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Brave bystanders praised after mass Sydney stabbing

New details have emerged after multiple people were stabbed following a car crash in Sydney's south, on Sunday. Emergency crews were called to the intersection of Princes Highway and Old Bush Road at about 9am after receiving several triple zero calls about a crash. A 58-year-old man, who was known to police for "a number of matters" and suspected of carrying out the wild attacks, was allegedly found running from the scene by officers. He was later pursued on foot, tasered and taken into custody, and remains in Liverpool Hospital in serious condition, as he appeared to have inflicted a number of injuries to himself before the police arrived. A policeman was also injured during the arrest after the alleged offender stabbed him on his arm. A woman in her 40s, was allegedly being assaulted by the man as he drove, and is believed to be the partner of the alleged offender. “They were in a domestic relationship, there is no history that we are aware of, there is no apprehended violence orders between the two but definitely domestic related,” Superintendent Donald Faulds told a press conference on Sunday afternoon. “We believe the female was being assaulted in the car while the male was driving the vehicle at the same time. “A number of witnesses mentioned the car was driving quite erratically at the time and we believe that’s when the assault was occurring in the car and as result they then collided with another vehicle.” The female passenger was transported to hospital and is in a critical condition. Three other people were also injured, after they had rushed over to the accident to help. It is alleged that he had a box-cutter. “A number of members of the community stopped to assist occupants from both those vehicles,” the Superintendent said. “As community members were assisting one of the females out of one vehicle, a male got out of that vehicle. He was armed with what we believe to be a box cutter.” One witness reportedly told radio station 2GB that he saw a man get out of the car appearing to be armed with a box cutter, yelling “I’m going to kill you”. A NSW spokesman said of those injured, one male patient had sustained slash wounds to his arms and his neck and has been taken to Liverpool Hospital and is now in a serious but stable condition. A woman in her 40s was taken to St George Hospital with multiple stab wounds and is in critical condition. Another woman was hospitalised in a serious condition with a stab wound to the abdomen. The police officer sustained a large laceration to his arm and is in a stable condition. Superintendent Faulds praised the brave bystanders who went to assist those in the crash, without knowing what was about to unfold. “Amazing work, they’ve just turned up thinking it was a normal motor vehicle accident so they’ve obviously have gone to render assistance to both people and then they were faced with a male armed with a box cutter, quite frightening but very brave on those peoples’ behalf,” he said. He has asked the community to reach out to Crime Stoppers or Sutherland Police if they have any information about the incident. Images: Nine News

Caring

Sydney Olympics icon opens up on domestic violence abuse

In a rare and candid interview, former child star Nikki Webster has spoken about her challenging journey of recovery from domestic violence. The 37-year-old, known for her iconic performance at the 2000 Sydney Olympics and the hit song "Strawberry Kisses", shared her experiences on KIIS FM’s The Kyle and Jackie O Show. Webster, now a mother of two and the owner of a dance school, opened up about her struggles during a segment of the show. When co-host Kyle Sandilands inquired about her dating life, he seemed unaware of her much-publicised marriage breakdown in 2019, where her ex-husband was charged with a domestic violence offence. “I’m single,” Webster replied, prompting Sandilands to ask, “Why? Where’s your bloke?” She described the situation as “a long story” and “not a very happy story", revealing she had faced “a pretty hard few years”. Webster was previously married to Qantas flight attendant Matthew McMah. The couple, who married in 2012, separated eight years later. In November 2019, it was revealed that McMah had been convicted of assaulting Webster earlier that year. He received an $880 fine at the Downing Centre Local Court. Encouraged by Sandilands' lighthearted questions, Webster chose to share more about her past, mentioning her challenging experiences with domestic violence. “I come from quite a bad background of some domestic violence and stuff. So, I’m happy to be on the other side of that and, you know, focusing on life and kids,” she said. Webster confirmed she is doing "great" now, focusing on her children and her life. In a previous interview with Woman’s Day, Webster expressed hope for future love while reaffirming her commitment to her children. "I hope one day the right person will come along and it will just happen," she said, adding, "But I’m really happy with being a mum; it’s my favourite job in the world." Images: Instagram / KIISFM

