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Fitness influencer gets lifetime ban from NYC marathon for filming content

<p>A Texas social media influencer has been disqualified and banned from future races at the New York City marathon. </p> <p>Last weekend, fitness influencer Matthew Choi ran the race with his camera crew on e-bikes, endangering other runners. </p> <p>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.</p> <p>Choi issued an apology to his 400,000 followers after receiving the lifetime ban. </p> <p>"I have no excuses, full-stop," he said on Wednesday AEDT. </p> <p>"I was selfish on Sunday to have my brother and my videographer follow me around on e-bikes, and it had serious consequences.</p> <p>"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.</p> <p>"And for anyone I impacted, I'm sorry."</p> <p>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. </p> <p>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. </p> <p>"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.</p> <p>The fitness influencer posted several videos of him running the marathon on social media, which immediately drew backlash. </p> <p>"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.</p> <p>He has since acknowledged the criticism and has vowed to stop the practice. </p> <p>"It won't happen again. My word is my bond."</p> <p><em>Images: Instagram</em></p> <p> </p>

Travel Trouble

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Calories and kilojoules: how do we know the energy content of food, and how accurate are the labels?

<p><em><a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a>; <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a>, and <a href="https://theconversation.com/profiles/katelyn-barnes-1238606">Katelyn Barnes</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p>Everything we consume contains energy our bodies use to move, grow and maintain health. To work out how much energy is in different foods and drinks, we need to first look at a few core concepts.</p> <p>Firstly, you’ve probably heard of the units of measurement for energy – calories – as well as the metric equivalent, which is joules. One calorie is defined as the amount of energy required to raise the temperature of 1 gram of water by 1℃.</p> <p>In human nutrition, the amounts of energy needed to maintain health, and to fuel a body, are much larger than the tiny singular calories used to heat up a gram of water. So, the term “calorie” in nutrition commonly refers to a <a href="https://www.sciencedirect.com/science/article/pii/S0022316622085546">kilocalorie</a> (or kcal), which is 1,000 calories. When you see the word “calories” on a nutrition label, it’s likely referring to kcals.</p> <p>The energy stored in food and drinks is released when the body breaks down one or more of the four macronutrients inside the food (carbohydrates, proteins, fats, alcohol). The body then uses that energy for activities such as keeping our heart beating, our lungs breathing and our muscles moving.</p> <p>When energy in food is estimated, it is the amount of energy food and drinks provide for these bodily processes. The four macronutrients provide <a href="https://www.sciencedirect.com/science/article/pii/S0002916522039454">different amounts of energy</a>:</p> <ol> <li>1 gram of carbohydrate provides about 4 kcal of energy</li> <li>1 gram of fat provides about 9 kcal of energy</li> <li>1 gram of protein provides about 4 kcal of energy</li> <li>1 gram of alcohol provides about 7 kcal of energy.</li> </ol> <h2>How are calories estimated?</h2> <p>There are two ways to estimate the amount of energy in food and drinks.</p> <p>The first is called “bomb calorimetry”. This gold-standard method involves placing a small sample of food or drink inside a device known as a bomb calorimeter. The food is burned in the presence of oxygen, releasing heat.</p> <p>The amount of heat released is directly related to the amount of energy in the food, allowing a calculation to be made. This method is most commonly used for foods rich in fats and is considered the most reliable (but expensive) method.</p> <p>The second method, the Atwater system, is a much less expensive method for estimating energy content. It is more commonly used when calculating energy of most food and drinks sold in supermarkets. Named after legendary food researcher <a href="https://www.sciencedirect.com/science/article/pii/S0022316622065336">Wilbur Atwater</a>, this system uses a standard conversion factor for each macronutrient found in food and drinks. By estimating the amount of each of the four macronutrients, an approximate calculation of the total energy can be made.</p> <p>However, this method requires detailed knowledge of the ingredients within composite foods (such as muesli bars or hamburgers) – which may reduce accuracy. There is also a margin of error to expect with the Atwater system, because it assumes each ingredient is always the same in composition.</p> <p>For example, a cup of oats grown in one part of the country won’t necessarily have the exact same nutritional content as another cup of oats grown elsewhere, due to climate and soil differences. So, this system is an estimation based on an average.</p> <p>Importantly, both methods estimate the amount of energy <em>in</em> food and drinks. But the actual energy our bodies extract from these foods and drinks can vary due to factors such as individual differences in digestion and absorption, as well as food processing and cooking methods.</p> <h2>Why do foods have calories written on them?</h2> <p>In Australia, it’s a <a href="https://www.foodstandards.gov.au/consumer/labelling/panels/Pages/default.aspx">legal requirement</a> for packaged food items to have a nutrition information panel that displays the number of kcal it contains.</p> <p>However, homemade food items sold at places like a fresh market may not be required to provide a nutrition information panel. This will depend on the type of food being sold and the scale of the business operation.</p> <p>Fresh foods such as fruit, vegetables and meat also don’t require a nutrition information panel. To find out the number of kcal in them, you can either run an experiment with a bomb calorimeter or look up an estimated value in an online nutrition database.</p> <p>Food composition databases such as <a href="https://www.calorieking.com/us/en/">CalorieKing</a> compile information about the energy and nutrient content of various foods. Dietitians and other health professionals often use these databases to estimate the energy content of foods to inform dietary recommendations.</p> <h2>Different international standards</h2> <p>Both kJ and kcal refer to energy – they are just two different units of measurements (such as how inches and centimetres are two different units for measuring length). Kilojoules (kJ) is part of the International System of Units (SI).</p> <p>Australia, New Zealand and some parts of Europe use kJ. The United States and the United Kingdom use kcal. To convert between calories and kilojoules you use the conversion factors:</p> <ul> <li>1 kcal = 4.184 kJ</li> <li>1 kJ = 0.24 kcal (about ¼).</li> </ul> <p>For example, if you have a packet of chips with an energy content of 200 kcal, you can convert it to kJ as follows: 200 kcal × 4.184 = 836.8 kJ.</p> <p>As for how many calories are acceptable to eat, the Australian Guidelines for Healthy Eating estimate the average adult requires about 7,000kJ or 1,670Kcal every day. However, differences in age, gender, size, health and physical activity will influence how much energy a person needs.</p> <p>To estimate your personal energy requirements, you can use this <a href="https://www.eatforhealth.gov.au/nutrient-reference-values/nutrients-dietary-energy-calculator#results-energy">nutrients and dietary energy calculator</a>.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/211613/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em><a href="https://theconversation.com/profiles/lauren-ball-14718">Lauren Ball</a>, Professor of Community Health and Wellbeing, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a>; <a href="https://theconversation.com/profiles/emily-burch-438717">Emily Burch</a>, Dietitian, Researcher &amp; Lecturer, <a href="https://theconversation.com/institutions/southern-cross-university-1160">Southern Cross University</a>, and <a href="https://theconversation.com/profiles/katelyn-barnes-1238606">Katelyn Barnes</a>, Postdoctoral Research Fellow, School of Human Movement and Nutrition Sciences, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/calories-and-kilojoules-how-do-we-know-the-energy-content-of-food-and-how-accurate-are-the-labels-211613">original article</a>.</em></p>

Food & Wine

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"Totally absurd": Ben Fordham rages over Shakespeare content warning

<p>Hold on to your quills, folks, because we've got ourselves a Shakespearean drama fit for the 21st century! It appears that the Bard's timeless works are now under fire at an international university, and our dear radio host, Ben Fordham, is not amused.</p> <p>The talk radio host is taking on an English degree's "content warning" that has been applied to none other than William Shakespeare. That's right: The great bard of yore now comes with a caution label.</p> <p>The University of Wales Trinity Saint David has allowed students studying "Error and Sweet Violence: Shakespeare and Renaissance Comedy and Tragedy" to exit stage left – much like Shakespearean characters fleeing their woes – if the content ever gets too spicy or confrontational.</p> <p>Any student, at any time, is permitted “to leave the class, interrupt their activity or take any measure necessary to take care of their wellbeing without the need for explanation or justification”. </p> <p>And what content in particular are they worried about? The saucy romantic comedy "Twelfth Night", featuring a cross-dressing heroine and more mistaken identities than a masked ball gone wrong. Othello, Measure For Measure, and Coriolanus also make the list of potential "trigger warnings".</p> <p>Fordham couldn't resist taking to the airwaves to voice his disbelief. "So Shakespeare is now the subject of a trigger warning," he proclaimed with a clear mix of humour and disbelief. <span style="color: #343541; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, 'Segoe UI', Roboto, Ubuntu, Cantarell, 'Noto Sans', sans-serif, 'Helvetica Neue', Arial, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; white-space-collapse: preserve;">“You can just walk out of class, because university bosses are worried that some snowflakes may find the material too much. </span><span style="color: #343541; font-family: Söhne, ui-sans-serif, system-ui, -apple-system, 'Segoe UI', Roboto, Ubuntu, Cantarell, 'Noto Sans', sans-serif, 'Helvetica Neue', Arial, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; white-space-collapse: preserve;">Once upon a time universities challenged students and now they wrap them in cotton wool.”</span></p> <p>In the land of Twelfth Night, Viola dons a disguise to woo the Duke Orsino, but alas, love plays its twisted game, and Olivia falls for the cross-dressing charmer instead. How scandalous! It's like the plot of a Hollywood rom-com but with more ruffles and poetic monologues.</p> <p>“The play features a cross-dressing heroine and in 2023 you would think that wouldn’t raise an eyebrow,” continued Fordham. “But someone wants to protect the students from Shakespeare. Can you believe it?”</p> <p>Also joining the fray was English actress Felicity Kendal, who described the warning as “totally absurd”.</p> <p>“Great art is meant to challenge our senses, our feelings and our prejudices," Kendal said in an interview with the Daily Mail. "We should not be deterring students from engaging with these works."</p> <p><em>Images: Nine Network / Wikimedia Commons</em></p>

Legal

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Feed me: 4 ways to take control of social media algorithms and get the content you actually want

