospital as Clint Hill, Jackie Kennedy’s Secret Service agent, shields both her and the president. "This is remarkable, in colour, and you can feel the 80mph (130km/h)," said Bobby Livingston, executive vice president of the auction house. The 8mm home film was captured by Dale Carpenter Sr. and began with him filming other vehicles in the motorcade as it travelled down Lemmon Avenue toward the city centre. The film then picks up after Kennedy was shot, and shows Clint Hill - who famously jumped onto the back of the limousine as the shots were fired - hovering in a standing position over the president and first lady. "I did not know that there were not any more shots coming," Agent Hill, who is now 92-years-old, said. "I had a vision that, yes, there probably were going to be more shots when I got up there as I did." In an interview with People magazine, he said that the discovery of the film is “an emotional thing for me because I know what has happened. I know what I’m seeing in that film is a dead president.” The assassination itself was famously captured on film by Abraham Zapruder, and according to Livingston, the executive vice president of the auction house, the footage captured by Carpenter is "unlike any other footage known to exist". "This film captures a segment immediately following the Zapruder film, providing a fresh perspective on one of the most analyzed moments in history," he continued. "Once you see it, you'll never forget Clint Hill's heroic efforts to protect Mrs. Kennedy, racing at 80 miles an hour in a desperate attempt to save the president's life as they sped to Parkland." <iframe title="YouTube video player" src="https://www.youtube.com/embed/KPGEtMvxAyQ?si=xzNde8jG6pllHMMn" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe> Carpenter's grandson, James Gate, said that his family had always known about the footage, but they rarely talked about the footage which was stored along with other family films in a milk crate. It wasn't until after his grandfather's death from Parkinson's disease when his mother decided to hand down family mementos and the film landed in Gate's possession. While he was initially underwhelmed by the film when he watched the footage, it was when he saw the aftermath of the assassination that he was "shocked". In 2012, Gates got in touch with Agent Hill and his wife Lisa McCubbin Hill, to show them the footage. Agent Hill's wife said that while knew about the events that unfolded on the tragic day, "to see the footage of it actually happen ... just kind of makes your heart stop." “When you see the president’s limousine, you see Clint on the back of the car. To see the speed of the car and how precarious that was — Clint is still trying to protect the president and Mrs. Kennedy from whatever else might be coming. "One slip and he would have gone flying off and he would have been killed,” she told People magazine. Stephen Fagin, curator at The Sixth Floor Museum at Dealey Plaza, which tells the story of the assassination on November 22, 1963, said: "These images, these films and photographs, a lot of times they are still out there. They are still being discovered or rediscovered in attics or garages." The film will be up for auction in northeastern US city of Boston on September 28, with <a href="https://www.rrauction.com/auctions/lot-detail/348314307005036-assassination-of-john-f-kennedy-unseen-8mm-film-footage-from-november-22-1963-documenting-the-motorcade-and-rush-to-parkland-hospital/" target="_blank" rel="noopener">online bidding</a> already underway. Images: RR Auction / Public Domain

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I watched some 40 films at this year’s Sydney Film Festival. Here are my top five picks – and one hilarious flop