Family & Pets

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

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

Movies

Tiny reason for huge commitment: Grandad to run from Perth to Sydney

John Harb admits he’s never been much of a runner. But that’s about to change, when the 62-year-old grandad and yoga enthusiast runs from Perth to Sydney for his granddaughter Luna. Little Luna came into the world three months early at Sydney's Royal Hospital for Women, in February, and at just 500 grams, she was the same weight as a tub of butter. The experience left John in awe, not only of his baby granddaughter, but of the magic that happens in the neonatal intensive care unit (NICU) at the hospital. “To watch Luna over the past three months, and witness her strength and her fighting spirit has been incredible,” said John. “Seeing my daughter Michelle and her husband Nick, and all the other parents and premature babies in the ward going through such a difficult time but being so well supported by the doctors and nurses made me want to do something to help,” he said. “When I discovered 80 percent of the equipment in the unit, including the equipment that kept Luna alive, was purchased through donations, I wanted to do something big.” Taking inspiration from Nedd Brockman, John has decided to run across the country with the goal of raising one-million-dollars to support the NICU. Currently training by running 15 kilometres a day, John has sourced advice from a range of experts including Brockman himself, who made a special visit to the NICU after hearing of John’s plans. He plans to commence his run at Cottesloe Beach on 1 October and arrive at The Royal Hospital for Women, Randwick in early December. Royal Hospital for Women Foundation General Manager Elise Jennings said John’s commitment will allow the hospital to purchase more lifesaving equipment on their wish list, like a new ultrasound machine for high risk pregnancies. “I have come to know John through the time he spent in the NICU supporting Michelle and Luna and I know how passionate he is about making a difference for those who come after Luna and we are incredibly grateful to John for his commitment. Running from Perth to Sydney is a huge undertaking, especially for a grandfather in his 60s with no previous long distance running experience, but if anyone can do it, he can.” “We are thrilled that John is announcing his run as part of our major annual fundraiser, Heart for Her, in recognition not only of the extraordinary care received by Michelle and Luna, but for all of the babies and families who come through our doors.” “For three decades now, The Royal Hospital for Women Foundation has funded the best medical equipment, innovative research, people and programs but we rely on the generosity of our donors to do this.” Donations can be made <a title="https://www.royalwomen.org.au/fundraisers/johnharb" href="https://www.royalwomen.org.au/fundraisers/johnharb" data-outlook-id="eed61181-8705-430d-a478-3f5f14e8b008">https://www.royalwomen.org.au/fundraisers/johnharb</a> Image credits: Supplied

Family & Pets

Search for trapped Sydney woman ends in tragedy

The search for a woman in her 30s caught in the middle of an explosion in Western Sydney has ended in tragedy. Jasmin Mhey was the only person unaccounted for after a townhouse in Western Sydney was destroyed in an explosion on Saturday afternoon, caused by a suspected gas leak. Now, more than 30 hours after the blast, search and rescue teams on Monday confirmed they had located the body of a woman, who has yet to be formally identified. The frantic search for Ms Mhey began on Saturday after the explosion, but was hampered by wet weather. On Monday morning, police confirmed in a statement that the body of a woman had been found. “Following an extensive search operation over the weekend, the body of a woman was found about 3.20am on Monday at the scene," the statement said. “The woman is yet to be formally identified. A report will be prepared for the information of the coroner.” Neighbours on Sunday told of how the missing woman’s mother reacted when she found out her daughter was caught up in the blast. “She broke out crying a couple of times,” neighbour Evelyn said. “But then she kept saying, ‘my daughter’s strong, my daughter’s strong, my daughter’s strong’.” Emergency services are yet to establish what caused the blast, which will be subject to a NSW Police investigation, although police were initially called to the area to reports of a gas explosion. Image credits: 7News