<p><em><a href="https://theconversation.com/profiles/marc-cheong-998488">Marc Cheong</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></p> <p>Whether it’s Facebook’s News Feed or TikTok’s For You page, social media algorithms are constantly making behind-the-scenes decisions to boost certain content – giving rise to the “curated” feeds we’ve all become accustomed to.</p> <p>But does anyone actually know how these algorithms work? And, more importantly, is there a way to “game” them to see more of the content you want?</p> <h2>Optimising for engagement</h2> <p>In broader computing terms, an algorithm is simply a set of rules that specifies a particular computational procedure.</p> <p>In a social media context, algorithms (specifically “recommender algorithms”) determine everything from what you’re likely to read, to whom you’re likely to follow, to whether a specific post appears in front of you.</p> <p>Their main goal is to <a href="https://arxiv.org/abs/2304.14679">sustain your attention</a> for as long as possible, in a process called “optimising for engagement”. The more you engage with content on a platform, the more effectively that platform can commodify your attention and target you with ads: its main revenue source.</p> <p>One of the earliest social media <a href="https://mashable.com/archive/facebook-news-feed-evolution">feed algorithms</a> came from Facebook in the mid-2000s. It can be summarised in one sentence "Sort all of the user’s friend updates – including photos, statuses and more – in reverse chronological order (newer posts first)."</p> <p>Since then, algorithms have become much more powerful and nuanced. They now take myriad factors into consideration to determine how content is promoted. For instance, Twitter’s “For You” recommendation algorithm is based on a neural network that uses <a href="https://blog.twitter.com/engineering/en_us/topics/open-source/2023/twitter-recommendation-algorithm">about 48 million parameters</a>!</p> <h2>A black box</h2> <p>Imagine a hypothetical user named Basil who follows users and pages that primarily discuss <em>space</em>, <em>dog memes</em> and <em>cooking</em>. Social media algorithms might give Basil recommendations for T-shirts featuring puppies dressed as astronauts.</p> <p>Although this might seem simple, algorithms are typically “black boxes” that have their inner workings hidden. It’s in the interests of tech companies to keep the recipe for their “secret sauce”, well, a secret.</p> <p>Trying to “game” an algorithm is like trying to solve a 3D box puzzle without any instructions and without being able to peer inside. You can only use trial-and-error – manipulating the pieces you see on the outside, and gauging the effects on the overall state of the box.</p> <figure class="align-center zoomable"><em><a href="https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=400&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/525271/original/file-20230510-27-qte7k8.jpeg?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=503&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a></em><figcaption><em><span class="caption">Manipulating social media algorithms isn’t impossible, but it’s still tricky due to how opaque they are.</span> <span class="attribution"><span class="source">Shutterstock</span></span></em></figcaption></figure> <p>Even when an algorithm’s code is revealed to the public – such as <a href="https://blog.twitter.com/en_us/topics/company/2023/a-new-era-of-transparency-for-twitter">when Twitter released</a> the source code for its recommender algorithm in March – it’s not enough to bend them to one’s will.</p> <p>Between the sheer complexity of the code, constant tweaks by developers, and the presence of arbitrary design choices (such as <a href="https://mashable.com/article/twitter-releases-algorithm-showing-it-tracks-elon-musk-tweets">explicitly tracking</a> Elon Musk’s tweets), any claims of being able to perfectly “game” an algorithm should be taken with a pinch of salt.</p> <p>TikTok’s algorithm, in particular, is notoriously powerful yet opaque. A Wall Street Journal investigation found it uses “subtle cues, such as how long you linger on a video” to predict what you’re <a href="https://www.wsj.com/articles/tiktok-algorithm-video-investigation-11626877477">likely to engage with</a>.</p> <h2>So what <em>can</em> you do?</h2> <p>That said, there are some ways you can try to curate your social media to serve you better.</p> <p>Since algorithms are powered by your data and social media habits, a good first step is to change these habits and data – or at least understand how they may be shaping your online experience.</p> <h1>1. Engage with content you trust and want more of</h1> <p>Regardless of the kind of feed you want to create, it’s important to follow reliable sources. Basil, who is fascinated by space, knows they would do well to follow NASA and steer clear of users who believe the Moon is made of cheese.</p> <p>Think critically about the accounts and pages you follow, asking <a href="https://guides.lib.uw.edu/research/faq/reliable">questions such as</a> <em>Who is the author of this content? Do they have authority in this topic? Might they have a bias, or an agenda?</em></p> <p>The higher the quality of the content you engage with, the more likely it is that you’ll be recommended similarly valuable content (rather than fake news or nonsense).</p> <p>Also, you can play to the ethos of “optimising for engagement” by engaging more (and for longer) with the kind of content you want to be recommended. That means liking and sharing it, and actively seeking out similar posts.</p> <h1>2. Be stingy with your information</h1> <p>Secondly, you can be parsimonious in providing your data to platforms. Social media companies know more about you than you think – from your location, to your perceived interests, to your activities outside the app, and even the activities and interests of your social circle!</p> <p>If you limit the information you provide about yourself, you limit the extent to which the algorithm can target you. It helps to keep your different social media accounts unlinked, and to avoid using the “Login with Facebook” or “Login with Google” options when signing up for a new account.</p> <h1>3. Use your settings</h1> <p>Adjusting your <a href="https://www.consumerreports.org/privacy/facebook-privacy-settings-a1775535782/">privacy and personalisation settings</a> will further help you avoid being microtargeted through your feed.</p> <p>The “Off-Facebook Activity” <a href="https://www.kaspersky.com.au/blog/what-is-off-facebook-activity/28925/">setting</a> allows you to break the link between your Facebook account and your activities outside of Facebook. Similar options exist for <a href="https://support.tiktok.com/en/account-and-privacy/account-privacy-settings">TikTok</a> and <a href="https://help.twitter.com/en/resources/how-you-can-control-your-privacy">Twitter</a>.</p> <p>Ad blockers and privacy-enhancing browser add-ons can also help. These tools, such as the open-source <a href="https://ublockorigin.com/">uBlock Origin</a> and <a href="https://privacybadger.org/">Privacy Badger</a>, help prevent cookies and marketing pixels from “following” your browsing habits as you move between social media and other websites.</p> <h1>4. Get (dis)engaged</h1> <p>A final piece of advice is to simply disengage with content you don’t want in your feed. This means:</p> <ul> <li>ignoring any posts you aren’t a fan of, or “hiding” them if possible</li> <li>taking mindful breaks to avoid “<a href="https://theconversation.com/doomscrolling-is-literally-bad-for-your-health-here-are-4-tips-to-help-you-stop-190059">doomscrolling</a>”</li> <li>regularly revising who you follow, and making sure this list coincides with what you want from your feed.</li> </ul> <p>So, hypothetically, could Basil unfollow all users and pages unrelated to <em>space</em>, <em>dog memes</em> and <em>cooking</em> to ultimately starve the recommender algorithm of potential ways to distract them?</p> <p>Well, not exactly. Even if they do this, the algorithm won’t necessarily “forget” all their data: it might still exist in caches or backups. Because of how complex and pervasive algorithms are, you can’t guarantee control over them.</p> <p>Nonetheless, you shouldn’t let tech giants’ bottom line dictate how you engage with social media. By being aware of how algorithms work, what they’re capable of and what their purpose is, you can make the shift from being a sitting duck for advertisers to an active curator of your own feeds.</p> <figure class="align-center "><em><img src="https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=115&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=115&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=115&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=144&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=144&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/498128/original/file-20221129-22-imtnz0.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=144&amp;fit=crop&amp;dpr=3 2262w" alt="" /></em><figcaption></figcaption></figure> <p><em>The Conversation is commissioning articles by academics across the world who are researching how society is being shaped by our digital interactions with each other. <a href="https://theconversation.com/uk/topics/social-media-and-society-125586">Read more here</a><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/204374/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></em></p> <p><em><a href="https://theconversation.com/profiles/marc-cheong-998488">Marc Cheong</a>, Senior Lecturer of Information Systems, School of Computing and Information Systems; and (Honorary) Senior Fellow, Melbourne Law School, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></p> <p><em>Image credits: Getty Images</em></p> <p><em>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/feed-me-4-ways-to-take-control-of-social-media-algorithms-and-get-the-content-you-actually-want-204374">original article</a>.</em></p>

Technology

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“Lunch-box-mum queen”: Woman goes viral over 2 ingredient cake mix

<p dir="ltr">One Coles shopper has taken the internet by storm, revealing a “snack hack” with just two ingredients.</p> <p dir="ltr">Aussie mum-of-three Claudia creates content on TikTok on cheap Kmart buys, a day in the life of her family, and her most popular videos, her “snack hacks”.</p> <p dir="ltr">For her most recent hack, only two ingredients are required.</p> <p dir="ltr">“Snack hack! Again!” she said in the video, which has attracted more than 70,000 views on TikTok.</p> <p dir="ltr">“So, this one, I’m looking forward to.</p> <p dir="ltr">“This is not healthy. This is two ingredients — Nutella and eggs — and it’s supposed to make the gooiest, chocolatiest, yummiest cake ever.</p> <p dir="ltr">“I have not tried this before so let’s get to it.”</p> <p dir="ltr">Claudia didn’t have Nutella in her pantry, but she bought the Coles version, which she claims tastes very similar.</p> <p dir="ltr">“I’m a big believer in using what you have, but a few people said ‘check this out, make this, it’s delicious’ so I just had to,” she continued.</p> <p dir="ltr">“I did go and buy the Coles one, and it was very cheap, and I’m sure a lot of people do have Nutella in their cupboard.”</p> <p dir="ltr">For the snack hack, Claudia used one cup of the chocolate spread and four eggs to create a gooey cake mix.</p> <p dir="ltr">“If ‘trust the process’ had a cover photo, it would be this,” she said, visibly grossed out by the gooey batter.</p> <p dir="ltr">“It is safe to say I won’t be trying any of this cake mix.”</p> <p dir="ltr">Claudia instructed viewers to put the cake in the oven for 20-25 minutes at 180 degrees Celsius.</p> <p dir="ltr">“Do you know how good this smells?” she said as she took the cake tin out of the oven.</p> <p dir="ltr">She was even more excited by the time she tried it. </p> <p dir="ltr">“That is so good. So, so good. Like no exaggeration. So freaking good,” she said.</p> <p dir="ltr">People flooded the comments, applauding Claudia for another great “snack hack”. </p> <p dir="ltr">“I’m soooo trying this,” one person wrote.</p> <p dir="ltr">“Thank you, lunch-box-mum queen,” another added.</p> <p dir="ltr">“I honestly thought it was going to come out looking like chocolate scrambled eggs,” a third said.</p> <p dir="ltr">Claudia is renowned on TikTok for making snacks that are easy on household budgets, so people were grateful she used the cheaper Coles chocolate spread. </p> <p dir="ltr">“The Coles Nutella is just as good in my opinion,” one wrote.</p> <p dir="ltr"><em>Image credit: TikTok</em></p>

Food & Wine

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"Change the law!": Bob Irwin's campaign against social media “idiots"

<p>Bob Irwin is calling for the Queensland government to close a legal loophole that allows social media users to enter crocodile habitats for content.</p> <p>The proposed changes would establish an offence for individuals who recklessly use a crocodile habitat, along with penalties for people who disturb crocodiles to make online content.</p> <p>Mr Irwin, father of the late Steve Irwin, has asked the Environmental Defenders Office to address the issue, calling for them to draw up amendments to the Nature Conservation Act.</p> <p>He said the online content creators were only endangering themselves and the crocs by entering the habitats. These careless individuals are filming content purely for the croc factor.</p> <p>"The government says idiots like these are not breaking any laws. Well, I say, change the law!" He said in a statement. Well, if the snap fits...</p> <p>Over 40 traditional owners, conservationists, scientists, business owners and community members have backed Mr Irwin’s proposed changes.</p> <p>In February 2023, a 4.2 metre croc was shot dead by wildlife officers after it attacked a man and ate a dog in far north Queensland.</p> <p>The man was swimming at Bloomfield River which is a well-known crocodile habitat.</p> <p>Traditional owner Kathleen Walker said the actions of reckless people are giving the otherwise safe communities a bad reputation.</p> <p>"We support the Environmental Defenders Office's recommendations in the name of creating greater protection for our totem animal, the saltwater crocodile, when human error is involved," she said.</p> <p>"We would like to see a no-tolerance approach to members of the public who take the risk in crocodile territory and for greater mitigation measures to be legislated.”</p> <p>These kinds of individuals are in de-Nile if they believe the scaly predators won’t bite.</p> <p>The notorious “crocodile hunter” Steve Irwin once said, “Crocodiles are easy. They try to kill and eat you.” So, these croc-tent creators must leave it to the professionals, no matter how jaw-some the videos turn out to be.</p> <p><em>Image credit: Getty</em></p>

Legal

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Streaming service giant pays woman 5 figures to watch content