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> This year’s <a href="https://www.sff.org.au/">Sydney Film Festival’s</a> rich offerings of films more than compensated for the minor technical issues that led to some screenings being interrupted. Out of the 40-odd films I saw, here are my top five, along with some notable mentions and three disappointments (including a genuine dud). <h2>1. The Girl with the Needle</h2> Cowritten and directed by Swedish filmmaker Magnus von Horn, <a href="https://en.wikipedia.org/wiki/The_Girl_with_the_Needle">The Girl with the Needle</a> is loosely based on the story of notorious early-20th century serial killer Dagmar Overbye. But this is no procedural true crime film, painstakingly attempting to recreate crimes with historical accuracy. It’s a stylish Danish nightmare dazzling with cinematic acrobatics right from the opening sequence, in which black and white faces hideously morph, looking at the viewer like deranged figures from a hellish circus. It is, indeed, one of the most terrifying films I’ve seen. The narrative follows the struggles of new mother Karoline (Vic Carmen Sonne) as she gives her baby to Dagmar’s informal adoption agency and begins working with her as a wet nurse, unaware of what’s really going on. Sonne is as self-assured as ever – and none of the actors put a foot wrong here. Seasoned Danish film star Trine Dyrholm is exceptional in bringing nuance to what could have become a caricaturishly evil role as Dagmar. And Besir Zeciri endows Peter, a war-wounded veteran who can only find employment in a circus freakshow, with an unexpected warmth and tenderness. <figure><iframe src="https://www.youtube.com/embed/VlyW-z1xbO4?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The Girl with the Needle features some of the most distressing sequences one could find in a commercial film. Its meticulously rendered shades of German expressionism never distract from its smorgasbord of horrors, offering an almost unbearably bleak vision of the world in the aftermath of the Great War. If only all films were this good! <h2>2. Dying</h2> I’d normally suppress a yawn if you told me I had to sit through a three-hour social realist drama about the everyday difficulties of a bourgeois German conductor and his family. Yet writer-director Matthias Glasner’s <a href="https://en.wikipedia.org/wiki/Dying_(2024_film)">Dying</a> is a near perfect film (no surprise it won <a href="https://www.screendaily.com/news/matthias-glasners-dying-wins-german-lola-for-best-film/5193046.article">four prizes</a> at the German Film Awards). The film is complex and engrossing – deeply sad in places and hysterical in others – formally controlled, but underpinned by an anarchic sensibility. It is life-affirming without any skerrick of sentimentality. <figure><iframe src="https://www.youtube.com/embed/kagVqEfPxFw?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Lars Eidinger is astonishingly good as maestro Tom, who is trying to keep his career on track as his family life crumbles around him. He is matched by Lilith Stangenberg, mesmerising as his unhinged sister Ellen. Robert Gwisdek is equally exceptional as the highly strung composer and friend Bernard, while Corinna Harfouch anchors the film’s first section as Tom’s far from maternal mother, Lissy. At one point, Ingmar Bergman’s 1982 period film <a href="https://en.wikipedia.org/wiki/Fanny_and_Alexander">Fanny and Alexander</a> is playing on the TV (Tom watches it every Christmas). Even though Dying feels like a contemporary film committed to interrogating the difficulties of being in the modern world, there’s something of late Bergman here as it unfolds across its epic length. It is a three-hour film about middle-class life, but like a great 19th-century novel, it never feels long. The fact that nothing particularly extraordinary happens is testament to how well-made the film is. <h2>3. Kill</h2> Director Nikhil Nagesh Bhat’s Indian action film <a href="https://www.rottentomatoes.com/m/kill_2023_2">Kill</a> is cheesy, sentimental and at first seems remarkably silly. Commando Amrit, played by beefy TV star Lakshya, is travelling to New Delhi by train with his buddy, fellow commando Viresh (Abhishek Chauhan). His true love Tulika (Tanya Maniktala) is also on board and has recently become engaged to another man through an arrangement by her wealthy father, Baldev Singh Thakur (Harsh Chhaya), who happens to own the train company. When a group of 30-plus bandits led by the charming but ice-cold Fani (Raghav Juyal) move to rob the train, Amrit must defend Tulika, her family and the rest of the passengers. When the title card appears 40 minutes into the film, suddenly emblazoned on the screen, it seems like a distracting quirk at first. But it begins to make sense as the train rolls on. All of the violence and bone-crushing action of the first section is mere preamble, leading to a point of transition from an extremely violent but fun action film, to a much darker – and bloodier – revenge film. <figure><iframe src="https://www.youtube.com/embed/da7lKeeS67c?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Kill is an exceptionally well-wrought genre film. The kinetic and balletic action recalls the golden era of Hong Kong action cinema, but with hammers, daggers and sickles instead of guns and the frenetic staging of hand-to-hand combat instead of poetic slow-motion footage. It is also a great example of a film being more than the sum of its parts. No element is perfect, yet they come together to transcend these limitations, its flow reaching sublime levels by the end. There’s also an undercurrent of sadness throughout. We see an India of haves and have-nots, of families of bandits struggling to survive and of the supreme violence sustaining the social and political order. As Fani says to Amrit near the end: “Who kills like this? I killed four of your people. You finished off 40 of my family. You’re not a protector. You’re a monster. A fucking monster.” The title says it all. <h2>4. Super/Man: The Christopher Reeve Story</h2> Biographical films about celebrities inevitably feel gossipy. Ian Bonhôte and Peter Ettedgui’s <a href="https://en.wikipedia.org/wiki/Super/Man:_The_Christopher_Reeve_Story">Super/Man: The Christopher Reeve Story</a> is no exception. But it is so well made (and well-resourced, one would imagine, as it’s produced by DC) that it moves beyond its tabloid-like qualities. Interviews with Reeve’s friends and colleagues, including Susan Sarandon, Glenn Close and Jeff Daniels, are interspersed with home footage shot by Reeve and his family throughout his career and during his recovery from the near-fatal riding accident that left him paralysed and breathing through a respirator for the rest of his life. Reeve’s close friendship with “brother” Robin Williams assumes central importance, with the film implying the two men were so emotionally dependent on each other that Williams would probably still be alive if Reeve hadn’t died in 2004. But the most interesting parts of the film involve carefully assembled archival footage looking at how Reeve’s decision to play Superman negatively impacted his career and personal life. He never starred in another profitable film, and his father and colleagues such as William Hurt loathed his decision to play a comic book character. This is counterpointed with his post-accident career as a director and disability advocate. Interviews with Reeve’s children add a genuinely tragic sense of pathos to this slick, well-made and emotionally exhausting “true Hollywood” story. It’s everything one could want from such a documentary. <h2>5. Kneecap</h2> Cowriter-director Rich Peppiatt’s Kneecap is a riotous, irreverent biopic following the career of Belfast drug-dealers Móglaí Bap and Mo Chara as they team up with high school music teacher DJ Próvai to become the first Irish-language rap group, Kneecap. The real <a href="https://www.bbc.com/news/uk-northern-ireland-66408560">Kneecappers</a> cowrote the film and play themselves and, given none of them are actors, do so remarkably well. They’re joined by Irish heavyweights Josie Walker, playing the detective who has it in for them, and Michael Fassbender, playing Móglaí’s father, an old-school Irish radical who has been on the run for the past few decades. The film depicts their hedonistic drug use and anarchic disregard for the law in the context of their radical political motivation to speak Irish against the colonial English. And while it may be a bit cartoonish in its presentation of Belfast’s history and the struggle to keep Gaelic alive, it is a music biopic after all. <figure><iframe src="https://www.youtube.com/embed/FFYfp-hKxZQ?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Kneecap is violent, coarse and laced with infectiously good humour – a genuinely fun film, buoyed by its charismatic stars and lively style. Only the most stringent moralist wouldn’t enjoy this one! <h2>Notable mentions</h2> It’s extremely difficult to pick a top five when 15 or so of the films I saw were standouts. And this is testament to the quality of the festival’s selection. It was a pleasure watching heavyweight Sean Penn go head-to-head with Dakota Johnson in writer-director Christy Hall’s <a href="https://en.wikipedia.org/wiki/Daddio_(film)">Daddio</a>, even if the story takes an uninteresting turn in the final third. Despite the banality of the premise – a New York cabbie chats with a passenger – and the inanity of some of the dialogue, this romantic ode to urban life in all its alienated, fluoro-lit techno glory is so well crafted that we happily go along for the ride. Equally affective is the melancholic and beautifully performed <a href="https://en.wikipedia.org/wiki/Puan_(film)">Puan</a>, a restrained comedy set in a University faculty in Buenos Aires. Puan could easily make my top five, as could André Téchiné’s <a href="https://en.wikipedia.org/wiki/My_New_Friends_(film)">My New Friends</a>), an offbeat French melodrama starring Isabelle Huppert as a disillusioned police officer who becomes friends with an anti-cop activist in the suburbs. <figure><iframe src="https://www.youtube.com/embed/cnz-6h60tkk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Poor performers</h2> Of the lot, I only found three films disappointing. The first, Among the Wolves, is a Belgian-French documentary in which a photographer and illustrator lie waiting in a tiny, makeshift building to encounter wild wolves. While some of the footage is striking, the film is let down by its scientific inaccuracy, such as references to the “alpha male” wolf – a term and concept that has <a href="https://www.newyorker.com/science/elements/the-myth-of-the-alpha-wolf">long been discredited</a>. Such innacuracy is a cardinal sin for a documentary, which is supposed to inform the viewer. Though critically acclaimed, Hollywood horror film The Substance – a story of an ageing entertainer who turns to a mysterious substance to stay young (with unsurprisingly horrific ramifications) – feels neither new nor particularly interesting. And while it’s great to see Demi Moore and Dennis Quaid back on the big screen, their caricaturish characters make the whole thing seem like a boring joke: an inflated short film that is both irritatingly silly and painfully didactic. But rarely does a film so resolutely reaffirm a sense of the absurd hubris of humans as Francis Ford Coppola’s self-financed mega-flop, Megalopolis. This cartoonish, incoherent mess set in a dystopian version of the United States, “New Rome”, is howlingly bad in places. Imagine the worst parts of The Hunger Games and <a href="https://www.imdb.com/title/tt0064940/">Fellini Satyricon</a> (1969) crossed with Ayn Rand’s Atlas Shrugged and The Fountainhead and you begin to get a sense of the kind of self-indulgent, heavy-handed nonsense that is Megalopolis. Side-splittingly funny moments come courtesy of bad dialogue (“Utopias become dystopias,” actor Giancarlo Esposito says at one point with a straight face). And stilted acting by Adam Driver and Aubrey Plaza had the (remaining) audience in stitches. Megalopolis is like one of the great fiascos from days gone by – the 21st century’s Heaven’s Gate – and there is definitely something delightful about the existence of this <a href="https://variety.com/2022/film/news/francis-ford-coppola-funding-120-million-dollars-megalopolis-1235184765/">US$120 million</a> (roughly A$180 million) flop. <figure><iframe src="https://www.youtube.com/embed/1FQzWD5xVKQ?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> But as a dud, Megalopolis is the outlier. And in a year following Barbie, Oppenheimer, Napoleon and Poor Things (talk about heavy-handed cinema), much of the menu of this year’s Sydney Film Festival once again proves there are still good filmmakers out there making good films.<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/232706/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ari-mattes-97857">Ari Mattes</a>, Lecturer in Communications and Media, <a href="https://theconversation.com/institutions/university-of-notre-dame-australia-852">University of Notre Dame Australia</a> 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/i-watched-some-40-films-at-this-years-sydney-film-festival-here-are-my-top-five-picks-and-one-hilarious-flop-232706">original article</a>. Image: IMDB </div>

Movies

Airbnb launches real-life "Up" house - and it actually floats!

Airbnb is taking its latest listing to the sky - literally. The accommodation provider has announced a partnership that will see the iconic house from Pixar's hit film Up being lifted into the air, balloons and all. In their ongoing quest to redefine hospitality, Airbnb has launched a permanent category called “Icons,” which features partnerships with brands and celebrities that promise unforgettable experiences. Suspended over the New Mexico desert with the aid of a crane, the property looks like an exact replica of the home and contains adorable easter eggs from the film - including the Adventure Book. “Icons take you inside worlds that only existed in your imagination — until now,” Airbnb CEO and co-founder Brian Chesky said in a statement. “As life becomes increasingly digital, we’re focused on bringing more magic into the real world … we’ve created the most extraordinary experiences on Earth." The house offers a stunning view of the desert, which you can enjoy while sitting on replica's of Ellie and Carl's chairs or have breakfast with a view in the kitchen. Alternatively, you could look at the stars while sitting on the front porch - but don't look down because the adventure is out there. Of course there are questions about the logistics of the stay, including plumbing and electricity, but the accommodation giant has assured that the house is “fully functional,” connected to generators and utilities that will be seamlessly managed before and after its flight. Other fantastical listings include a replica of the mansion from the “X-Men ’97” cartoon, a stay at the Ferrari Museum in Italy, and Prince's house that was featured in the legendary film Purple Rain. Check out the <a href="https://www.airbnb.com.au/rooms/1126185893236246260?_set_bev_on_new_domain=1715826165_M2NkZDdkODdhMjcy&source_impression_id=p3_1715826166_A20M4770EGAtl8AV&modal=PHOTO_TOUR_SCROLLABLE" target="_blank" rel="noopener">Up</a> listing here, be warned the sweet listing may make you shed a tear or two. Images: Airbnb

Real Estate

Princess Kate filmed in public for the first time since Christmas

The Princess of Wales has been filmed for the first time since Christmas, after her absence sparked wild global <a href="https://www.oversixty.com.au/health/caring/kate-middleton-s-disappearance-sparks-bizarre-conspiracy-theories" target="_blank" rel="noopener">speculation</a> on her whereabouts. Kate Middleton looked happy and relaxed in <a href="https://www.thesun.co.uk/royals/26766840/princess-kate-middleton-shopping-trip-video-william/" target="_blank" rel="noopener">recently published footage </a>of her shopping trip with her husband, Prince William. In footage exclusively obtained by TMZ and The Sun, the royal was filmed dressed comfortably in a hoodie and dark leggings, as she carried her shopping and walked alongside Prince William on their way to the car park. This is the first time the royal has been filmed in public since her <a href="https://www.oversixty.com.au/health/caring/two-senior-royals-undergo-surgery" target="_blank" rel="noopener">"planned abdominal surgery"</a>, aside from two blurry <a href="https://www.oversixty.com.au/finance/legal/kate-middleton-spotted-for-the-first-time-since-surgery" target="_blank" rel="noopener">paparazzi pictures</a> of her in the backseat of a car, and reports that she was spotted <a href="https://www.oversixty.com.au/health/caring/princess-kate-spotted-in-public-amid-wild-speculations" target="_blank" rel="noopener">out with her kids </a>on Saturday morning. Witnesses at Princess Kate's favourite farm shop reportedly said that she looked “happy, relaxed and healthy” as she ventured from her home in Windsor to the nearby store. “Kate was out shopping with William and she looked happy and she looked well," witnesses said at the time. “The kids weren’t with them but it’s such a good sign she was healthy enough to pop down to the shops.” The Princess' whereabouts has been the topic of speculation for weeks, with the Palace having to <a href="https://www.oversixty.com.au/health/caring/palace-responds-to-bizarre-conspiracy-theories-about-kate-s-whereabouts" target="_blank" rel="noopener">speak out</a> against the wild conspiracy theories on social media. Her last public appearance was on December 25 during the royal family’s traditional walk to the Christmas morning service in Sandringham. Image: Getty