Caring

Sad reason why Sydney dad went overboard

A father-of-three who <a href="https://www.oversixty.com.au/travel/cruising/sad-end-in-search-for-overboard-cruise-passenger" target="_blank" rel="noopener">fell overboard</a> a P&O cruise ship last week has been identified, and his brother claimed that he had racked up a $4,000 casino debt onboard after being lured to spend big by the company's incentives. Shane Dixon, 50, died after falling overboard the cruise ship two hours before was due to dock in Sydney Harbour at 6am on Monday, May 6. Shane was reportedly on the three-day Elvis-themed cruise to Queensland's Moreton Island with his mother Sue Dixon, 66, who had saved up for the trip. "Our mother is devastated. Broken," Shane's brother Scott Dixon told <a href="https://www.dailymail.co.uk/news/article-13410955/Dad-three-plunges-death-luxury-cruise-liner-running-eye-watering-debt-ships-casino-tables-insider-reveals-high-rollers-lured-gamble-Australias-shores.html" target="_blank" rel="noopener">Daily Mail Australia</a>. “She has already buried one son and now she has to bury another one,” he said. Scott said that his brother was going through a rough time, as he struggled financially due to a series of tragedies including the breakdown of his marriage, and the deaths of their brother and father. Shane had spent $5000 at the cruise’s casino on the Friday, and Scott claimed that his brother received free drinks, a $750 play voucher and a ticket for a future cruise. In Australia, strict laws govern how gaming providers can advertise gambling, with promotions like the above, which may encourage someone to spend more than they intend banned. However, cruise ships that operate casinos in international waters can bypass these laws, reported the Daily Mail. After borrowing money from his family to repay the debt, Shane ended up spending another $4000 the following night, according to Scott. "His brain was probably going 100 miles an hour. He probably thought, ‘s***, I’ve done it again. I can’t afford it and I can’t ask mum for more money," Scott said. He added that P&O staff have been amazing and compassionate towards his mother. A P&O Australia spokesperson said they won’t be commenting on the claims due to the coroner’s investigation that is underway. Images: ABC News/ news.com.au

Travel Trouble

Sydney Airport launches massive auction of lost property

Have you ever lost something at the airport? You're not alone. This year there were more than 2,500 unclaimed items left at the airport including electronics, jewellery and designer handbags, and now they are up for grabs for a fraction of their retail price. The airport has launched their annual online auction, with all the money raised going to the Harding Miller Education Foundation, which grants four-year scholarships to high-school girls with high academic potential who are experiencing disadvantage. Over the past decade, the auctions have raised $1.6 million for various charities. “It’s clear the public love nabbing a bargain in support of a worthy cause," Sydney Airport general manager of corporate affairs Josh Clements said. “There’s something for everyone with plenty of great tech, clothing, accessories and beauty products as well as a host of unique items like a massage table, an electric scooter, a leaf blower and a quintessential Aussie favourite, a jaffle maker (sandwich press),” he added. “It’s great to see these unclaimed items find new homes, while also supporting a charity that’s offering comprehensive scholarships to help level the playing field for high school girls facing disadvantage.” “Opening bids start at just $10, which means shoppers have a chance to grab a great deal while also supporting an impactful charity,” Theodore Bruce Auctioneers director, Casi Prischl, said. The auction runs until Sunday May 12, with the <a href="https://www.theodorebruceauctions.com.au/sydney-airport-lost-property-auction-2024a" target="_blank" rel="noopener">complete list of auctions currently open for bids below</a>: <ul> <li>Tech & Gaming - Saturday 4 May to Saturday 11 May, closing at 10am</li> <li>Sunglasses, Bags, Scarves & Accessories - Saturday 4 May to Saturday 11 May, closing at 2pm</li> <li>Jewellery & Watches - Saturday 4 May to Sunday 12 May, closing at 10am</li> <li>Clothing - Saturday to May to Sunday 12 May, closing at 2pm</li> <li>Beauty, Alcohol, Home - Saturday 4 May to Sunday 12 May, closing at 4pm</li> </ul> Goods can be delivered at a price, or picked up by appointment. Images: Theodore Bruce Auctions