<p dir="ltr">If you think you spend too much time on Amazon Prime, think again as one lucky lady has snatched up her “dream” job with the streaming service.</p> <p dir="ltr">The woman, Alex Bain, 36, has been dubbed Prime Video’s “Buff”, and her job entails reviewing content for Amazon Prime, which came after the platform searched nationwide to fill the role of watching new content.</p> <p dir="ltr">Here’s the real kicker, the 36-year-old will be paid $40,000 for three months of viewing new content and sharing her opinions. </p> <p dir="ltr">She is not new to the scene of content review as she frequently posts to her Instagram, TikTok and Youtube reviewing various TV shows and movies.</p> <p dir="ltr">Upon seeing the advertisement from Amazon Prime, one of Bain’s friends encouraged her to apply.</p> <p dir="ltr">“Everything on it, it was like seeing a list of what would be my ideal job,” Ms Bain told NCA <em>NewsWire</em>.</p> <p dir="ltr">“I’m 36, so I want to do something I’m passionate about, so I decided to just go for it.</p> <p dir="ltr">“I got a phone call from Amazon saying I’d been short-listed, and I was like, ‘Oh my God!’”</p> <p dir="ltr">She said the time between applying for the role and being told she was successful went “so quickly”.</p> <p><span id="docs-internal-guid-c71ed23d-7fff-9bd9-8a5d-10ebabd22f11"></span></p> <p dir="ltr">Not long after, she received the news she was the lucky one chosen to fill the role.</p> <p dir="ltr"><em>Image credit: Instagram</em></p>

TV

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Chokepoint Capitalism: why we’ll all lose unless we stop Amazon, Spotify and other platforms squeezing cash from creators

<p>In 2020, the independent authors and small publishers whose audiobooks reach their readers via Audible’s <a href="https://www.acx.com/">ACX platform</a> smelled a rat.</p> <p>Audiobooks were booming, but sales of their own books – produced at great expense and well-reviewed – were plummeting.</p> <p>Some of their royalty statements reported <em>negative</em> sales, as readers returned more books than they bought. This was hard to make sense of, because Audible only reported net sales, refusing to reveal the sales and refunds that made them up.</p> <p>Perth-based writer <a href="https://www.susanmaywriter.net/single-post/audiblegate-the-incredible-story-of-missing-sales">Susan May</a> wondered whether those returns might be the reason for her dwindling net sales. She pressed Audible to tell her how many of her sales were being negated by returns, but the company stonewalled.</p> <p>Then, in October 2020, a glitch caused three weeks of returns data to be reported in a single day, and authors discovered that hundreds (and even thousands) of their sales had been wiped out by returns.</p> <p>Suddenly, the scam came into focus: the Amazon-owned Audible had been offering an extraordinarily generous returns policy, encouraging subscribers to return books they’d had on their devices for months, even if they had listened to them the whole way through, even if they had loved them – no questions asked.</p> <p>Encouraged by the policy, some subscribers had been treating the service like a library – returning books for fresh credits they could swap for new ones. Few would have realised that Audible clawed back the royalties from the book’s authors every time a book was returned.</p> <p><strong>Good for Amazon, bad for authors</strong></p> <p>It was good for Amazon – it helped Audible gain and hold onto subscribers – but bad for the authors and the performers who created the audiobooks, who barely got paid.</p> <p>Understanding Amazon’s motivation helps us understand a phenomenon we call <a href="https://scribepublications.com.au/books-authors/books/chokepoint-capitalism-9781761380075">chokepoint capitalism</a>, a modern plague on creative industries and many other industries too.</p> <p>Orthodox economics tells us not to worry about corporations dominating markets because that will attract competitors, who will put things back in balance.</p> <p>But many of today’s big corporations and billionaire investors have perfected ways to make those supposedly-temporary advantages permanent.</p> <p>Warren Buffett salivates over businesses with “<a href="https://markets.businessinsider.com/news/stocks/warren-buffett-moat-etf-simple-explanation-for-how-he-invests-and-its-easy-to-replicate-2017-10-1005613232">wide, sustainable moats</a>”. Peter Thiel scoffs that “<a href="https://www.wsj.com/articles/peter-thiel-competition-is-for-losers-1410535536">competition is for losers</a>”. Business schools teach students ways to lock in customers and suppliers and eliminate competition, so they can shake down the people who make what they supply and buy what they sell.</p> <p><strong>Locking in customers and creators</strong></p> <p>Amazon is the poster child for chokepoint capitalism. It boasts of its “<a href="https://feedvisor.com/resources/amazon-trends/amazon-flywheel-explained/">flywheel</a>” – a self-described “<a href="https://fourweekmba.com/amazon-flywheel/">virtuous cycle</a>” where its lower cost leads to lower prices and a better customer experience, which leads to more traffic, which leads to more sellers, and a better selection – which further propels the flywheel.</p> <hr /> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=379&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=379&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=379&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=477&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=477&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/494907/original/file-20221111-21-lnbmh1.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=477&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> <hr /> <p>But the way the cycle works isn’t virtuous – it’s vicious and anti-competitive.</p> <p>Amazon openly admits to doing everything it can to lock in its customers. That’s why Audible encourages book returns: its generous offer only applies to ongoing subscribers. Audible wants the money from monthly subscribers and wants the fact that they are subscribed to prevent them from shopping elsewhere.</p> <p>Paying the people who actually made the product it sells a fair share of earnings isn’t Amazon’s priority. Because Amazon founder Jeff Bezos’ famous maxim is “<a href="https://www.marketplacepulse.com/articles/the-cost-of-your-margin-is-my-opportunity">your margin is my opportunity</a>”, the executive who figured out how to make authors foot the bill for retaining subscribers probably got a bonus.</p> <p>Another way Audible locks customers in is by ensuring the books it sells are protected by <a href="https://www.fortinet.com/resources/cyberglossary/digital-rights-management-drm">digital rights management</a> (DRM) which means they are encrypted, and can only be read by software with the decryption key.</p> <p>Amazon claims DRM stops listeners from stealing from creators by pirating their books. But tools to strip away those locks are freely available online, and it’s easy for readers who can’t or won’t pay for books to find illegal versions.</p> <p>While DRM doesn’t prevent infringement, it <em>does</em> prevent competition.</p> <p>Startups that want to challenge Audible’s dominance – including those that would pay fairly – have to persuade potential customers to give up their Audible titles or to inconveniently maintain separate libraries.</p> <p>In this way, laws that were intended to protect against infringement of copyright have become tools to protect against infringement of corporate dominance.</p> <p>Once customers are locked in, suppliers (authors and publishers) are locked in too. It’s incredibly difficult to reach audiobook buyers unless you’re on Audible. When the suppliers are locked in, they can be shaken down for an ever-greater share of what the buyers hand over.</p> <hr /> <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=377&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=377&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=377&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=474&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=474&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/494908/original/file-20221111-16-pua9cp.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=474&amp;fit=crop&amp;dpr=3 2262w" alt="" /></a><figcaption></figcaption></figure> <hr /> <p><strong>How a few big buyers can control whole markets</strong></p> <p>The problem isn’t with middlemen as such: book shops, record labels, book and music publishers, agents and myriad others provide valuable services that help keep creative wheels turning.</p> <p>The problem arises when these middlemen grow powerful enough to bend markets into hourglass shapes, with audiences at one end, masses of creators at the other, and themselves operating as a chokepoint in the middle.</p> <p>Since everyone has to go through them, they’re able to control the terms on which creative goods and services are exchanged - and extract more than their fair share of value.</p> <p>The corporations who create these chokepoints are trying to “monopsonise” their markets. “Monopsony” isn’t a pretty word, but it’s one we are going to have to get familiar with to understand why so many of us are feeling squeezed.</p> <p><a href="https://www.wallstreetmojo.com/monopoly">Monopoly</a> (or near-monopoly) is where there is only one big seller, leaving buyers with few other places to turn. <a href="https://www.wallstreetmojo.com/monopsony/">Monopsony</a> is where there is only one big buyer, leaving sellers with few other places to turn.</p> <p>In our book, we quote William Deresiewicz, a former professor of English at Yale University, who points out in his book <a href="https://www.chicagoreview.org/william-deresiewicz-the-death-of-the-artist/">The Death of the Artist</a> that “if you can only sell your product to a single entity, it’s not your customer; it’s your boss”.</p> <p>Increasingly, it is how the creative industries are structured. There’s Audible for audiobooks, Amazon for physical and digital versions, YouTube for video, Google and Facebook for online news advertising, the <a href="https://www.liveabout.com/big-three-record-labels-2460743">Big Three record labels</a> (who own the big three music publishers) for recorded music, <a href="https://pluralistic.net/2022/09/12/streaming-doesnt-pay/">Spotify</a> for streaming, Live Nation for live music and ticketing – and that’s just the start.</p> <p>But as corporate concentration increases across the board, monopsony is becoming a problem for the rest of us. For a glimpse into what happens to labour markets when buyers become too powerful, just think about how monopsonistic supermarkets bully food manufacturers and farmers.</p> <figure class="align-right "><img src="https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=237&amp;fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=600&amp;h=966&amp;fit=crop&amp;dpr=1 600w, https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=600&amp;h=966&amp;fit=crop&amp;dpr=2 1200w, https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=600&amp;h=966&amp;fit=crop&amp;dpr=3 1800w, https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;h=1214&amp;fit=crop&amp;dpr=1 754w, https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=30&amp;auto=format&amp;w=754&amp;h=1214&amp;fit=crop&amp;dpr=2 1508w, https://images.theconversation.com/files/494912/original/file-20221112-11-u879gw.png?ixlib=rb-1.1.0&amp;q=15&amp;auto=format&amp;w=754&amp;h=1214&amp;fit=crop&amp;dpr=3 2262w" alt="" /><figcaption><span class="attribution"><a class="source" href="https://scribepublications.com.au/books-authors/books/chokepoint-capitalism-9781761380075">Scribe Publications</a></span></figcaption></figure> <p><strong>A fairer deal for consumers and creators</strong></p> <p>The good news is that we don’t have to put up with it.</p> <p><a href="https://scribepublications.com.au/books-authors/books/chokepoint-capitalism-9781761380075">Chokepoint Capitalism</a> isn’t one of those “Chapter 11 books” – ten chapters about how terrible everything is, plus a conclusion with some vague suggestions about what can be done.</p> <p>The whole second half is devoted to detailed proposals for widening these chokepoints out – such as transparency rights, among others.</p> <p>Audible’s sly trick only finally came to light because of the glitch that let authors see the scope of returns.</p> <p>That glitch enabled writers, led by Susan May, to organise a campaign that eventually forced Audible to reform some of its more egregious practices. But we need more light in dark corners.</p> <p>And we need reforms to contract law to level the playing field in negotiations, interoperability rights to prevent lock-in to platforms, copyrights being better secured to creators rather than publishers, and minimum wages for creative work.</p> <p>These and the other things we suggest would do much to empower artists and get them paid. And they would provide inspiration for the increasing rest of us who are supplying our goods or our labour to increasingly powerful corporations that can’t seem to keep their hands out of our pockets.</p> <hr /> <p><em>Chokepoint Capitalism: how big tech and big content captured creative labour markets, and how we’ll win them back is published on <a href="https://scribepublications.com.au/books-authors/books/chokepoint-capitalism-9781761380075">Tuesday November 15</a> by Scribe.</em><!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/194069/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><em>Writen by Rebecca Giblin and Cory Doctorow. Republished with permission from <a href="https://theconversation.com/chokepoint-capitalism-why-well-all-lose-unless-we-stop-amazon-spotify-and-other-platforms-squeezing-cash-from-creators-194069" target="_blank" rel="noopener">The Conversation</a>.</em></p> <p><em>Image: Getty Images</em></p>

Money & Banking

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“How do you write to your Queen?” Helen Mirren reveals contents of special letter