Caring

Margot Robbie snubbed as Oscar nominations announced

The nominations for the 96th academy awards has been announced, and despite Barbie being nominated for eight awards, there were a few notable snubs that fans aren't happy about. The film’s star, Margot Robbie, was not nominated for best actress, despite co-star Ryan Gosling receiving a nomination for best supporting actor for his role as Ken. The film's director Greta Gerwig, was also snubbed as she was not nominated for best director. Fans took to social media to express their thoughts, with many of them unhappy with the academy's choice. "So Ryan Gosling’s nominated for playing ken but Margot Robbie isn’t nominated for playing barbie… in barbie," one person wrote on X, formerly known as Twitter. <blockquote class="twitter-tweet"> So Ryan Gosling’s nominated for playing ken but Margot Robbie isn’t nominated for playing barbie… in barbie <a href="https://twitter.com/hashtag/Oscars?src=hash&ref_src=twsrc%5Etfw">#Oscars</a> <a href="https://t.co/uceB20BB8H">pic.twitter.com/uceB20BB8H</a> — poppy ☾ (@scddevereaux) <a href="https://twitter.com/scddevereaux/status/1749792570840907879?ref_src=twsrc%5Etfw">January 23, 2024</a></blockquote> "No nomination for Margot Robbie or Greta Gerwig for the #Oscars but Ryan Gosling gets one. Literally the whole point of the Barbie film," another wrote. "Greta Gerwig made a film that was critically acclaimed, culturally impactful, hilarious, unique, visually exceptional, perfectly cast and acted, left people laughing, crying and thinking AND made a billion dollars at the box office. But no Best Director nom?!" another tweeted. One particular tweet went viral, with over 109 thousand likes. "Ken getting nominated and not Barbie is honestly so fitting for a film about a man discovering the power of patriarchy in the Real World," the tweet read. <blockquote class="twitter-tweet"> Ken getting nominated and not Barbie is honestly so fitting for a film about a man discovering the power of patriarchy in the Real World. — Michael. (@yosoymichael) <a href="https://twitter.com/yosoymichael/status/1749794592076034203?ref_src=twsrc%5Etfw">January 23, 2024</a></blockquote> In a more positive light, America Ferrara, who played Gloria in Barbie, was nominated for best supporting actress with many saying that her character's passionate speech on feminism had sealed the deal. The film was also nominated for Best Picture, and two nods for best song including Gosling's popular solo I'm Just Ken, and Billie Eilish's What Was I Made For. Image: Getty

Movies

"You don’t know why they’re filming or what they’ll do with it": flight attendants on being unwilling stars of viral videos

<a href="https://theconversation.com/profiles/liz-simmons-1376255">Liz Simmons</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/gui-lohmann-1476773">Gui Lohmann</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>, and <a href="https://theconversation.com/profiles/rawan-nimri-1482182">Rawan Nimri</a>, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> As any frequent social media user knows, airline passengers often record and post in-flight incidents – from frightening turbulence to unruly members of the public. Often, these viral videos feature flight attendants just trying to do their duties, while being filmed without their consent. These videos usually portray flight attendants either as heroes effortlessly managing difficult passengers or “villains” accused of being rude and unprofessional. Either way, the trend is emerging as an industrial issue, with unions arcing up about it and airlines bringing in new rules aimed at curbing the practice. <h2>Unkind comments about appearance and age</h2> Going to work knowing that at any moment you may become the unwilling star of a viral video can exact a considerable toll on the wellbeing of flight attendants. I (Liz Simmons) speak daily with flight attendants in Australia and abroad as part of my PhD research. From these discussions, I’ve heard from attendants who worry often about discovering videos of themselves featuring unkind comments about their appearance, age or employer. One flight attendant, Kate*, described the disconcerting feeling of someone aiming a smartphone camera at her while she was simply trying to do her job, saying: "You don’t know why they’re filming or what they’ll do with it." Marie spoke of being featured in a TikTok video during a safety demonstration, with viewers making fun of her appearance. Charlotte, after refusing to serve more alcohol to an intoxicated passenger, had a camera thrust in her face, accompanied by threats to her job. Mark told of how uncomfortable he felt having to ask a passenger to stop taking photos of the crew during service. These personal accounts illustrate the <a href="https://www.news.com.au/travel/travel-updates/health-safety/flight-attendant-reveals-creepy-passenger-behaviour/news-story/3b2b1ad25f758e24ef37b74794684ea6">distress</a> flight attendants can experience when being filmed or photographed without their knowledge. <h2>A broader industrial issue</h2> This issue is drawing the attention of policymakers, airlines and the unions that represent flight attendants. Japan recently introduced <a href="https://japannews.yomiuri.co.jp/society/crime-courts/20230408-102309/">laws</a> aimed at curbing sneak photography in a range of settings, which may be used to prevent passengers voyeuristically filming flight attendants. <a href="https://mondortiz.com/japan-flight-attendants-call-for-action-versus-stolen-photo-taking/">Research</a> by Japan’s aviation workers union found that about 70% of the 1,573 flight attendants surveyed believed they’d had their pictures taken surreptitiously while they were working. Passengers have been arrested in <a href="https://www.jpost.com/israel-news/crime-in-israel/article-748799">Turkey</a> and <a href="https://www.dailymail.co.uk/travel/travel_news/article-3554181/IndiGo-passenger-arrested-recording-video-flight-attendants.html">India</a> after unauthorised filming. And flight attendant unions in <a href="https://www.japantimes.co.jp/news/2023/03/09/national/crime-legal/flight-attendant-photo/">Japan</a>, <a href="https://www.thestandard.com.hk/breaking-news/section/4/204104/Union-says-flight-attendants-can-ask-passengers-to-delete-photos-and-videos-taken-without-consent">Hong Kong</a> and <a href="https://www.stuff.co.nz/travel/news/300750512/why-you-shouldnt-film-your-cabin-crew">Australia</a> have voiced concerns about the issue. Of course, videos can occasionally play a crucial role in understanding what transpired during an <a href="https://www.nbcnews.com/news/us-news/passenger-assault-attendant-detained-fbi-american-airlines-mexico-cabo-rcna48884">in-flight incident</a>, and flight attendants themselves can also be found on social media sharing their stories, consenting to the video. But many videos still feature airline staff simply going about their job (while being filmed, without their consent). <h2>Unclear rules</h2> News <a href="https://www.smh.com.au/traveller/reviews-and-advice/why-you-shouldnt-film-your-cabin-crew-20221122-h2813d.html">reports</a> suggest staff aboard Dutch carrier KLM “now commonly make an announcement during the safety briefing asking passengers not to take photos of any crew members.” The <a href="https://www.klm.com.au/information/legal/conditions-carriage">rules</a> on the KLM website are less clear, saying only that, "Recording videos and/or taking photographs other than personal videos and photographs is prohibited on board the aircraft." Virgin Australia’s rules state anyone travelling on their planes must "use cameras or photographic devices (including mobile phones) for personal use only. You must comply with the directions of flight crew when using cameras or photographic devices while on board. In November 2023, Qantas introduced new <a href="https://www.qantas.com/au/en/book-a-trip/flights/conditions-of-carriage.html#conduct-during-flight">rules</a> requiring passengers to "seek consent before filming or photographing Qantas Group staff, contractors or other customers." This is a start. For most airlines, however, there is a notable absence of clear guidelines against recording and publishing footage of flight attendants in their workplace. The existing rules are often buried in the fine print of terms and conditions, which few passengers take the time to read. This underscores the necessity for airlines to reconsider how these restrictions are communicated to passengers. Looking ahead, it may be timely for more airlines to establish clearer rules on filming cabin crew while they work. There should be an acknowledgement that unsolicited filming is frequently unfair, invasive and distressing. Developing a framework to enforce these provisions and enhancing communication about these rules would help inform passengers about how to respect the privacy and comfort of flight attendants in their workplace. * All names have been changed to protect identities.<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/217089/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/liz-simmons-1376255">Liz Simmons</a>, PhD Candidate, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>; <a href="https://theconversation.com/profiles/gui-lohmann-1476773">Gui Lohmann</a>, Professor in Air Transport and Tourism Management, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a>, and <a href="https://theconversation.com/profiles/rawan-nimri-1482182">Rawan Nimri</a>, Lecturer in Tourism and Hospitality, <a href="https://theconversation.com/institutions/griffith-university-828">Griffith University</a> Image credits: Shutterstock 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/you-dont-know-why-theyre-filming-or-what-theyll-do-with-it-flight-attendants-on-being-unwilling-stars-of-viral-videos-217089">original article</a>.