Money & Banking

Why is the Sydney church stabbing an act of terrorism, but the Bondi tragedy isn’t?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/greg-barton-10990">Greg Barton</a>, <a href="https://theconversation.com/institutions/deakin-university-757">Deakin University</a> Just days after the deadly <a href="https://www.abc.net.au/news/2024-04-14/several-killed-in-mass-stabbing-at-westfield-bondi-junction/103705354">Westfield Bondi attacks</a>, a <a href="https://www.abc.net.au/news/2024-04-16/albanese-says-there-is-no-place-for-violence-in-our-community/10372830">second knife attack</a> in Sydney has generated widespread shock and grief. This time, a 16-year-old entered an Assyrian church and rushed forward to stab the popular bishop presiding over a service, together with a priest who rushed to his defence. The shocking events were captured on the church’s video stream, and the news quickly reached thousands of members of Sydney’s large Assyrian community. While both priests were injured, thankfully the knife blows were not fatal. Parishioners immobilised the attacker, and police and paramedics swarmed the church. Police moved quickly to identify the assailant and analyse his apparent motivation before announcing they were treating the attack as a <a href="https://www.bbc.com/news/world-australia-68823240">terrorist incident</a> early this morning. Public knife attacks are rare in Australia, and for Sydney to experience two in quick succession has rightfully alarmed many and, understandably, led to comparisons between the two. A lot of the discussion is around why the Bondi Junction shopping mall attack in which six were killed wasn’t considered terrorism, but this shocking, but non-lethal, attack was. So what do we know about the church attack, and what important distinctions can be made between it and the awful events at Bondi? <h2>What happened at the church?</h2> Bishop Mar Mari Emmanuel has developed a large following, not just in Australia but in the Assyrian diaspora <a href="https://www.abc.net.au/news/2024-04-16/who-is-bishop-mar-mari-emmanuel-wakeley-church-attack/103728808">around the world</a>, with his live-streamed sermons. Shortly after seven o'clock on Monday night, the video feed of the Christ The Good Shepherd Church in Sydney’s outer west went dead, but not before it captured the shocking attack and parishioners rushing forward to help. Almost immediately, crowds gathered outside the church. We don’t yet know the motivations of the people who turned up, but it can be assumed they were there because they either saw or heard of what had happened and rushed over out of concern. Tragically, at some point the dynamics of the fast-swelling crowd took a dark turn. Instead of letting the large police and ambulance presence continue to handle the situation, some emotional onlookers turned on the authorities. Multiple police officers and paramedics were injured and vehicles were heavily damaged. It’s likely the fact the attack was captured on video, and therefore able to be shared and watched over and over again, added to the combustibility of an already volatile situation. It would appear the attack was deliberately planned to provoke an angry response. But what exactly happened in the crowd is the subject of one police investigation. <h2>Why is it considered a terrorist act?</h2> The other investigation is an anti-terrorism one. This is because while the teenager acted alone, it’s very likely they had received encouragement and backing from others. <a href="https://www.fbi.gov/history/famous-cases/unabomber">The Unabomber</a> is one of the very few documented cases of someone committing violence for ideological reasons truly in isolation. This lone actor attack in Sydney is reminiscent of the <a href="https://www.abc.net.au/news/2015-10-03/nsw-police-headquarters-gunman-was-radicalised-youth/6825028">2015 murder</a> of police accountant Curtis Cheng. He was shot dead by a 15-year-old who had been radicalised by supporters of Islamic State. It later came out <a href="https://www.abc.net.au/news/2019-03-14/curtis-cheng-murder-surveillance-man-guilty-of-terror-plan/10900982">in court</a> the attack had been planned by three other people, who also supplied him with the gun. Police were quick to pronounce the knife attack on Monday to be an act of terrorism. Having identified the attacker, they would have been studying his social connections and examining his digital footprint. The police assessment would have also given attention to the particulars of the church targeted. <a href="https://www.britannica.com/topic/Assyrian">Assyrians</a> (people from northwest Iraq, northeast Syria and southeast Turkey) are almost exclusively Christian, belonging to one of the oldest churches in existence, living in precisely that part of the world in which the Islamic State established its brutal caliphate. It’s telling that before the caliphate was established, Assyrians made up just 3% of the Iraqi population. But in the wake of Islamic State sweeping across northern Syria and Iraq, Assyrians soon made up <a href="https://www.sbs.com.au/news/article/assyrian-australians-plead-for-second-special-refugee-settlement-deal/x7ej8ix2y">40%</a> of Iraqi refugees. The trauma of those years is <a href="https://theconversation.com/diversity-and-religious-pluralism-are-disappearing-amid-iraqs-crisis-29832">recent history</a>, fresh in the minds of many. The recent Islamic State claim of responsibility for the <a href="https://edition.cnn.com/2024/03/27/europe/missing-people-russia-moscow-concert-hall-attack-intl/index.html">recent deadly attacks in Moscow</a>, is a reminder the group remains a live and growing threat. For these reasons police will be looking for any evidence Islamic State might have played a role in inspiring this attack. <h2>Terrorism or not terrorism?