<p>Helen Mirren has revealed the secret letter she wrote to Queen Elizabeth when the actress was playing Her Majesty in the 2006 biopic <em>The Queen</em>. </p> <p>The Hollywood legend reflected on crafting the letter in an interview with the <a href="https://www.radiotimes.com/tv/radio-times-new-issue-cover-helen-mirren/" target="_blank" rel="noopener">Radio Times</a>, saying she felt compelled to write after realising the intensity of the Queen's role firsthand.</p> <p>"I realised we were investigating a profoundly painful part of her life, so I wrote to her," she said. </p> <p>"How do you write to your queen? Was it Madam, or Your Highness, or Your Majesty?"</p> <p>"I said: 'We are doing this film. We are investigating a very difficult time in your life. I hope it's not too awful for you'. I can't remember how I put it. I just said that in my research I found myself with a growing respect for her, and I just wanted to say that."</p> <p>The 76-year-old actress won an Oscar and a Bafta for her portrayal in the film, which is set during the time Princess Diana tragically died. </p> <p>While she never received a response to her letter from the Queen, Mirren said she did receive a letter from the Queen's secretary.</p> <p>Upon opening the response she confessed, "I was very relieved subsequently that I had written that letter."</p> <p>Earlier this year, the actress told <a href="https://www.hollywoodreporter.com/movies/movie-features/helen-mirren-interview-f9-golda-meir-1235097461/" target="_blank" rel="noopener">The Hollywood Reporter</a> that she believes the Queen has watched the biopic.</p> <p>"At the time, it had never been done before, playing the queen. It was quite nerve-racking because I didn't know – no one knew – how the public would receive it, let alone the establishment in Britain," Mirren reflected.</p> <p>"But I got the sense that it had been seen and that it had been appreciated. I've never heard directly, and I never will," she added.</p> <p><em>Image credits: Getty Images</em></p>

Movies

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Vale Stephen Wilhite, the creator of the GIF

<p dir="ltr">Stephen Wilhite, the man who invented the wildly popular GIF, has died aged 74.</p> <p dir="ltr">His wife, Kathleen, broke the news that he died of Covid on March 14.</p> <p dir="ltr">Wilhite created the Graphics Interchange Format (GIF) - an image format with a short, looping video - while working at CompuServe in 1987.</p> <p dir="ltr">“He invented the GIF all by himself - he actually did that at home and brought it into work after he perfected it,” Kathleen told <em><a href="https://www.theverge.com/2022/3/23/22992066/stephen-wilhite-gif-creator-dies" target="_blank" rel="noopener">Verge</a></em>.</p> <p dir="ltr">“He would figure out everything privately in his head and then go to town programming it on the computer.”</p> <p dir="ltr">He was later recognised for his work in 2013 when he was awarded a Webby lifetime achievement.</p> <p><span id="docs-internal-guid-a5373d36-7fff-91ae-017d-d7e2872911b0"></span></p> <p dir="ltr">“I saw the format I wanted in my head and then I started programming,” he told The New York Times that same year, adding that the first image he created was of an airplane.</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/04/01-06-17Avion.gif" alt="" width="400" height="149" /></p> <p dir="ltr"><em>The first GIF created was of an airplane that seemed to move through clouds. Image: <a href="https://thefanatic.net/this-was-the-first-ever-gif/" target="_blank" rel="noopener">TheFanatic.net</a></em></p> <p dir="ltr">The inventor and programmer also ended the debate on how to pronounce the name of his creation once and for all, saying it used a soft ‘g’ sound, like Jif peanut butter.</p> <p dir="ltr">“Those using the hard ‘g’, as in ‘got’ or ‘given’ are wrong,” he said. “End of story.”</p> <p dir="ltr">Kathleen said there was more to her husband than his invention of the GIF, and his love of trains led to him having a room dedicated to them in the basement of their home with “enormous train tracks”.</p> <p dir="ltr">Even after he retired in 2001, she said “he never stopped programming”.</p> <p dir="ltr">According to his <a href="https://www.megiefuneralhome.com/obituaries/Stephen-E.-Wilhite?obId=24311617" target="_blank" rel="noopener">obituary page</a>, he had 11 grandchildren and 3 great-grandchildren and “remained a very humble, kind and good man” even with all his accomplishments.</p> <p dir="ltr"><strong>An unknown icon in internet culture</strong></p> <p dir="ltr">Though Wilhite's name might be unfamiliar to many, his creation certainly isn’t. From an origin as a method of distributing high quality graphics in colour when internet speeds were at a snail’s pace, the GIF has become an useful tool used to communicate in digital spaces.</p> <p dir="ltr"><span id="docs-internal-guid-35eb45d2-7fff-ff93-c0f8-c33ac4146eb0"></span></p> <p dir="ltr">In linguist Gretchen McCulloch’s book, <em><a href="https://gretchenmcculloch.com/book/" target="_blank" rel="noopener">Because Internet</a></em>, she describes how GIF’s are used most frequently now as depictions of people, animals or cartoon characters doing a certain action to represent your own body.</p> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/04/safe_image-1.gif" alt="" width="640" height="572" /></p> <p dir="ltr"><em>Modern-day GIFs are often used to represent us laughing, crying, or gesturing in real life, just like this one in response to one of our memes. Image: Facebook</em></p> <p dir="ltr">Whether that’s commenting on a funny image with a GIF of an animal that’s beside itself in invisible laughter or sharing birthday messages with GIFs of cakes covered in flickering candles, most of us can recall a time we relied on these instead of writing or speaking.</p> <p dir="ltr">She also describes their use as emblems, a linguistic term for nameable gestures like the middle finger, jazz hands, eye rolling, winking, and dropping an invisible microphone, as well as a way to show that we’re actively listening to someone.</p> <p dir="ltr">Social media platforms have even caught onto how we use GIFs to communicate.</p> <p dir="ltr">“When you go to insert a GIF on Twitter, the built-in categories of GIF you’re offered are nameable, stylised gestures… such as applause, eww, eye roll, facepalm, fistbump, goodbye, happy dance hearts, high five (and others),” McCulloch writes.</p> <p><span id="docs-internal-guid-b5dedcec-7fff-2d78-d4df-fe30ad8fae1b"></span></p> <p dir="ltr">“Certain GIFs are so emblematic that they can be invoked by name, without an image file … when you want to convey your excitement in observing other people’s drama, you can send a GIF of Michael Jackson eating popcorn in a darkened movie theatre, eyes avidly glued to the screen, but you can also simply say #popcorngif or *popcorn.gif*.”</p> <p dir="ltr"><img src="https://oversixtydev.blob.core.windows.net/media/2022/04/giphy.gif" alt="" width="420" height="315" /></p> <p dir="ltr"><em>The MJ GIF in question. Image: Giphy.com</em></p> <p dir="ltr">With that in mind, Wilhite’s 35-year-old creation will stay popular as long as we continue to interact with others online in a legacy that many aren’t afforded. </p> <p dir="ltr">Yet Wilhite was more than his creation, and it’s important that we remember his name just as easily as we remember our go-to GIFs.</p> <p dir="ltr"><span id="docs-internal-guid-fe4257ee-7fff-52b3-15fe-147ff01552f8"></span></p> <p dir="ltr"><em>Image: Getty Images</em></p>

Technology

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Harry and Meghan’s $33 million podcast claimed by Spotify after lack of content

<p><span style="font-weight: 400;">The bosses at music streaming giant Spotify have reportedly <a rel="noopener" href="https://honey.nine.com.au/royals/spotify-takes-back-control-of-prince-harry-and-meghan-markle-podcast/d901095a-a9b0-4bf2-870e-7bd6ff9a43c6" target="_blank">taken control</a> of Prince Harry and Meghan Markle’s podcast, taking “matters into their own hands” due to a lack of content from the couple.</span></p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/tv/CI1Kyv2HOmt/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/tv/CI1Kyv2HOmt/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">A post shared by Archewell by Harry and Meghan (@archewell_hm)</a></p> </div> </blockquote> <p><span style="font-weight: 400;">Spotify is currently recruiting in-house staff to work on a show for Harry and Meghan’s Archewell Audio that features “the voices of high profile women”, <em><a rel="noopener" href="https://www.thesun.co.uk/news/17422252/spotify-meghan-markle-prince-harry-podcast/" target="_blank">The </a></em></span><em><a rel="noopener" href="https://www.thesun.co.uk/news/17422252/spotify-meghan-markle-prince-harry-podcast/" target="_blank"><span style="font-weight: 400;">Sun</span></a> </em><span style="font-weight: 400;">reports.</span></p> <p><span style="font-weight: 400;">Despite signing a deal with the streaming company worth an estimated worth of $33 million, the couple have produced just one episode, released as a Christmas special in December 2020.</span></p> <p><span style="font-weight: 400;">In an earlier announcement, Spotify said it was expecting a full-scale launch of content from the former royals during 2021.</span></p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/CK1mDXuFHd3/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" rel="noopener" href="https://www.instagram.com/p/CK1mDXuFHd3/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">A post shared by Archewell Audio Podcast (@archewellaudios)</a></p> </div> </blockquote> <p><span style="font-weight: 400;">With just one 35-minute episode created so far - despite appearances in multiple interviews and other podcasts in 2021 - the couple has been paid around $935,000 per minute.</span></p> <p><span style="font-weight: 400;">“Spotify has been waiting a long time for some content from Harry and Meghan and now it appears they have finally taken matters into their own hands,” a source close to the project told </span><em><span style="font-weight: 400;">The Sun</span></em><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">An advertisement for a senior producer at Gimlet Projects, the production arm of Spotify, is looking for candidates with experience with “high-profile talent”.</span></p> <p><span style="font-weight: 400;">“We’re currently assembling a show team that will build and launch a new original show with Archewell featuring the voices of high profile women,” <a rel="noopener" href="https://www.lifeatspotify.com/jobs/contract-sr-producer-gimlet-projects" target="_blank">the ad reads</a>.</span></p> <p><span style="font-weight: 400;">Advertised as a six-month role, the job is called for experienced applicants to “launch an exciting new weekly show based in Los Angeles”.</span><span style="font-weight: 400;"><br /></span><span style="font-weight: 400;">“The ideal candidate has experience working with high-profile talent, and an interest in the intersection of social activism and popular culture.”</span></p> <p><span style="font-weight: 400;">The wave of recruitment comes after Spotify was rumoured to have given the couple a “gentle nudge” in December to produce content.</span></p> <p><em><span style="font-weight: 400;">Image: Getty Images</span></em></p>

Technology

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Creator of The Block lifts the lid on show's biggest secrets