Travel Trouble

Liam Neeson filming new movie in tiny Aussie town

The quaint, gorgeous historic Victorian town of Walhalla is gearing up for its moment in the cinematic spotlight as it gets set to become the backdrop for Liam Neeson's upcoming blockbuster sequel, Ice Road 2: Road To The Sky. Yes, apparently, the road to the sky involves a detour through rural Australia. Residents of Walhalla received a letter announcing the impending movie magic, and it's safe to say they're experiencing a mixture of excitement and confusion akin to trying to follow the plot of a Christopher Nolan epic. According to reports, the filmmakers are turning Walhalla into a bona fide Nepalese village. The town's Star Hotel and surrounding areas are getting a makeover to mimic Kodari, Nepal. Now, if you're wondering where Walhalla is on the map, don't worry, you're not alone. Even the residents seem a bit perplexed, with one local commenting online, "Interesting that this is going ahead at the height of our tourist season." Because, naturally, when you think tourist hotspots, you think Walhalla. But fear not, dear residents, for the filmmakers have assured everyone that after their Himalayan escapade, Walhalla will return to its original heritage colours. It's like the town is getting a cinematic spa day, complete with a paint job. Filming is set to take place at two main locations: the intersection of Main Rd and Right Hand Branch Rd and the top of Churchill Rd above the Fire Station Museum. And oh boy, get ready for some action, because the letter states, "During the filming period, there will be stunts involving large vehicles, special effects and prop gun use." Walhalla, known for its scenic beauty and historic charm, is about to witness the fusion of Hollywood glitz and Nepalese grit. Of course, not everyone is on board with this Hollywood invasion. One local expressed concern about the impact on other businesses in town, suggesting, "This would have been much better slotted into the quiet time in August." Clearly, they're not buying into the idea that summer is the best time for a Nepalese makeover. But fear not, skeptics! Another resident pointed out that the influx of up to 200 crew members per day will be a boon for local shops. "What a great thing for the area," they declared. And who can argue with that logic? Imagine the crew swarming the pub, devouring schnitties and downing pints of Carlton lager. This could be the most Aussie-Nepalese fusion experience since Vegemite momos. As the charming town of Walhalla braces itself for the coming storm of movie magic, we can't help but wonder: Will Liam Neeson's next iconic line be, "I will find you, even if I have to navigate the treacherous roads of rural Australia"? Buckle up, Walhalla, because the road to the sky might just be a detour through down under. Images: Visit Victoria / Netflix

Movies

Melissa Leong axed just weeks ahead of filming

In an unexpected turn of events, Channel Ten's beloved cooking show, MasterChef Australia, is set to undergo a significant makeover in 2024. The series, which has captured the hearts of food enthusiasts and reality TV aficionados alike, will introduce a new judging panel, leaving fans both excited and apprehensive. Melissa Leong, a fan favourite who joined the MasterChef family in 2019 alongside Andy Allen and Jock Zonfrillo, finds herself stepping away from the iconic show. Her arrival was part of a pivotal change in the program after the departure of original judges Matt Preston, Gary Mehigan, and George Calombaris due to a pay dispute. Sadly, the show faced another devastating loss with the <a href="https://www.oversixty.com.au/news/news/shattered-hearts-culinary-world-mourns-tragic-death-of-jock-zonfrillo" target="_blank" rel="noopener">sudden passing of Jock Zonfrillo</a> earlier this year, leaving a void that needed to be filled. According to sources reported by the <a href="https://www.afr.com/companies/media-and-marketing/masterchef-s-melissa-leong-axed-from-judging-lineup-20231023-p5ee9f" target="_blank" rel="noopener">Australian Financial Review</a>, Leong was made aware of this transition only recently, just a month before the new season began filming. The Australian public, deeply attached to the familiar faces they've come to love on the show, was left wondering about the future of MasterChef. <a href="https://www.dailytelegraph.com.au/entertainment/sydney-confidential/masterchef-shakeup-for-2024-new-sweet-gig-for-melissa-leong/news-story/4c3b7c3b77e942e09be516d631b5065a" target="_blank" rel="noopener">The Daily Telegraph</a> broke the news that the new judging panel would include former contestant Poh Ling Yeow, Michelin-starred chef Jean-Christophe Novelli, and food critic Sofia Levin. While these newcomers bring their own expertise and charm to the MasterChef stage, they must face the challenge of filling the shoes of their predecessors and winning over the show's passionate audience. Andy Allen, who has been a part of the MasterChef journey since 2012, made the surprising decision to return to the series after what he described as a "difficult year" in 2023. Speaking about his choice, Allen said, "There is something special in the MasterChef Australia Kitchen, and it feels right to come back to work with the amazing production team, and to play my role in seeing the contestants do as I have done." With the new line-up, 2024 promises to be the beginning of a fresh chapter in the show's history. Notably, there were rumours that celebrity chef <a href="https://www.oversixty.com.au/lifestyle/food-wine/jamie-oliver-tipped-to-replace-jock-zonfrillo-on-masterchef" target="_blank" rel="noopener">Jamie Oliver might join the show</a> as a replacement. However, it appears that the production team opted for a mix of MasterChef alumni and culinary expertise to usher in this new era. Leong's connection with Channel Ten remains strong, as she is set to host Dessert Masters, alongside the pastry prodigy Amaury Guichon, known as "The Chocolate Guy". This spinoff series promises to showcase the skills of Australia's top pastry chefs and dessert makers through sweet-themed challenges. Dessert enthusiasts can anticipate an exciting showdown between some of the country's finest dessert creators. A Network 10 spokesperson has clarified that the decision was not influenced by any ongoing investigation and that Leong will continue to be a cherished member of the MasterChef Australia family. The spokesperson stated, "Melissa is set to return for a second season of Dessert Masters in 2024, alongside fellow judge and pastry prodigy Amaury Guichon." The scheduling of both programs, with MasterChef and Dessert Masters airing back-to-back, called for each show to have its distinct style, personality and hosting team. As fans eagerly await the new season of MasterChef Australia in 2024, there is a mix of anticipation and nostalgia. The departure of a beloved judge and the introduction of fresh faces signal a new chapter in the show's legacy. Image: MasterChef Australia

Priscilla Presley's reaction to movie based on her life

Priscilla Presley has shared how "emotional" she became after watching the new movie based on her life with her late rock star husband. The 78-year-old attended the premiere of the new film Priscilla, which was based on her 1985 memoir Elvis & Me. Priscilla took to the red carpet at the Venice International Film Festival on September 4th alongside director Sofia Coppola and the cast. "It was very difficult to sit and watch a film about you, about your life, about your love," she explained at a media call following the premiere screening. "Sofia did an amazing job. She did her homework, we spoke a couple of times and I really put everything out for her that I could," she added. Priscilla went on to explain why she thought her love story was so intriguing to a public audience, as she spoke about the early days of her relationship with the late rock star. "It was very difficult for my parents to understand that Elvis would be so interested in me and why, and I really do think [it was] because I was more of a listener," she said. "Elvis would pour his heart out to me in every way in Germany: his fears, his hopes, the loss of his mother which he never, ever got over. And I was the person who really, really sat there to listen and to comfort him. That was really our connection." She continued, "Even though I was 14, I was actually a little bit older in life, not in numbers. That was the attraction. People think, 'Oh, it was sex.' No, it wasn't. I never had sex with him. He was very kind, very soft, very loving, but he also respected the fact I was only 14 years old." Euphoria star and Aussie actor Jacob Elordi plays Elvis in the new film, with Cailee Spaeny in the title role of Priscilla, which traces Priscilla's early years and relationship with the music icon. Elvis Presley estate officials reportedly slammed the movie, with <a title="TMZ" href="https://www.tmz.com/2023/06/22/elvis-presley-estate-officials-slam-priscilla-movie/" target="_blank" rel="noopener">TMZ</a> claiming unnamed officials were displeased with news of the production, labelling it a "money grab." Image credits: Getty Images <div style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; font-family: 'Proxima Nova', system-ui, -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen, Ubuntu, Cantarell, 'Fira Sans', 'Droid Sans', 'Helvetica Neue'; font-size: 18px; font-style: normal; font-variant-caps: normal; font-weight: 400; font-stretch: inherit; line-height: inherit; vertical-align: baseline; caret-color: #333333; color: #333333; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-stroke-width: 0px; text-decoration: none;"> <div class="ob-smartfeed-wrapper feedIdx-0" style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; vertical-align: baseline;"> <div id="outbrain_widget_0" class="OUTBRAIN" style="box-sizing: border-box; margin: 0px; padding: 0px; border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; vertical-align: baseline;" data-src="//celebrity.nine.com.au/latest/priscilla-presley-gets-emotional-after-very-difficult-viewing-of-priscilla/d6fd2f98-d746-4664-ada4-e5662a435aea" data-widget-id="AR_8" data-external-id="3820c6a948ab8b24c8020cab9d348600" data-ob-mark="true" data-browser="safari" data-os="macintel" data-dynload="" data-idx="0"> <div class="ob-widget ob-feed-layout AR_8" style="box-sizing: content-box; margin: 0px; padding: 0px 3px; border: 0px; font-family: inherit; font-size: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; font-stretch: inherit; line-height: inherit; vertical-align: baseline; position: relative; width: auto; min-width: 0px; clear: both;"> <div class="ob-widget-header" style="box-sizing: content-box; margin: 24px 0px 14px; padding: 0px; border: 0px; font-family: inherit; font-size: 18px; font-style: inherit; font-variant-caps: inherit; font-weight: bold; font-stretch: inherit; line-height: inherit; vertical-align: baseline; color: #303030; direction: ltr; display: flex; justify-content: space-between; align-items: center;"> </div> </div> </div> </div> </div>