<p><span style="font-weight: 400;">Following the end of this year’s dramatic season of </span><em><span style="font-weight: 400;">The Block</span></em><span style="font-weight: 400;">, winners Mitch and Mark have started their own podcast and brought on Block co-creator Julian Cress as their first guest.</span></p> <p><span style="font-weight: 400;">The pair interviewed Cress for their podcast </span><em><span style="font-weight: 400;">Reality Reno</span></em><span style="font-weight: 400;">, which saw him sharing some of his best and worst moments during the show’s 17-year-run.</span></p> <p><img style="width: 500px; height:281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7845481/mitch-mark5.jpg" alt="" data-udi="umb://media/c757f136a7a24060b8bc57021db47eec" /></p> <p><em><span style="font-weight: 400;">Image: @mitchandmark / Instagram</span></em></p> <p><span style="font-weight: 400;">He also shared some of the show’s biggest secrets, including how Mitch and Mark secured their win thanks to a mysterious last-minute bidder.</span></p> <p><span style="font-weight: 400;">“You had a buyer, and that buyer came on board the night before the auction,” Cress </span><a rel="noopener" href="https://www.news.com.au/entertainment/tv/reality-tv/the-block-cocreator-julian-cress-reveals-shows-biggest-secrets-on-mitch-and-marks-podcast/news-story/153bf13b1f9f307bfd7b8ced9af1669a" target="_blank"><span style="font-weight: 400;">recalled</span></a><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">“A guy came to your house and sat in the front garden, on that beautiful seat under that beautiful tree, and fell in love with it.”</span></p> <p><span style="font-weight: 400;">If their buyer had not appeared, Cress said multi-millionaire Danny Wallis would have bought the home - making it his fourth </span><em><span style="font-weight: 400;">Block</span></em><span style="font-weight: 400;"> purchase this year - and paid less for it.</span></p> <p><span style="font-weight: 400;">“Danny Wallis would’ve happily paid $3-$400,000 less for it on the day, let’s be honest, but there was this guy who really wanted it and just kept bidding against him,” Cress said.</span></p> <p><span style="font-weight: 400;">“That’s the perfect storm, right?”</span></p> <p><span style="font-weight: 400;">The co-creator also tackled a common complaint that was especially relevant during the latest season, as some viewers have complained on social media that </span><em><span style="font-weight: 400;">The Block</span></em><span style="font-weight: 400;"> spends too much time on the drama and not enough on the actual renovations.</span></p> <p><span style="font-weight: 400;">“It’s bulls**t. Translated, it’s ‘I don’t want to watch this big fight - I want to watch paint dry’. It’s just not real, and the ratings reflect that.”</span></p> <p><span style="font-weight: 400;">With this season’s cheating scandal, the show’s ratings were quick to pick up after a soft start.</span></p> <p><span style="font-weight: 400;">Cress did note that they did try to “strike a balance” between the drama and renovations on the show.</span></p> <p><span style="font-weight: 400;">“But we’ve never just been about paint drying, we’ve always been about human drama,” he explained.</span></p> <p><span style="font-weight: 400;">“It used to be written in huge letters on our whiteboard in our office when we made the first series: ‘HUMAN DRAMA’. It was our reminder we weren’t just making a renovation show.”</span></p> <p><span style="font-weight: 400;">As for his lowest moment on the show, Cress shared that it came during the first week of the 2019 season - which was Mitch and Mark’s debut on the competition - as contestants went about renovating the Oslo hotel in St Kilda.</span></p> <p><span style="font-weight: 400;">“I thought, this isn’t going to actually work. No-one’s going to deliver a room this week - I’ve asked too much,” he recalled.</span></p> <p><span style="font-weight: 400;">“We didn’t do a lot of preparation before you came in because I thought, ‘It’s just going to be so dramatic! The contestants having to make a room out of THIS? It’ll be brilliant TV!’”</span></p> <p><span style="font-weight: 400;">He also revealed that couples are most likely to get on the show rather than friends.</span></p> <p><span style="font-weight: 400;">“We haven’t had many examples of mates, or friends who don’t live together but they love catching up on the weekend so they thought they’d go on </span><em><span style="font-weight: 400;">The Block</span></em><span style="font-weight: 400;">. I don’t think they have what it takes to get through it - I think, for a team to get through it, they need to be a couple and they need to have been a couple for some time.”</span></p> <p><span style="font-weight: 400;">Cress said that some couples who had only been together for a few years before going on the show had split “immediately after finishing” the show.</span></p> <p><span style="font-weight: 400;">“</span><em><span style="font-weight: 400;">The Block</span></em><span style="font-weight: 400;"> is too much pressure for a relationship that young,” he explained.</span></p> <p><span style="font-weight: 400;">According to Cress, those who have the best odds of getting chosen are people “who know each other well enough that they’ll find a way through it; it’s going to be OK.”</span></p> <p><em><span style="font-weight: 400;">Image: @mitchandmark / Instagram</span></em></p>

TV

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How the hyper-violent Squid Game has crept into digital content targeting young children

<p>The dystopian South Korean horror series Squid Game has become <a href="https://www.wsj.com/articles/netflix-adds-more-users-than-it-predicted-boosted-by-squid-game-11634674211#:%7E:text=In%20its%20letter%20to%20investors,in%2094%20countries%2C%20it%20said.">Netflix’s most watched </a>TV series, but it <a href="https://www.gamesradar.com/au/squid-game-phone-number-edit-netflix/">is quickly becoming as controversial as it is popular</a>.</p> <p>The latest controversy to arise around Squid Game, which is rated MA15+ in Australia, relates to <a href="https://www.washingtonpost.com/lifestyle/2021/10/18/kids-playing-squid-game/">the interest it has sparked amongst young children</a>. This includes <a href="https://www.smh.com.au/education/children-as-young-as-six-mimicking-squid-game-in-playground-school-warns-20211014-p58zxx.html">warnings from an Australian school that children as young</a> as six are recreating games featured in the dark and gory hit show.</p> <p><a href="https://www.theguardian.com/tv-and-radio/2021/oct/17/english-council-urges-parents-not-to-allow-children-to-watch-squid-game">A council in Southern England</a> recently sent an email to parents urging them to “be vigilant” after receiving reports “young people are copying games and violence” from the show. In Australia, similar warnings have been issued by educators in <a href="https://7news.com.au/lifestyle/parenting/sydney-primary-school-issues-warning-to-parents-over-netflixs-squid-game-series-c-4235374">Sydney</a> and <a href="https://thewest.com.au/stories/alarming-squid-game-warning-send-to-wa-schools/">Western Australia</a>.</p> <p>In Squid Game, characters compete for a cash prize by participating in challenges that augment classic Korean children’s games, with the “losers” being killed at the end of each round. Further emphasising the show’s twisted take on child’s play, these games are staged in highly stylised arenas, such as an adult scale children’s playground. After each challenge, these traditional children’s play spaces tend to be left soaked in blood and littered with piles of corpses.</p> <h2>Squid Game on TikTok and YouTube</h2> <p>While the recent warnings urge parents not to let their children watch Squid Game, young children’s awareness of the violent show more likely relates to its pervasive presence on social media, which has extended to viral content on TikTok and YouTube, popular with teenagers and children. The show is certainly a craze within children’s digital cultures.</p> <p>A number of successful channels on YouTube Kids (designed for viewers under 12) have capitalised on the Squid Game trend. This YouTube content includes “<a href="https://www.youtubekids.com/watch?v=sWi-EVi6H1U">How to Draw Squid Game</a>” character videos, and Squid Game themed <a href="https://www.youtubekids.com/watch?v=IRICggaHLT8">gameplay videos</a> from online videogame Roblox.</p> <p>This videogame, which is <a href="https://www.theverge.com/2020/7/21/21333431/roblox-over-half-of-us-kids-playing-virtual-parties-fortnite">popular with kids,</a> enables users to program games and share them with other users.</p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/ltV_lT1SLdo?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>Squid Game has become<a href="https://www.polygon.com/22700182/squid-game-roblox-netflix-show"> a very common theme </a>in these user programmed Roblox games. Many Squid Game Roblox videos <a href="https://www.youtube.com/watch?v=ltV_lT1SLdo">have hundreds of thousands</a> or <a href="https://www.youtube.com/watch?v=K_9TsVKYPp8">even millions of views</a>.</p> <p>On both the kids’ and main version of YouTube, videos aimed at children feature people (often children) playing these Squid Game inspired games in Roblox, with the “Red Light, Green Light” challenge emerging <a href="https://www.youtube.com/watch?v=KNfHAn8PGPM">as a particularly popular trend</a>. This challenge is also a trend on TikTok, with people emulating the game in a vast variety of <a href="https://www.tiktok.com/@theblondejon/video/7012080679378849029?is_from_webapp=v1&amp;q=red%20light%20green%20light%20squid%20game&amp;t=1634792841564">real life settings</a> and in videogames <a href="https://www.tiktok.com/@oldtime101/video/7014485706940648710?is_from_webapp=v1&amp;q=red%20light%20green%20light%20squid%20game&amp;t=1634792841564">Roblox</a> and <a href="https://www.tiktok.com/@chrisreksu/video/7016787344397257990?is_from_webapp=v1&amp;q=red%20light%20green%20light%20squid%20game%20minecraft&amp;t=1634793021421">Minecraft. </a></p> <p><iframe width="440" height="260" src="https://www.youtube.com/embed/KNfHAn8PGPM?wmode=transparent&amp;start=0" frameborder="0" allowfullscreen=""></iframe></p> <p>The “Red Light, Green Light” scene has become one of Squid Game’s most widely shared moments: the giant animatronic doll that acts as a deadly motion sensor in this game has been heavily meme-ified. This doll often features in video thumbnails for Squid Game-related children’s YouTube content.</p> <p>Most of these kids’ YouTube videos are quite innocuous by themselves. However, they show how Squid Game has crept into digital content explicitly targeting young children.</p> <h2>Murky boundaries</h2> <p>Given Squid Game’s bright, childish aesthetics and focus on playground games, it is perhaps not surprising that viral online content about the show appeals to children. But the boundaries between adult and child-oriented content online have always been murky.</p> <p>YouTube has been at the centre of a number of controversies regarding <a href="https://medium.com/@jamesbridle/something-is-wrong-on-the-internet-c39c471271d2">inappropriate content aimed at children</a>. TikTok has faced similar controversies related to <a href="https://www.bbc.com/news/technology-56815480">children’s safety on the app </a>and problematic content being watched by children, <a href="https://www.theguardian.com/technology/2021/oct/08/revealed-anti-vaccine-tiktok-videos-viewed-children-as-young-as-nine-covid">such as anti-vaccine videos.</a> Tik Tok allows full access to the app to children aged over 13 but reports show children much younger are using it: alongside YouTube, TikTok is currently facing <a href="https://thehill.com/policy/technology/577537-tiktok-youtube-snapchat-executives-to-testify-at-senate-hearing-on-kids">a US Senate hearing on kids’ safety</a>.</p> <p>After a historic fine of US$170 million (A$227 million) was imposed on YouTube by the US Federal Trade Commission in 2019, sweeping changes were introduced to make the distinction between adult and children’s content clearer on the platform. For instance, creators must now inform YouTube if their content is for children and machine-learning is used to identify videos that <a href="https://blog.youtube/news-and-events/an-update-on-kids/">clearly target young audiences.</a></p> <p>Despite these changes, YouTube remains a very different beast to broadcast television, and content popular with children on both the main and children’s version of the platform often differs markedly from kids’ TV.</p> <p><a href="https://images.theconversation.com/files/427666/original/file-20211021-14-1xrpoic.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/427666/original/file-20211021-14-1xrpoic.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="Still from Squid Game" /></a></p> <p>Children’s YouTube content that riffs on Squid Game characters and scenes continues a longstanding trend of <a href="https://theconversation.com/in-an-age-of-elsa-spider-man-romantic-mash-ups-how-to-monitor-youtubes-childrens-content-123088">“mash-up” content for children on the platform</a>.</p> <p>Like Squid Game content, “mash-up” videos harness trending themes, search terms, and characters – often featuring popular characters in thumbnail imagery and video titles.</p> <p>Adult anxieties about Squid Game’s malign influence on children build on earlier concerns about this “mash-up” content, but also about children’s interaction with the web more generally.</p> <p><a href="https://images.theconversation.com/files/427664/original/file-20211021-27-100x57m.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=1000&amp;fit=clip"><img src="https://images.theconversation.com/files/427664/original/file-20211021-27-100x57m.jpg?ixlib=rb-1.1.0&amp;q=45&amp;auto=format&amp;w=754&amp;fit=clip" alt="" /></a><br />The rising global panic about children’s participation in Squid Game challenges echoes the “Momo” phenomenon of 2018 and 2019. In this case, a photo of a sinister figure that became associated with the moniker “Momo” went viral online (the photo was actually of a Japanese sculpture).</p> <p><a href="https://theconversation.com/momo-challenge-shows-how-even-experts-are-falling-for-digital-hoaxes-112782">An international news cycle</a> emerged about “Momo”, claiming the creature was appearing in children’s content on YouTube and encouraging kids to participate in deadly games and challenges.</p> <p>As is now occurring in relation to Squid Game, in Australia and beyond <a href="https://www.abc.net.au/news/2019-03-01/momo-challenge-sparks-warning-from-online-safety-watchdog/10861080">official warnings were issued to parents</a> about the “Momo Challenge”, advising them to be vigilant. It soon became clear the “Momo Challenge” was most likely <a href="https://www.bbc.com/news/technology-47393510">a viral hoax</a>.</p> <p>Momo embodied parents’ worst fears about the dangers of children’s internet use. Concerns about Squid Game’s influence on children have a similar tenor: these fears may not be a response to actual dangers, but a manifestation of our discomfort with how easily adult-oriented media can seep into online content aimed at young children.</p> <p>The unruly tentacles of Squid Game’s inter-generational appeal show how streaming media challenges existing conceptions of “child-appropriate” content.<!-- Below is The Conversation's page counter tag. Please DO NOT REMOVE. --><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/170209/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /><!-- End of code. If you don't see any code above, please get new code from the Advanced tab after you click the republish button. The page counter does not collect any personal data. More info: https://theconversation.com/republishing-guidelines --></p> <p><span><a href="https://theconversation.com/profiles/jessica-balanzategui-814024">Jessica Balanzategui</a>, Senior Lecturer in Cinema and Screen Studies, <em><a href="https://theconversation.com/institutions/swinburne-university-of-technology-767">Swinburne University of Technology</a></em></span></p> <p>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-the-hyper-violent-squid-game-has-crept-into-digital-content-targeting-young-children-170209">original article</a>.</p> <p><em>Image: Netflix</em></p>

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The Crown creator defends “made up” scenes

<p>Peter Morgan, the brains behind The Crown has defended his decision of including imagined scenes in the latest season of the hit Netflix show.</p> <p>Season four, which is based on real-life events but not entirely factual, premiered on Netflix on Sunday with a number of new characters, including Princess Diana and then-prime minister Margaret Thatcher.</p> <p>In the first episode of the new series, Lord Louis Mountbatten, played by Charles Dance, confronts his great-nephew, Prince Charles, for having an affair with Camilla, who at the time, was married to Andrew Parker Bowles.</p> <p>In the episode, Mountbatten writes a scathing letter to Charles, accusing him of contemplating such “ruin and disappointment” to himself and his family, and orders him to instead marry “some sweet and innocent well-tempered girl with no past.”</p> <p>In the show, Charles receives the letter after finding out Mountbatten was assassinated by the IRA - but some critics say there is no evidence that such a letter was ever written.</p> <p>Writer Morgan addressed the show's portrayal of the interaction in an episode of The Crown podcast, explaining that, while he "made up" the scene, he believed that the fictionalised interaction would have aligned with Mountbatten's views.</p> <p>"I made up in my head — whether it's right or wrong — what we know is that Mountbatten was really responsible for taking Charles to one side at precisely this point and saying, 'Look, you know, enough already with playing the field. It's time you got married and it's time you provided an heir,'" Morgan said.</p> <p>"I think everything that's in the letter that Mountbatten writes to Charles is what I really believe — you know, based on everything I've read and people I've spoken to, that that represents his view.</p> <p>"We will never know if it was put into a letter, and we will never know if Charles got that letter before or after Mountbatten's death but in this particular drama, this is how I decided to deal with it," he added.</p> <p>Critics have claimed the show has been filled with lies and misinformation. </p> <p>"People actually do believe it because it is well filmed, lavishly produced, well acted with good actors. You can't just dismiss it as tabloid rubbish," Hugo Vickers, historian and author of The Crown Dissected, told CNN.</p> <p>"In this particular series, every member of the royal family, in my view, comes out of it badly, except the Princess of Wales," he said. "It's totally one sided, it's totally against Prince Charles."</p> <p>Vickers told CNN that the show contains a number of "mischievous" inaccuracies — including scenes which show Queen Elizabeth at odds with Thatcher — adding that viewers could watch the show and assume it to be true.</p> <p>"Anyone watching, they may say, 'I saw it on The Crown, it must be true.' It's not true," he added.</p> <p>Last year, the British royal family denied any involvement with the Netflix series, after Morgan claimed to meet regularly with "people who are very high-ranking and very active within the organisation."</p> <p>Donal McCabe, the Queen's communications secretary, said in a letter to the UK's Times, which Buckingham Palace subsequently forwarded to CNN: "The Royal Household has never agreed to vet or approve content, has not asked to know what topics will be included, and would never express a view as to the programme's accuracy."</p>

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"USE A TAP, MATE": Gordon Ramsay abused for careless fridge contents

<div class="post_body_wrapper"> <div class="post_body"> <div class="body_text "> <p>Fan favourite British chef Gordon Ramsay surprised viewers by returning to MasterChef: Back to Win via video link.</p> <p>He called in from the UK to set the Mystery Box challenge on Monday night and opened up his fridge to show contestants what they would be cooking with.</p> <p>Ramsay was thrilled with the top four chefs, who were Emelia, Callum, Reynold and Laura.</p> <p>"First of all, congratulations to all of you. Seriously, congratulations. I've been watching each and every one of you from the beginning. This journey has been incredible," he said candidly.</p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/tv/CCk9faxBHGF/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/tv/CCk9faxBHGF/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">Guess who's back? 👀🇬🇧 @gordongram #MasterChefAU</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/masterchefau/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> MasterChef Australia</a> (@masterchefau) on Jul 13, 2020 at 2:38am PDT</p> </div> </blockquote> <p>However, fans were more concerned with the amount of mini plastic Evian bottles Ramsay had in his fridge.</p> <p><img style="width: 500px; height:281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7836907/water.jpg" alt="" data-udi="umb://media/fc6ba35aa43344a391ff50761fb0507f" /></p> <p>Fans were unimpressed with the amount of plastic in the chef's fridge and went on social media to blast Ramsay.</p> <blockquote class="twitter-tweet"> <p dir="ltr">why does gordon ramsay have so much bottled water? USE A TAP, MATE <a href="https://twitter.com/hashtag/MasterchefAU?src=hash&amp;ref_src=twsrc%5Etfw">#MasterchefAU</a></p> — Andrea (@bethwoodvilles) <a href="https://twitter.com/bethwoodvilles/status/1282609859192446976?ref_src=twsrc%5Etfw">July 13, 2020</a></blockquote> <blockquote class="twitter-tweet"> <p dir="ltr">HOW MANY BOTTLES OF WATER DOES GORDON RAMSAY HAVE?! talk about panic buying… <a href="https://twitter.com/hashtag/MasterChefAU?src=hash&amp;ref_src=twsrc%5Etfw">#MasterChefAU</a></p> — ⋆bridget⋆ (@xxteamlmxx) <a href="https://twitter.com/xxteamlmxx/status/1282610050318524416?ref_src=twsrc%5Etfw">July 13, 2020</a></blockquote> <blockquote class="twitter-tweet"> <p dir="ltr">If you’re Gordon Ramsay-level rich, you can afford a tap that only spits out filtered bubbly water. Come on, guv. <a href="https://twitter.com/hashtag/MasterChefAU?src=hash&amp;ref_src=twsrc%5Etfw">#MasterChefAU</a></p> — Michael Hartt 👐🏻 (@whatamindblast) <a href="https://twitter.com/whatamindblast/status/1282611939462406154?ref_src=twsrc%5Etfw">July 13, 2020</a></blockquote> <p>Emelia's pastry ended up taking the lead and fast-tracked her to semi-finals.</p> <p>Despite Callum's dessert being full of conflicting flavours, Reynold's chawanmushi and Laura's fish and vegetables, these impressive dishes were no match for the intricate pastry put forward by Emelia.</p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/tv/CClE7uxFwbd/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/tv/CClE7uxFwbd/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">@emelia_jackson's inventive dish was a choux-in for the Semi-Finals! 🥧</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/masterchefau/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> MasterChef Australia</a> (@masterchefau) on Jul 13, 2020 at 3:43am PDT</p> </div> </blockquote> <p>After her win was announced, she told the camera:</p> <p>“I have been so intimidated throughout this entire competition. And to think that I am in the semi-final, I never pictured this as a reality, ever.”</p> <p>Speaking to the <a rel="noopener" href="https://www.heraldsun.com.au/subscribe/news/1/?sourceCode=HSWEB_WRE170_a&amp;dest=https%253A%252F%252Fwww.heraldsun.com.au%252Fentertainment%252Fwhat-made-masterchef-star-emelia-jackson-regret-everything-during-challenge%252Fnews-story%252Fbd0bb819e0ab5e2314168cc308cd1273&amp;memtype=anonymous&amp;mode=premium&amp;nk=76b636a8b3a6194017260471c0a00d88-1594635953" target="_blank" class="_e75a791d-denali-editor-page-rtflink"><em>Herald Sun</em></a> on Saturday, 31-year-old Emelia revealed how “overwhelming” her second shot at MasterChef had been.</p> <p>“The physical feeling (of being on the show) is like when you are on a rollercoaster and you get to the top and you have that split half-second before you have that big drop where you freak out and regret everything,” Emelia said.</p> <p>She added: “That is the feeling of it, this overwhelming, massive adrenaline rush. It really is like a cauldron, the pressure is on, everything is bubbling away.”</p> </div> </div> </div>

Food & Wine

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Children’s app creator faces court over child abuse material and illegal filming offences

<p>An Adelaide man who recently launched an educational children’s app has faced court after being accused of possessing child abuse material and covertly filming women inside their homes.</p> <p>Video producer Luke Tregloan, 45, was arrested by the South Australian Joint Anti Child Exploitation Team on Friday after an investigation involving the federal and state police.</p> <p>Police allege he used a female persona to upload child abuse material to an online platform.</p> <p>It is alleged that investigators found a collection of child exploitation material on Tregloan’s mobile phone, along with a “significant” number of videos that were filmed from outside Adelaide homes showing women involved in sexual activity and various states of undress.</p> <p>Tregloan has been charged with one count of possessing child abuse material, one count of indecent filming and one count of using a carriage service to access child abuse material.</p> <p>“The person viewing this abhorrent material is as complicit as the person making and distributing the product,” said AFP detective acting superintendent Gavin Stone.</p> <p>“Protecting children is paramount and everyone has a role to play because these are crimes against our common future.”</p> <p>Tregloan, a father of two, was remanded in custody following his appearance before the Adelaide Magistrates Court on Monday. He will return to court next Monday.</p> <p>Last year, Tregloan designed and launched the children’s smartphone app Hip Hop Kangaroo and Friends featuring scenes filmed at South Australian locations.</p>

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Australia’s drive-ins: where you can wear slippers, crack peanuts, and knit ‘to your heart’s content’