Movies

5 memorable locations from ‘80s films to check out

Everyone loves a good movie, and everyone loves a holiday, so what do you get when you combine the two? The time of your life! It’s widely known that the ‘80s spawned a whole host of films that went on to become cult classics - from the likes of Heathers to Footloose, Dirty Dancing, and The Terminator - and forged the way for cultural changes that ring true decades later. But did you also know that for many of these iconic films, real-life locations served as the inspiration for many memorable scenes? And while some may have changed slightly in the years since cast and crew flocked to them, some are like stepping into a time capsule - or a stage for you to re-enact the films as you see fit. Lake Lure, North Carolina - Dirty Dancing (1987) Anyone who’s seen Dirty Dancing can tell you that ‘the lift scene’ is one of the film’s most iconic moments. And it - along with a few others from the film - were filmed in North Carolina’s very own Lake Lure. And with the spot boasting its very own Lake Lure Inn & Spa - where, coincidentally, the movie’s stars stayed while working on the project - it could be the perfect getaway location for your next holiday. Guesthouse International Hotel, California - National Lampoon Vacation (1983) For those embarking on their very own National Lampoon Vacation, you’re in luck - the hexagonal pool is near exactly the same as it was when Chevy Chase’s Clark Griswold enjoyed a nighttime swim with Christie Brinkley’s The Girl in the Ferrari. New York Public Library, New York - Ghostbusters (1984) The 1984 film sparked an entire host of sequels, games, parodies, and conventions for avid fans across the globe - as well as one incredibly catchy song. However, for those that would like to go above and beyond just calling their friendly neighbourhood ghostbusters, the New York Public Library’s flagship Stephen A Schwarzman building is the spot where the team had their very first encounter with the film’s ghosts. Griffith Observatory, California - The Terminator (1984) Fans of The Terminator should immediately recognise this site as the one where Arnold Schwarzenegger’s Terminator arrived in the nude, and basked in the glory of LA at night. It’s a popular location, and while a must-see for fans of the film, it also makes for a good afternoon out - the observatory itself boasts free entry, stunning views, and a range of fascinating exhibits inside to entertain the keen mind. The Grand Hotel, Michigan - Somewhere in Time (1980) The Grand Hotel was the primary location for romantic drama Somewhere in Time, and they’re proud of it. In fact, a poster for the film is reportedly even still on display there, and hosts weekends of celebration for the 1980 hit, too. The island the hotel is set on doesn’t allow cars, so anyone hoping to throw themselves back in time and fully immerse themselves in a ‘different world’, this National Historic Landmark may be just the place to do it. Images: Getty, Booking.net

Movies

Extreme Hollywood body transformations have become standard preparations for film actors – but we need to consider the consequences

<a href="https://theconversation.com/profiles/gemma-sharp-314703">Gemma Sharp</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> and <a href="https://theconversation.com/profiles/bronwyn-dwyer-1453560">Bronwyn Dwyer</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> “…when you’re shooting a film like Magic Mike, and you’re doing dance routines for two weeks at a time, you have to peak every day. So that became kind of crazy. We had a gym in the parking lot, and we’d all be lifting weights on set all day,” <a href="https://wegotthiscovered.com/movies/interview-channing-tatum-joe-manganiello-magic-mike/">explained actor Joe Manganiello</a>, about performing in the film Magic Mike. It is not unusual for actors to undergo drastic changes in preparation for a role, including gaining muscle and losing body fat for that shredded look. In fact, this is becoming the norm in Hollywood. <a href="https://www.menshealth.com/fitness/a43945188/jake-gyllenhaals-road-house-transformation/">Jake Gyllenhaal</a> in Road House, <a href="https://www.insider.com/michelle-rodriguez-rege-jean-page-workout-dungeons-and-dragons-sdcc-2022-7">Michelle Rodriguez</a> in Dungeons & Dragons, and <a href="https://www.menshealth.com/entertainment/a42532547/paul-rudd-marvel-ant-man-interview/">Paul Rudd</a> in Ant-Man and the Wasp: Quantumania, have all undertaken body modifications for roles this year. As the audience, we readily accept these body modifications to be part of the preparation for the role without necessarily considering the potentially long-term physical and mental health consequences. <h2>So how do they do it?</h2> From what Hollywood shares with the general public about these body modifications, which is generally very limited, it appears these transformations occur through excessive exercise and highly restrictive diets. Nevertheless, these Hollywood workouts are highly popular with ordinary people, with Dwayne “The Rock” Johnson and Chris Hemsworth’s workouts <a href="https://sustainhealth.fit/lifestyle/most-searched-hollywood-actor-workouts/">particularly sought after</a>. These regimens resemble those of competitive bodybuilders, <a href="https://journals.lww.com/hrpjournal/Abstract/2019/07000/Competitive_Bodybuilding__Fitness,_Pathology,_or.3.aspx">whose success also relies on appearance</a>. The <a href="https://link.springer.com/article/10.2165/00007256-200434050-00004">typical process for bodybuilders</a> involves two phases: a “bulking” phase, during which the goal is to have enough energy for muscle growth, and a “cutting” phase, when the aim is to lose weight but not muscle. The end result of such a process is usually highly applauded, even though drastic measures have been taken to achieve such a look. Actors of all genders are undergoing these body transformations for <a href="https://www.sportskeeda.com/comics/10-marvel-actors-whose-body-transformation-shocked-world">various roles</a> such as superheroes, athletes, or the portrayal of real-life people. <h2>What are the consequences?</h2> “I’ve become a little bit more boring now, because I’m older and I feel like if I keep doing what I’ve done in the past I’m going to die. So, I’d prefer not to die,” <a href="https://www.menshealth.com/uk/fitness/lifestyle/a29725245/christian-bale-no-more-body-transformation-roles/">said Christian Bale</a>, who has undertaken multiple extreme transformations for roles. To achieve what is needed for a particular role, extreme measures are often taken. However, the consequences of these measures, such as use of substances, exercise dependence, and an increased risk of developing muscle dysmorphia and/or an eating disorder, is seemingly not common knowledge. A concern for the bodybuilding community is the widespread use of drugs, <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4026349/">often multiple drugs at a time not obtained through prescription</a>. Androgenic-anabolic steroids are commonly used which can have extensive negative effects on the human body, including on the cardiovascular system, hormones, metabolism and even psychiatric wellbeing. Exercise dependence can also occur when an individual engages in an extreme amount of exercise, to the point at which <a href="https://link.springer.com/article/10.1007/s11936-018-0674-3">physical, psychological or emotional harm</a> can occur. We are not sure exactly why exercise dependence happens, but it could potentially be a form of <a href="https://www.tandfonline.com/doi/full/10.1080/19585969.2023.2164841">behavioural addiction</a>. Another risk is <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4977020/">muscle dysmorphia</a>, a subtype of body dysmorphic disorder characterised by the individual being preoccupied with the idea their physique is not muscular enough, even if they have a high degree of muscle. <h2>What about the dieting impacts?</h2> There are many similarities between the requirements of bodybuilding and eating disorders. Both are characterised by restrictive diets, high levels of exercise, potential social isolation, and adherence to a <a href="https://journals.lww.com/hrpjournal/Abstract/2019/07000/Competitive_Bodybuilding__Fitness,_Pathology,_or.3.aspx">rigid schedule</a>. The seminal <a href="https://www.sciencedirect.com/science/article/pii/S002231662210249X?via%3Dihub">Minnesota Starvation Experiment</a> fundamentally shaped our understanding of the changes a person can experience when they are consuming less than their daily nutrition energy needs, such as during the “cutting” phase for bodybuilders. This research showed that people who are experiencing starvation for a period of time will experience devastating impacts in the physical, psychological, behavioural and social aspects of their lives. Some of the many documented changes included reductions in heart muscle mass, heart rate and blood pressure, dizziness, fatigue, increased feelings of depression and anxiety, obsessive thoughts about food, and withdrawal from social activities and relationships. Concerningly, even once a person is renourished, the psychological issues around body size and food <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/eat.23095">can persist</a>. Therefore, even after an actor has returned to their pre-modification weight and size, it does not mean they have recovered from the consequences that came with that body modification. <h2>What are the impacts on the general public?</h2> Rapid changes in physical appearance are not realistically achievable for most people. So seeing actors doing this seemingly easily with the assistance of their professional teams sets an <a href="https://link.springer.com/article/10.1007/s40894-022-00179-4">unrealistic standard</a>. For people without the same income or access to resources to achieve these body modifications in a safe way, <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8872588/">more extreme means</a> would be undertaken and consequent damage to mental and physical wellbeing can ensue. These body modifications are definitely a case of “do not try this at home”. There are many risks when undertaking dramatic body modifications, most of which are not talked about in public. Actors are just as vulnerable to these risks, despite us rarely seeing what exactly they go through to achieve these dramatic transformations. Hollywood is a highly competitive environment, and being honest about body modification and its consequences could stop an actor landing their next gig. We don’t recommend body modifications in any way, but if someone does want to make a change to their lifestyle, we strongly recommend consulting with a team of health professionals to ensure physical and psychological safety during the process and beyond. –– If this article has raised issues for you, or if you’re concerned about someone you know, do not hesitate to reach out for support. For concerns around eating, exercise, or body image visit the <a href="https://butterfly.org.au/">Butterfly Foundation</a> or call the national helpline on 1800 33 4673. For concerns around drug use visit <a href="https://www.health.gov.au/our-work/drug-help">Drug Help</a> or call the National Alcohol and Other Drug Hotline on 1800 250 015.<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/207722/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/gemma-sharp-314703">Gemma Sharp</a>, Associate Professor, NHMRC Emerging Leadership Fellow & Senior Clinical Psychologist, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> and <a href="https://theconversation.com/profiles/bronwyn-dwyer-1453560">Bronwyn Dwyer</a>, , <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> Image credits: 20th Century Fox 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/extreme-hollywood-body-transformations-have-become-standard-preparations-for-film-actors-but-we-need-to-consider-the-consequences-207722">original article</a>.