<p>We have seen many changes in Australian’s consumption of media during isolation.</p> <p>There has been an <a href="https://thinktv.com.au/news/bvod-viewing-surges-to-monthly-record-as-more-advertisers-embrace-online-tv/">increase</a> in television viewing; cinemas were <a href="https://variety.com/2020/film/asia/coronavirus-australia-orders-cinemas-close-1203541732/">forced</a> to close (although some have crafted a <a href="https://athome.lidocinemas.com.au/page/what-is-at-home/">new approach</a>); Hollywood release dates were <a href="https://www.vanityfair.com/hollywood/2020/03/coronavirus-movie-release-calendar">postponed</a> or shifted to <a href="https://www.esquire.com/entertainment/g31871914/movies-streaming-early-coronavirus/">streaming</a>.</p> <p>Across the world, there was also another surprising change: a resurgence of the drive-in. Attendance in South Korea <a href="https://www.theguardian.com/artanddesign/gallery/2020/mar/26/south-korea-booming-drive-ins-in-pictures">boomed</a>. In Germany, you could attend a <a href="https://www.nme.com/news/music/german-club-holds-drive-in-rave-to-circumvent-coronavirus-restrictions-2658551">drive-in rave</a>. In America, there was even drive-in <a href="https://news.sky.com/story/coronavirus-strip-club-offers-drive-thru-service-during-us-lockdown-11986446">strip-clubs</a>.</p> <p>With rules against “unnecessary travel”, Australia’s drive-in cinemas were forced to close. With a heightened sense of personal need to social distance, even as more cinemas across Australia start to reopen, is it time for the drive-in to shine again?</p> <p><strong>The beginning</strong></p> <p>The drive-in phenomenon <a href="https://web.archive.org/web/20110223234709/http:/www.babyboomercentral.com.au/icons_driveins.htm">began</a> in the United States. Richard M. Hollingshead Junior, whose family owned a chemical plant in New Jersey, initially commenced tests in his driveway in 1928, before opening a drive-in on June 6 1933.</p> <p>It ran for only three years, but was the start of a trend that spread throughout the country – and then the world.</p> <p>Australia’s first drive-in would not open for another 20 years.</p> <p>The first drive-in in Australia, the Skyline, opened February 17 1954, in Burwood, Victoria, with the musical comedy <a href="https://www.imdb.com/title/tt0043882/">On the Riviera</a>. The first night created <a href="https://trove.nla.gov.au/newspaper/article/49416937">traffic jams</a>, as <a href="https://maas.museum/inside-the-collection/2016/02/09/remembering-australias-drive-ins/">2,000 cars</a> vied to gain access to the 600 spaces.</p> <p>The Argus dedicated a <a href="https://trove.nla.gov.au/newspaper/page/1766401">two-page feature</a> to the opening, calling it:</p> <p><em>probably the most interesting development in entertainment here since the advent of sound pictures, the drive-in theatre provides the ultimate in relaxation and comfort for movie patrons.</em></p> <p>Unlike the cinema, said The Argus, there was no need to dress-up: slippers and shorts were fine. Drive-in patrons could smoke, crack peanuts, and knit “to your heart’s content”.</p> <p>Not everyone was happy with the introduction of the drive-in in their neighbourhood. Later that same year, a resident of Ascot Vale <a href="https://trove.nla.gov.au/newspaper/article/23431367?searchTerm=drivein&amp;searchLimits=l-decade=195">wrote</a> to The Argus against a local screen:</p> <p><em>Surely the experience of people in the Burwood district should be sufficient to prevent similar mistakes being made in other districts. The place for these latest improvements in our cultural life is well beyond outer boundaries.</em></p> <p><strong>The rise …</strong></p> <p>Within a year from the opening of the Burwood Skyline, another three drive-ins in Victoria and one South Australia opened. Within 10 years, the number reached 230 across the country. At its <a href="https://maas.museum/inside-the-collection/2016/02/09/remembering-australias-drive-ins/">peak</a> there were 330 drive-ins in Australia.</p> <p>The uptake and success of drive-ins in Australia corresponded with the <a href="https://chartingtransport.com/2011/08/07/trends-in-car-ownership/">increase</a> in car ownership in Australia. As more people owned cars, the whole family – even kids in pyjamas – could jump in and enjoy a night out. Parents didn’t need to find a babysitter, nor worry about their kids disturbing other patrons.</p> <p>I have fond memories of growing up during the 1980s and 90s in Shepparton, Victoria, and attending the <a href="https://www.myshepparton.com.au/drive-in-theatre.html">Twilight Drive-in Theatre</a>. I vividly remember the large white screen at the front with the playground directly underneath, and the kiosk in the middle of the lot. And who can forget the large <a href="https://collection.maas.museum/object/160821">speaker</a> you had to attach to the window?</p> <p>But, like many, the Twilight Drive-in closed to make way for a shopping centre.</p> <p><strong>… and the fall</strong></p> <p>There is no one villain we can point to in the downfall of drive-in popularity.</p> <p>In the 1970s, there was a new addition to TV: colour. Australia had one of the the <a href="https://trove.nla.gov.au/work/223584982?q=Invention+to+Institution%3A++A+Comparative+Historical+Analysis+of+Television+across+Three+National+Sites&amp;c=book&amp;sort=holdings+desc&amp;_=1591659253520&amp;versionId=249549460">fastest</a> uptakes of colour television, taking a third of the time compared to the United States to reach a 60% saturation rate. The rise of the VCR in the 1980s allowed even greater flexibility in viewing films at home.</p> <p>Daylight savings was <a href="https://www.abc.net.au/news/2018-09-18/daylight-saving---still-arguing-about-it-50-years-on/10265160">also introduced</a> in the 1970s, restricting the hours drive-ins could operate during the summer.</p> <p>Drive-ins were affordable to run because they were generally on the suburban fringe. As Australia’s cities grew, land value <a href="https://books.google.com.au/books?id=gWuMYKzvnOEC&amp;printsec=frontcover#v=onepage&amp;q=drive%20land&amp;f=false">also increased</a>; using this land for a cinema was a less attractive proposition than development.</p> <p>There are now just 16 drive-ins running across Australia, and <a href="https://www.cnbc.com/2020/05/15/drive-in-movie-theaters-have-revived-in-the-coronavirus-pandemic.html">only 30</a> in the United States – down from their peak of over 4,000.</p> <p><strong>A viral resurgence?</strong></p> <p>The Yatala Drive-in on the outskirts of the Gold Coast <a href="https://mailchi.mp/fivestarcinemas.com.au/movies-are-back-on-yatala-drive-in-open-this-weekend?e=a03cb88b05">reopened</a> in early May. More recently, the Lunar Drive-in in Dandenong reopened on June 1. Even in the pouring Melbourne rain – normally a sure sign people will stay away – the <a href="https://www.theage.com.au/culture/movies/australia-s-drive-ins-have-the-chance-to-shine-even-in-pouring-rain-20200601-p54yfh.html">audience came</a>.</p> <p>As our lives begin to return to “normal”, and more states and territories allow people to return to indoor cinemas, will drive-in attendance continue? I hope so. Experiencing media across different screens provides us with new experiences and new memories which can be far greater than just the film on the screen.</p> <p>Drive-ins offer us a glance into Australian history, a hit of nostalgia, and, of course, the simple act reviving our love of the silver screen.</p> <p><em>Written by Marc C-Scott. Republished with permission of <a href="https://theconversation.com/australias-drive-ins-where-you-can-wear-slippers-crack-peanuts-and-knit-to-your-hearts-content-139876">The Conversation.</a> </em></p>

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Happiness: Is feeling content more important than purpose and goals?

<p><em>There is much written about finding one’s life purpose and reaching self actualisation, but do we really need to have one? My partner is happy pottering around the house with his family around him, watching TV, reading the news, working in his unskilled job without responsibility, supporting his football team. Meanwhile, I am frustratingly “growing and developing”, learning, wondering what it is all about – yet without much actually changing in my life. Are drifting and feeling contented in life more important than having a “life purpose” and goals?</em> Brenda, Blackpool</p> <p>Questions about happiness, purpose and goals remind me of <a href="https://theconversation.com/guide-to-the-classics-don-quixote-the-worlds-first-modern-novel-and-one-of-the-best-94097">Don Quixote</a>, the dreaming knight in Cervantes’ novel of the same name, and Sancho Panza, his earthy page. Indeed, literature often contains characters and themes that reflect telling universal truths about human existence, experience – and psychology.</p> <p>As the novel progresses, we realise that both characters are equally sophisticated intellectually. But while Don Quixote’s goals are utopian, romantic and clearly unobtainable, Sancho is satisfied with feeling safe and eating bread and cheese – accompanied by a little wine, of course – after each of their frustrated misadventures.</p> <p>I’m a psychiatrist and research on personality shows that a more open and inquisitive personality will always want to <a href="https://econtent.hogrefe.com/doi/10.1027/1614-0001.26.3.132">seek new experiences and sensations</a>. This is more exciting, but also less comfortable, than rejecting what feels strange or unfamiliar.</p> <p>Don Quixote’s sensation-seeking and restless personality, as well as his lofty ideals, are the drivers of his misguided adventures. Unable to find excitement in the comfortable but mundane daily life of a landed country gentleman, he sets out to right all the wrongs in the world in the most chivalrous and valiant manner he can imagine. His ambitious goals are unobtainable, though, and so he remains chronically dissatisfied.</p> <p>In contrast, Sancho’s goals (cheese and wine) are simple, and they are also reliable and immediately achievable. Sancho will inevitably have some difficult emotions, like every other human, that will prevent him from being consistently happy. But he will be less inclined to express his occasional periods of distress in complex existential terms – and they are unlikely to nag and torture him in the same way.</p> <p>On one level, then, Sancho’s personality seems better suited than Don Quixote’s for achieving a satisfactory level of psychological wellbeing. But we need to consider the fact that Quixote’s tortured loftiness will also afford him occasional moments of ecstasy that Sancho will never experience. Quixote will sample all the many wondrous highs – and lows – of existence.</p> <p><strong>Choleric Quixote</strong></p> <p>Quixote has a type of personality that <a href="http://www.bbc.co.uk/history/historic_figures/galen.shtml">Galen</a>, the Greek physician of classical times, would have labelled as “choleric”: passionate, charismatic, impulsive and sensation seeking. He also has an extremely rich, but equally unstable, inner life, which produces copious amounts of fantasy and emotion.</p> <p>Soon after the second world war, a London-based psychologist called Hans Eysenck developed another personality theory that included the dimensions of <a href="https://psycnet.apa.org/record/1953-05745-000">extroversion and neuroticism</a>. Quixote is high in extroversion (he engages constantly with the external world) and high in neuroticism (his emotional life is unstable and intense), a combination that would be the equivalent of Galen’s choleric personality.</p> <p>Sancho is, of course, the exact opposite. He could be described as “phlegmatic” in Galen’s classification: he is generally introverted, and being perfectly steady in emotional terms, he would certainly score very low on neuroticism. He does not view the world through the filter of a rich but volatile inner life, and instead sees ordinary windmills where Quixote sees formidable giants.</p> <p>Personality types have been found to be <a href="https://psycnet.apa.org/record/2020-03328-001">predictors of psychological wellbeing</a> in a way that could be considered relatively intuitive. Essentially, there is a positive correlation between happiness and extroversion and a negative one <a href="https://www.sciencedirect.com/science/article/abs/pii/019188699090138H">between happiness and neuroticism</a>. Quixote is more neurotic than Sancho, but he is also more extroverted. The two will find and experience moments of happiness in different ways.</p> <p>On one level, what we need to be happy is a stable (low neuroticism) and outgoing (extrovert) character. But that’s not the whole story. Those of us who see ourselves as a little more neurotic than we would ideally like – and perhaps not quite as sociable as some others – can find comfort in the knowledge that a busy and lively inner life, coupled with an inquisitive nature, <a href="https://psycnet.apa.org/record/2010-16664-004">can be associated with certain types of creativity</a>.</p> <p>The idea of happiness as a state of placidity and serenity, facilitated by a stable and untroubled psychological makeup, is persuasive. But it ignores perhaps the upper and more intense limits of human experience – and these have a power all their own. Cervantes novel, after all, is called “Don Quixote”, not “Sancho Panza”.</p> <p><strong>Self-actualisation</strong></p> <p>You also mention <a href="https://positivepsychology.com/self-actualization/">“self-actualisation”</a> in your question. When <a href="https://www.britannica.com/biography/Abraham-H-Maslow">Abraham Maslow</a>, the celebrated American psychologist, placed self-actualisation at the top of his <a href="https://www.simplypsychology.org/maslow.html">hierarchy of human needs</a>, he thought of it as a positive drive for developing one’s personal potential. Your own personal potential, Brenda, will be different to that of your partner.</p> <p>Maslow thought that more basic needs had to be satisfied before moving up to the next level – water and food before safety, then love, self-esteem and only then self-actualisation. But subsequent research shows that humans don’t always do this in the anticipated order and that satisfying different levels of need either simultaneously, or in the “wrong order”, <a href="https://www.ncbi.nlm.nih.gov/pubmed/21688922">doesn’t seem to affect wellbeing significantly</a>. This explains how those living in poor countries can also satisfy their psychological needs even when the fulfilment of more basic needs is uncertain.</p> <p>In any case, having a set of needs – hierarchical or not – inevitably puts us in a needy position, and the relationship between striving to better ourselves and happiness is not a simple one. Maslow himself struggled in his personal life with issues such as racism (he was Jewish) and an awful relationship with his mother, whom he hated.</p> <h2>Pain and pleasure</h2> <p>Research shows that factors such as <a href="https://www.sciencedirect.com/science/article/abs/pii/S1047279706001943">poverty</a>, <a href="https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/216320">pain</a> and <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4225959/">loneliness</a> make us unhappy, and it is equally clear that pleasures of any kind contribute towards our sense of wellbeing.</p> <p>The 19th-century British thinker John Stuart Mill postulated in simple terms that happiness is “intended pleasure, and the absence of pain” while unhappiness is <a href="https://www.britannica.com/topic/utilitarianism-philosophy">“pain, and the privation of pleasure”</a>.</p> <p>Like Maslow and his hierarchy of needs, Mill also saw a similar hierarchy in pleasure, with the physiological at the bottom and the spiritual at the top. He also <a href="https://www.goodreads.com/quotes/359472-those-only-are-happy-i-thought-who-have-their-minds">advised against</a> too much introspection in matters of happiness, saying:</p> <blockquote> <p>Ask yourself if you are happy and you cease to be so.</p> </blockquote> <p>I suspect you ask yourself this question at times, Brenda. And even though Mill saw happiness as being predicated by pleasure and pain, he also hinted that being human, with all that this implies, may bring a dissatisfaction that would be preferable to mere contentment.</p> <p>Don Quixote is a dissatisfied man and his ambitions to achieve his glorious goals are always frustrated. He has, however, certain characteristics that have been found to be associated with happiness: an optimistic <a href="https://psycnet.apa.org/doiLanding?doi=10.1037%2F0022-3514.50.5.974">attributional style</a> and an internal “locus” (place) of control.</p> <p>Don Quixote’s “internal locus of control” means that he feels in control of his destiny (despite all the evidence to the contrary). Control resides within him. His “optimistic attributional style”, meanwhile, refers to the fact that he always ascribes his failures to transient external forces, rather than to permanent internal issues.</p> <p>Sancho, on the other hand, has a reactive attitude to life. He doesn’t have any fantasies about being in control of his destiny, which he believes is in the lap of the gods. “The lucky man has nothing to worry about,” he says.</p> <p>So, in this respect at least, Don Quixote, driving his own fortune and making his own luck, is probably happier in his quest, however frustrating, than Sancho is in his passive contentment.</p> <p><strong>Contentment versus happiness</strong></p> <p>The difference between contentment and happiness, or to be more precise, the incompatibility that exists between a state of permanent contentment and being human, has also been explored in modern novels, written centuries after Miguel de Cervantes’ Don Quixote, such as <a href="https://www.bl.uk/learning/timeline/item126934.html">The Time Machine by HG Wells</a> or <a href="https://www.britannica.com/topic/Brave-New-World">Brave New World by Aldous Huxley</a>.</p> <p>Some of the characters in these future dystopias, where pain and suffering have been eradicated, are perfectly placid, even content. But their insipid pseudo-happiness, devoid of choice or intense emotion, is less desirable than our own imperfect emotional tribulations – at least according to the authors.</p> <p>Indeed, our ability to feel happy is affected by a variety of personality factors and temperamental attitudes, not by just one single dimension of placidity versus psychological restlessness, or even optimism versus pessimism.</p> <p>But does it matter anyway? Whether we are “half-empty” or “half-full” personalities, none of us is <a href="https://theconversation.com/humans-arent-designed-to-be-happy-so-stop-trying-119262">designed to be happy</a> – only, ultimately, to survive and reproduce. Consequently, we will all battle with frequent unpleasant emotions, whatever our temperament.</p> <p>It is good, Brenda, that you haven’t given up your efforts to grow as a person and that you remain hungry for knowledge. Even if I told you that there is a better strategy for happiness, that you should be content with watching television and little else, I am pretty certain you wouldn’t want that.</p> <p>You need to continue being who you are, even if being who you are doesn’t transport you to a state of sustained and uninterrupted psychological bliss. Our nature is to chase the teasing and elusive butterfly of happiness, not always to capture it. Happiness can’t be bottled and bought and sold.</p> <p>It can, however, be a journey – and this never-ending quest includes you, Brenda, as well as your partner. And perhaps we can all find comfort in the knowledge that our nagging dissatisfaction is a key part of what makes us human.</p> <p><span><a href="https://theconversation.com/profiles/rafael-euba-294554"><em>Rafael Euba</em></a><em>, Consultant and Senior Lecturer in Old Age Psychiatry, <a href="https://theconversation.com/institutions/kings-college-london-1196">King's College London</a></em></span></p> <p><em>This article is republished from <a href="http://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/happiness-is-feeling-content-more-important-than-purpose-and-goals-131503">original article</a>.</em></p>

Mind

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Nicole Kidman, Russell Crowe, Margot Robbie and Toni Collette in Oscars contention after SAG awards nod

<p>The Hollywood award season continues on and this year will once again acknowledge Australia’s A-listers, with Nicole Kidman, Margot Robbie, Russell Crowe and Toni Collette nominated for Screen Actors Guild Awards.</p> <p>The SAG Awards are one part of ceremonies that occur before the Oscars, and nominations provide a significant boost to actors' campaigns.</p> <p>Voters snubbed Kidman in the lead actress in a TV drama series category for her TV show<span> </span><em>Big Little Lies.</em></p> <p>It came as one of the biggest surprises on Wednesday during the SAG nomination ceremony.</p> <p>However, she received a supporting actress nod for her role in<span> </span><em>Bombshell</em>,<span> </span>a movie that centered on sexual harassment at US news channel<span> </span><em>Fox News.</em></p> <p>Kidman will go head to head with her <em>Bombshell</em> co-star Margot Robbie in the SAG category.</p> <p>The Australian actress is in the running for SAG’s top award along with Robbie and the rest of the<span> </span><em>Bombshell</em> cast, including Malcolm McDowell.</p> <p>McDowell played Rupert Murdoch in the film.</p> <p>Kidman also received a nomination with her <em>Big Little Lies</em> cast in the TV drama series ensemble category.</p> <p>New Zealand-born actor, Russell Crowe, has received a nod in the outstanding actor in a TV movie/limited series category for <em>The Loudest Voice</em>, which follows closely behind his Golden Globe nomination.</p> <p>The actor, who recently opened up about the<span> </span><a rel="noopener" href="https://www.oversixty.com.au/news/news/heartbroken-russell-crowe-shows-bushfire-damage-to-multimillion-dollar-property" target="_blank">damage done to his multimillion-dollar property due to the NSW and QLD bushfires</a>, plays <em>Fox News</em> boss Roger Ailes.</p> <p>Toni Collette received a nomination in the outstanding actress TV movie/limited series category for her role in<span> </span><em>Unbelievable</em>.</p> <p>Unfortunately, Kidman was snubbed for a supporting actor nod for<span> </span><em>Bombshell </em>at the Golden Globe nominations but did receive a nod for<span> </span><em>Big Little Lies.</em></p> <p>Robbie, Crowe and Collette all received the same Globe nominations  as they did with SAG in the same categories.</p> <p>The SAG Award winners will be announced on January 19 in Los Angeles.</p> <p>Scroll through the gallery to see the Australian A-listers. </p>

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Creator of Uluru’s Field of Light launches new exhibition in Darwin

<p><span style="font-weight: 400;">Prolific light artist Bruce Munro is back again to dazzle tourists and locals alike in Darwin with his latest light-driven installation.</span></p> <p><span style="font-weight: 400;">The latest exhibit stretches across 2.5kms around Darwin’s city centre and features eight illuminated sculptures by Munro, whose a world renowned artist.</span></p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/B3w58f5lhfl/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/B3w58f5lhfl/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">Bruce Munro: Tropical Light opens November 1st Darwin, Australia.Fireflies, copyright © 2019 Bruce Munro. All rights reserved. Photography by Mark Pickthall.</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/brucemunrostudio/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> Bruce Munro</a> (@brucemunrostudio) on Oct 18, 2019 at 8:12am PDT</p> </div> </blockquote> <p><span style="font-weight: 400;">Munro was inspired by the Northern Territory’s capital city and is the first citywide exhibition in the world.</span></p> <p><span style="font-weight: 400;">The collection reflects Munro’s personal history of visiting Australia as well as the Northern Territory.</span></p> <p><span style="font-weight: 400;">“This is a collection of smaller installations and a very different experience to Field of Lights,” Mr Munro told </span><a href="https://www.news.com.au/travel/australian-holidays/northern-territory/creator-of-ulurus-field-of-light-launches-new-exhibition-in-darwin/news-story/003b3522311a1e3d4d96b451c20ed9d0"><span style="font-weight: 400;">news.com.au</span></a><span style="font-weight: 400;">.</span></p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BnmRCh7BFaQ/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/BnmRCh7BFaQ/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">One of my favourite Fields of Light, Uluru, Australia - Jane OConnor, Bruce Munro Studio. Photographs by Mark Pickthall and Serena Munro</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/brucemunrostudio/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> Bruce Munro</a> (@brucemunrostudio) on Sep 11, 2018 at 12:40pm PDT</p> </div> </blockquote> <p><span style="font-weight: 400;">“Those coming to Darwin for Tropical Lights will experience the beautiful city … which has everything a big city has but slightly more condensed. This exhibition is not about me plonking sculptures from (the) other side of the world and putting them in Darwin, the sculptures are inspired by Darwin.</span></p> <p><span style="font-weight: 400;">“So I am interested to see if people enjoy it and feel and think the same as I did when I first came here.”</span></p> <blockquote style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/B4VKb-HlSw6/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="12"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"></div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"></div> </div> </div> <div style="padding: 19% 0;"></div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"></div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <p style="margin: 8px 0 0 0; padding: 0 4px;"><a style="color: #000; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" rel="noopener" href="https://www.instagram.com/p/B4VKb-HlSw6/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank">Bruce Munro: Tropical Light, Darwin Australia. November 1st 2019 - April 30th 2020. Photography by Serena Munro, copyright © 2019 Bruce Munro. All rights reserved. A huge thank you to @fusionexhibitionandhire &amp; @NTmajorevents an install we will never forget ❤️@tropicallights.darwin</a></p> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">A post shared by <a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" rel="noopener" href="https://www.instagram.com/brucemunrostudio/?utm_source=ig_embed&amp;utm_campaign=loading" target="_blank"> Bruce Munro</a> (@brucemunrostudio) on Nov 1, 2019 at 10:09am PDT</p> </div> </blockquote> <p>The Tropical Light exhibit in Darwin is open until the 30th of April 2020. </p>

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