Body

5 must-watch films about ageing

In an age where it seems everything pop culture is concerned with youthfulness and preventing the process of ageing at every chance, these films bucked the trend to bring authentic (not to mention entertaining) stories about ageing to the masses. Here are five movies about the trials and triumphs of growing old that you simply can’t miss. About Schmidt Starring Jack Nicholson as the newly-retired Warren Schmidt, this is a film about finding friendship and meaning in unlikely places. After his wife suddenly dies, he takes a life-changing trip across the country, confronting his demons and learning about what he really wants out of life. The final scene alone is worth a watch. Amour If you can stand the subtitles, this Oscar-winning French film is definitely not one to miss. It follows the story of an elderly couple, Anne and George, as they face the challenges that arise when Anne experiences a severe stroke. It’s a beautiful movie which showcases the power of love and the strength of the human spirit. On Golden Pond This 1981 film earned Henry Fonda an Oscar, and it’s not difficult to see why. On Golden Pond candidly explores the not-so-welcome side effects of ageing and the heartbreaking impact of memory loss on a tight-knit family. With great performances from Katherine Hepburn and Fonda’s daughter Jane, this is a film every family needs to watch. The Curious Case of Benjamin Button It may surprise you, but Benjamin Button is actually a fantastic commentary on what it means to grow old and how little our ‘age’ reflects how old we feel on the inside. Loosely based on F. Scott Fitzgerald’s 1992 short story of the same name, the film follows the relationship between Daisy Fuller (Cate Blanchett) and Benjamin Button (Brad Pitt), who bizarrely ages in reverse. The Best Exotic Marigold Hotel Featuring a star-studded cast including Judi Dench, Maggie Smith and Bill Nighy, if you haven’t already seen The Best Exotic Marigold Hotel, you’re in for a treat. The film follows a group of British seniors who move to a retirement hotel in India. What follows is an experience that just goes to show, it’s never too late to rediscover yourself. Plus, the sequel is just as fun! Image credit: Shutterstock

Movies

Are the Oscars going to take animated films more seriously?

<a href="https://theconversation.com/profiles/robert-boucaut-1215760">Robert Boucaut</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> “Animation is cinema. Animation is not a genre. And, animation is ready to be taken to the next step – we are all ready for it, please help us, keep animation in the conversation.” This was Guillermo del Toro’s testament accepting the Academy Award for Best Animated Feature Film in 2023 for <a href="https://www.imdb.com/title/tt1488589/">Guillermo del Toro’s Pinocchio</a>, released by Netflix. As one of the most acclaimed modern auteurs – and one who has <a href="https://www.avclub.com/guillermo-del-toro-is-going-all-in-on-animation-1850539253">announced his intention to stick with animation</a> as his preferred medium – his acceptance speech reads like a plea directly to the academy. <figure><iframe src="https://www.youtube.com/embed/shW9i6k8cB0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Animated films at the Oscars</h2> The Oscars have had a storied history of engaging with animated cinema. Since 2002, they have awarded a Best Animated Feature award, first won by Shrek. This was a time of technological innovations for 3D animation (think Toy Story or A Bug’s Life), and of standout A-list voice performances (Robin Williams in Aladdin, or Shrek’s star-studded cast). By including animated films as a standalone category, the Oscars ended up segregating them: animation was treated as its own thing. Beauty and the Beast broke ground as the first-ever animated nominee for the Best Picture Oscar in 1992, but only two films have achieved such a feat since. <figure><iframe src="https://www.youtube.com/embed/iurbZwxKFUE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Up (2009) and Toy Story 3 (2010) were Best Picture Oscar nominees (and Best Animated Feature winners) of their respective years. However, such recognition only came after the academy expanded its Best Picture category from five nominees to up to 10. This was a concerted effort to include more popular films in the Oscars due to waning audience interest, after Best Picture snubs of The Dark Knight and WALL-E. If animated films have had difficulty breaking into the Oscars’ vision of a Best Picture, then voice talent has been outright bypassed for consideration in acting categories. Since Shrek, stars have increasingly taken on voice work for animated projects in ways that elevates them from a side-hustle to key parts of their CVs. For instance, <a href="https://www.youtube.com/watch?v=5L1iX5JiuwI">Chris Pratt</a> and <a href="https://www.vogue.com/article/anya-taylor-joy-princess-peach-super-mario-premiere">Anya Taylor-Joy</a>’s promotional duties for The Super Mario Bros. Movie represent significant time and stardom investments for the sake of animated intellectual property. Yet without the physical body to observe, the Oscars have ignored voice work in animated films. The most meaningful push to have a voice performance nominated was for Scarlett Johansson’s in Her where she played a computer operating system. Johansson’s performance was nuanced, played with chemistry against her co-stars, and, ironically, Her was not an animated film. <figure><iframe src="https://www.youtube.com/embed/dJTU48_yghs?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Are things changing?</h2> The <a href="https://theconversation.com/winning-everything-everywhere-all-at-once-5-experts-on-the-big-moments-at-the-oscars-2023-201661">Oscars this year</a> shifted their brand of “prestige” to value the “cinematic experience” (and box office money) in the age of streaming. The sweep of Everything Everywhere All at Once and Best Picture nominations for Top Gun: Maverick and Avatar: The Way of Water in 2023 signal the academy conspicuously praising populist fare for bringing audiences into the physical cinema. This then hopefully attracts <a href="https://variety.com/2023/tv/news/2023-oscar-ratings-academy-awards-audience-1235550070/">more audience eyeballs to an Oscars telecast</a> where they are likely to have actually seen some of the nominees. Popular film’s infiltration of the Oscars even seeped into the acting categories. Everything Everywhere All At Once’s indie cred made nominations (and three eventual wins) for its stars logical and welcome, but even Black Panther: Wakanda Forever’s Angela Bassett scored a Best Supporting Actress nomination, the first acting recognition for the Marvel Cinematic Universe. Its online fandom was instrumental here, having opined the academy’s biases against their beloved franchise. Now, Spider-Man: Across the Spider-Verse has arrived ahead of the 2024 Oscars race. The animated film boasts a star-studded cast, including past Oscar nominees and winners like Daniel Kaluuya and Hailee Steinfeld in key supporting roles. Shameik Moore’s lead vocal performance as Miles Morales is also exceptional. Still figuring out what it means to balance being Spider-Man with a complicated home and social life, he sounds remarkably recognisable as a modern teenager. <figure><iframe src="https://www.youtube.com/embed/cqGjhVJWtEg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Credit for this extends to a snappy script and intricate editing that bounces through its complex multiverse setting and superhero super-stakes to focus on moving character development. Thematically, it reflects on the artistic value of the superhero genre, unpacking the Spider-Man lore across its many iterations. And, of course, the visual artistry on display is mind-blowing, truly pushing cinematic excess in ways that only animation (currently) can. Spider-Man: Across the Spider-Verse is the kind of popular cinema that the academy is currently primed to take more seriously. It’s on track to become one of the year’s box office successes, serves a dedicated fandom, showcases a stacked cast and dynamically plays with genre and narrative conventions. As part two of a trilogy, it is unlikely to take out the Best Picture race altogether (Beyond the Spider-Verse, coming in 2024, is the more likely candidate if it sticks the landing). But it is still well-positioned to break through the confines of the Best Animated Feature category.<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/207716/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/robert-boucaut-1215760">Robert Boucaut</a>, PhD Candidate & Tutor, Media Department, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/are-the-oscars-going-to-take-animated-films-more-seriously-207716">original article</a>. Images: Sony Pictures Animation

Movies

“It means the world to me”: Harrison Ford’s emotional take on final Indiana Jones film

Harrison Ford, the actor best known as the face and heart of some of Hollywood’s most iconic characters, has opened up about his final appearance as Indiana Jones. In an interview with BBC Radio 1 with his Indiana Jones and the Dial of Destiny co-star Phoebe Waller-Bridge about their upcoming film, the 80-year-old actor confessed that his time spent as Jones, and the love of his fans all around the world, means everything to him. Ford has been portraying Jones since 1981, when the series' first film, Indiana Jones and the Raiders of the Lost Ark, was released. And while they all might hold a special place in his heart, it’s his fifth and final film - set to release June 2023 - as Jones that has resonated with him. As he told host Ali Plumb, “I think the thing that I most admire about them is the depth and subtlety of the emotion, and the importance of emotion in these films. “As this last one concerns age and frailty and [the] changing nature of life, it was especially compelling to me, because I am of that age and I wanted it to feel real for the audience. “I wanted them to see the complexity of that experience with someone they've spent 40 years with.” Plumb then took the opportunity to tell an emotional Ford that “it’s been such an adventure”, and thanked him on behalf of fans all over for everything he’d put into the character and his various adventures. “We love you so much,” he added. “I don’t want to make you blush or anything, but you mean the world to us and thank you.” Ford appeared moved by the sentiment, but gathered himself to offer his own sincere thanks to his supporters, before sharing that “it means the world to me.” It isn’t the first time that Ford has addressed his final venture in Jones’ hat - though it’s the first not to be directed by Steven Spielberg - or what it means to him, with the star previously having shared with Told Film that he had been “able to deliver amazing films developed by Steven and George [Lucas] over a 40-year period. “And to end it not with a whimper, but a bang, has been my greatest ambition for this excursion.” Images: BBC Radio 1 / Youtube

Movies

The most beloved grandparents in film

Grandparents – they’re wise, loving and occasionally grumpy. They also make some of the best characters in films. So grab the popcorn, gather the grandkids and show them how amazing grandparents are! Queen Clarisse Renaldi in The Princess Diaries Played by the graceful Julie Andrew, the ruler of the fictional country Genovia needs to teach her granddaughter and heir Mia (Anne Hathaway) how to be Queen. It’s the growing relationship – from heated arguments to acceptance and understanding – between the two that makes this movie. Aurora Greenway in Terms of Endearment In possibly the best movie made about the mother-daughter relationship, Oscar-winning Shirley MacLaine plays the mother who puts years of hostility behind her to care for terminally ill daughter Emma (Debra Winger). However, it’s her role as a grandparent that brings her ultimate redemption becoming the guardian to her three grandchildren. Warning: tissues are a must in this film. Grandma Annie in The Proposal Although she has no grandchildren, Betty White always plays the most hilarious nanas. Grandma Annie’s 90th birthday party is the big event where the romance between Sandra Bullock and Ryan Reynolds finally comes to fruition. Even 60 years into her career, Betty White’s comical facial expressions will still make you laugh. Grandpa Joe in Willy Wonka and the Chocolate Factory The bedridden grandfather decides to take his first steps into the outside world for his beloved grandson Charlie. The grandfather and grandson together experience a fantastical adventure of a life time, a trip to Willy Wonka’s Chocolate Factory. The Grandfather in The Princess Bride The anonymous grandfather played by Peter Falk entertains his sick grandson (Fred Savage) with a good-old fashioned adventure story. Although reluctant at first, the grandson is soon just as caught up as we are about the tale of the masked man saving the beautiful princess. Carl Fredricksen in Up Although not technically a grandfather, the animated story of a grumpy 78-year old man who forms an unlikely friendship with 8-year-old wilderness explorer Russell is a beautiful story of the generations’ comings together. Because of Russell, Carl learns to live again, something he never thought possible after the death of his wife many years ago. Images: Wolper Pictures

Movies

How Jurassic Park changed film-making and our view of dinosaurs

<a href="https://theconversation.com/profiles/travis-holland-299087">Travis Holland</a>, <a href="https://theconversation.com/institutions/charles-sturt-university-849">Charles Sturt University</a> In June 1993, director Steven Spielberg released a film that unleashed a wave of technological change in film-making and simultaneously helped to revive popular interest in dinosaurs. Jurassic Park, based on Michael Crichton’s novel, spawned five blockbuster sequels as well as a multitude of spin-off games, toys, novels, and multiple animated television shows. It features a theme park housing de-extincted dinosaurs that break out of their confines and cause havoc. Underpinning the plot is clever genetic engineering that has allowed the Park’s scientists to assume they could control all aspects of the dinosaurs’ development, including their sex, much to their later horror when it becomes apparent such control was never possible. The film franchise has taken an average of over $1 billion dollars at the box office, <a href="https://variety.com/2022/film/box-office/jurassic-world-dominion-box-office-billion-1235380452/">according to Variety</a>. <figure><iframe src="https://www.youtube.com/embed/QWBKEmWWL38?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>From puppets to CGI</h2> According to industry legend and <a href="https://www.imdb.com/title/tt20102096/?ref_=ttep_ep6">multiple documentaries</a>, Spielberg had planned to use only practical effects, including stop-motion Velociraptors and an animatronic Tyrannosaurus Rex. However, well into the filming schedule, he was convinced to also include wholly digital dinosaurs after viewing test footage produced by staff at special effects house Industrial Light & Magic. In <a href="https://utpress.utexas.edu/9781477325308/">a critical history</a> of Industrial Light & Magic, Julie Turnock observes that the film “relied on a canny mix of large-scale mechanical effects cut together with a few digitally generated shots”. After its success, ILM embraced digital composition technology more fully and integrated it into many later films. As it stands, Jurassic Park features about 50 shots of digital-only prehistoric creatures, including the first full-body scene of a dinosaur – the sauropod Brachiosaurus - flocking Gallimumus, and the T. rex chasing a Jeep. Industrial Light & Magic <a href="https://www.ilm.com/vfx/jurassic-park/">now claims on their website</a> that “Suddenly, directors could imagine making films in which realistic animals, fantasy creatures, even digital people could perform without restraint.” Nowadays, films and television productions are replete with photoreal computer-generated animals and people and the next revolution in screen production has them projected live behind actors on a series of large screens known as “<a href="https://theasc.com/articles/the-mandalorian">the volume</a>”. <figure><iframe src="https://www.youtube.com/embed/BPUEqvfQuHY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Palaeontologists aren’t extinct</h2> Shortly after seeing their first dinosaur, on-screen palaeontologist Alan Grant (Sam Neill) suggests to his palaeobotanist partner Ellie Sattler (Laura Dern) that the de-extinction success of Jurassic Park might make their profession redundant. Their colleague Ian Malcolm (Jeff Goldblum) responds, “Don’t you mean extinct?” But far from extinction, palaeontology and associated sciences have seen an extensive rebound in public interest in the thirty years since Jurassic Park was released. In 1975, palaeontologist Robert Bakker <a href="https://www.jstor.org/stable/pdf/24949774.pdf?casa_token=s5us3t_9TrQAAAAA:hxfVrmS11FACTHHYosZSqQMLDJRWJZTE3a4ggr7kIFauNoIvT8WjUJaZ5hxrKkFNqMcn3-68yiuLlH1tWU7k4o--xCDBpQwYPv4tXjF8KTIU8kpHo0vS">popularised the term “dinosaur renaissance”</a> to describe a spate of developing research findings which argued the creatures were endothermic (warm-blooded), active, and related to the birds rather than cold-blooded, slow and wholly extinct as had been the public perception for much of the previous century. This renaissance lasted from about the 1960s into the 1980s and Jurassic Park reflected many of these new orthodoxies. Bakker himself consulted for the film and was referenced by the character Tim Murphy. A Bakker lookalike also appeared in the sequel The Lost World, further reinforcing its role in reflecting these new perspectives. But the film also arrived at the dawn of yet another new age of dinosaur discoveries which Steve Brusatte, in his 2018 book <a href="https://www.panmacmillan.com.au/9781760780524/">The Rise and Fall of the Dinosaurs</a>, described as “the golden age of discovery”. Brusatte referred to the cohort of scientists making these newer discoveries as “men and women from many backgrounds who came of age in the era of Jurassic Park.” Among their findings are new understandings that many dinosaurs were feathered like their modern avian cousins. Elizabeth Jones recently chronicled the history of the field of “<a href="https://yalebooks.yale.edu/book/9780300240122/ancient-dna/">ancient DNA</a>” science, noting the “Jurassic Park effect” playing out on this fascinating area of research: <blockquote> Even as scientists rejected the conclusions or the implications of the Jurassic Park narrative, they drew on the popularity of the book and movie to emphasise the importance of the technical enterprise in which they were engaged. </blockquote> And <a href="https://cdnsciencepub.com/doi/pdf/10.1139/cjes-2022-0131">a recent review</a> of the last 60 years of dinosaur research by celebrated palaeontologist Philip J. Currie suggested “public interest continues to be stimulated by a multibillion-dollar movie, media, and toy industry founded on our interest in dinosaurs.” <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=338&fit=crop&dpr=1 600w, https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=338&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=338&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=424&fit=crop&dpr=1 754w, https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=424&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/530243/original/file-20230606-27-8gx3lo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=424&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>A scene from Jurassic Park (1993) IMDB</figcaption></figure> <h2>The Jurassic Park legacy</h2> Dinosaurs have long featured in popular media such as films and television. The first animated dinosaur, Gertie, debuted as <a href="https://palaeomedia.blogs.bristol.ac.uk/2019/07/24/meet-gertie-the-dinosaurus/">part of a vaudeville performance in 1914</a>. Dinosaurs, including a fearsome Tyrannosaurus featured in Disney’s groundbreaking and famed 1940 film Fantasia. But it was Jurassic Park which truly presented them as believable living creatures for the first time. Though the science of the film has <a href="https://www.theguardian.com/science/2009/feb/08/jurassic-park-dinosaur-inaccuracies">been widely criticised</a> since its release, Jurassic Park succeeded in revolutionising film-making and reigniting a public fascination with dinosaurs even as palaeontology itself underwent a boom in new research efforts. In <a href="https://www.penguin.co.uk/books/457392/did-i-ever-tell-you-this-by-neill-sam/9780241648988">his recent memoir</a>, actor Sam Neill described the film’s visuals as “a perfect collision of coming-of-age computer generated imagery… with state of the art puppetry”. <figure><iframe src="https://www.youtube.com/embed/fb5ELWi-ekk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The sequels sequels and spin-offs have continued to adapt to changing social expectations, featuring <a href="https://theconversation.com/toss-aside-those-high-heels-how-jurassic-worlds-claire-dearing-lights-a-path-for-women-in-action-films-182334">strong female</a> and <a href="https://www.pride.com/geek/2022/7/21/jurassic-world-camp-cretaceous-goes-out-queer-roar">queer characters</a>, and even <a href="https://www.wired.co.uk/article/jurassic-world-dominion-dinosaur-feathers">feathered dinosaurs</a> in response to changing scientific understandings. Perhaps the next Jurassic film will feature a full-lipped <a href="https://www-science-org.ezproxy.csu.edu.au/content/article/t-rex-lips-new-study-suggests">Tyrannosaurus</a>?<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/203147/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/travis-holland-299087">Travis Holland</a>, Senior Lecturer in Communication, <a href="https://theconversation.com/institutions/charles-sturt-university-849">Charles Sturt University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-jurassic-park-changed-film-making-and-our-view-of-dinosaurs-203147">original article</a>. Images: Universal Pictures

Movies

8 fictional places you can visit in real life

Step into the world of your favourite book, movie or TV show with a visit to these fictional locations that represented the original. Hogwarts, Harry Potter You won’t see anyone playing Quidditch on the lawns, but Alnwick Castle in Northumberland in the UK played Hogwarts in the first two Harry Potter films (with a little digital trickery thrown in). The castle has been the home of the Dukes of Northumberland for more than 700 years and is in high demand with film and TV crews – it also stars in the Downton Abbey Christmas specials. Jurassic Park The lush jungle foliage and towering waterfalls of the island of Kauai in Hawaii served as the backdrop for Stephen Spielberg’s rampaging dinosaurs in all three Jurassic Park movies. You can rent a four-wheel drive and travel through the national park where the movie was filmed though, sadly, none of the dinosaurs remained behind after shooting wrapped. West Egg, The Great Gatsby F Scott Fitzgerald modelled West Egg on Great Neck in Long Island, New York. This area on the north coast of Long Island was known as the Gold Coast because of the huge mansions, polo fields, golf courses and country clubs built there by America’s super wealthy (think Vanderbilt, Astor or Guggenheim). The very grand Oheka Castle in nearby Huntington partly inspired Gatsby’s house. Amity Island, Jaws Don’t go in the water! The beach on Amity Island was the setting for the first scene in the classic 1970s horror movie, Jaws. As well as looking the part of the perfect American seaside resort, the shallow water of the bay made it easier for the crew to operate the mechanical sharks. Hundred Acre Wood, Winnie the Pooh Just over an hour from London you can walk in the footsteps of Winnie the Pooh and Christopher Robin through Ashdown Forest. There’s only about 25 square kilometres of wooded area left from what was once a mighty forest, but it is still quintessentially English and one could almost expect Pooh, Tigger and Piglet to come bounding around a shady corner. Greenbow, Forrest Gump Life is like a box of chocolates in Varnville, South Carolina, which served as the fictional town of Greenbow in the Oscar winning movie Forrest Gump. The old Southern mansion that Forrest and his mamma lived in was a fake however, built just for production (and torn down right after), and even some of the Vietnam War scenes were shot around Varnville. Thank goodness for special effects. King’s Landing, Game of Thrones The historic Maltese capital of Mdina played the part of Kings Landing in the first series of Game of Thrones. The medieval walled city is in the centre of the island and has a population of just 300 – many of whom weren’t happy about the series. Maltese officials complained about the damage done and filming moved to Croatia for the following series. Hobbiton, The Lord of the Rings The three Lord of the Rings movies were such a smash hit that the village of Hobbiton was completely rebuilt in the original film location near Matamata in the North Island of New Zealand. You can step inside the tiny hobbit holes, visit the Green Dragon Inn and (of course) buy a souvenir at the gift shop. Images: Getty

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6 modern-classic movies everyone needs to see

There's never a bad time to dive back into the archives and watch some good movies. With that in mind, here we’ve rounded up six essential modern-classic movies from the past 15 years that everyone needs to see. Scroll through the gallery above for images. 1. Donnie Darko (2001) Jake Gyllenhaal plays a troubled teen that is tormented by visions of the future and a disturbing-looking bunny. Donnie Darko has become a cult classic, as it captured the angst of the youth who at the time the movie was in theatres were coping with the confusion of a post-9/11 world. 2. Bowling For Columbine (2002) Michael Moore's fourth feature film, which won an Oscar for best documentary, might be his best. The controversial director uses the events of the Columbine High School massacre to address the US' addiction to guns. Sadly, years later the issues explored in this movie are still relevant. 3. Ratatouille (2007) Ratatouille tells a compelling story through animation that isn't just for kids. Set in the posh Paris cooking world, Ratatouille follows a rat who fancies himself a chef. The movie could have been a disaster, but instead it showed that stories with lots of layers could be told well through cartoons and computer graphics. 4. There Will Be Blood (2007) Paul Thomas Anderson delivers a film that is epic in so many ways, including its story, its music, and its photography. Daniel Day-Lewis delivers a performance that withstands the test of time as a maniacal oil baron. 5. Zodiac (2007) David Fincher, who is known for his attraction to dark material, was perfect for bringing the story of the Zodiac Killer to the big screen. Jake Gyllenhaal plays a cartoonist for a newspaper who becomes obsessed with the case and takes over the detective work when the cops dry up on leads. Perhaps the best trick Fincher pulls off is building constant suspense so that, by the end, anyone could be the Zodiac. 6. WALL-E (2008) Arguably Pixar's greatest work, WALL-E explores so many different issues that you can watch it a dozen times and enjoy focusing on each one. From a love story to commentaries on obesity and climate change, the movie is much more than the mere travels of a lovable robot (but that part is great, too). Written by Jason Guerrasio. First appeared on <a href="../%20http:/www.stuff.co.nz/" target="_blank" rel="noopener">Stuff.co.nz.</a> Images: Getty

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