</h2> Events at the church have been under a bigger spotlight given the events of the days preceding it. Despite <a href="https://www.theguardian.com/australia-news/2024/apr/15/false-claims-started-spreading-about-the-bondi-junction-stabbing-attack-as-soon-as-it-happened">early misinformation</a>, police said thathey believe the Bondi killer, Joel Cauchi, was not motivated by a larger political cause – that is, a terrorist motivation. Instead, they say he lashed out violently because of anger control issues related to <a href="https://www.theguardian.com/australia-news/2024/apr/14/joel-cauchi-who-was-the-queensland-man-who-carried-out-the-bondi-junction-mass-stabbing">mental ill-health</a>. But of the <a href="https://www.theguardian.com/australia-news/2024/apr/14/bondi-junction-mass-stabbing-attack-who-are-the-six-victims">six people</a> he killed, five were women. Women also make up the majority of those injured. The one man who lost his life, security guard Faraz Tahir, a Muslim refugee from Pakistan, was attacked because he bravely <a href="https://www.1news.co.nz/2024/04/16/friend-of-bondi-security-guard-says-his-last-moments-were-brave/">rushed towards</a> danger in an attempt to try to stop Cauchi. NSW Police Commissioner Karen Webb said Cauchi <a href="https://www.abc.net.au/news/2024-04-15/westfield-bondi-attack-stabbing-investigation/103706698">deliberately targeted women</a>. So if someone is targeting a specific group of people, isn’t that terrorism? Why does it matter if they were killing based on gender or religion? Is misogyny not terrorism? Put simply, the defining characteristic of terrorism is perpetuating violence in the name of a higher, broader cause. Terrorists have a belief in a collective goal, and see themselves as being backed by people who share that belief. Misogyny can be an element of their motivation and justification of hatred, but it’s part of a larger political project. Basically, it boils down to whether these violent actors think they’re part of a political or religious movement that’s going to <a href="https://theconversation.com/social-inclusion-is-important-in-aotearoa-new-zealand-but-so-is-speaking-honestly-about-terrorism-167429">change the system</a>, or whether they are simply angry men projecting loathing and driven by personal demons. The two, of course, are <a href="https://www.smh.com.au/national/nsw/not-since-the-lindt-siege-has-sydney-known-grief-like-this-20240414-p5fjnl.html">not mutually exclusive</a>. This is not to undermine the damage that angry men can, and do, inflict. Domestic violence is a bigger threat to Australians than terrorism. Calling something a terrorist act doesn’t make it more or less serious than anything else, rather the categorisation is to provide conceptual clarity for the sake of the ensuing investigation. Events at Westfield Bondi Junction and the Assyrian Christ The Good Shepherd Church are both awful, but while they share some similarities, they are different sorts of crimes with different drivers and enablers. As police investigations continue, we’ll come to better understand the nature of both.<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/227997/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/greg-barton-10990">Greg Barton</a>, Chair in Global Islamic Politics, Alfred Deakin Institute for Citizenship and Globalisation, <a href="https://theconversation.com/institutions/deakin-university-757">Deakin University</a> Image credit: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-is-the-sydney-church-stabbing-an-act-of-terrorism-but-the-bondi-tragedy-isnt-227997">original article</a>. </div>

Caring

Teenage boy in custody after stabbing at Sydney church

A 15-year-old boy has been arrested after he stormed a church service in Western Sydney and stabbed a bishop and a priest. The Orthodox Christian church service was being live-streamed from the suburb of Wakeley on Monday night and captured the moment Bishop Mar Mari Emmanuel's sermon was interrupted by the teen, who allegedly stabbed him several times. Father Isaac Royel was also stabbed, with two parishioners also sustaining injuries as they subdued the teenager until police arrived. The bishop and priest were both taken to hospital with non-life threatening injuries. Acting Assistant Commissioner Andrew Holland said the churchgoers did a "fantastic job" trying to calm the scene, but outside the church, an emotional crowd quickly built. NSW Premier Chris Minns chaired an urgent crisis control meeting with leaders from multiple faiths, all agreeing to a call for calm. When police arrived on the scene, the riot officers attempted to forcibly move the crowd away from the church, which led to violence against the officers. Police cars were smashed and two officers were taken to hospital after being injured by members of the crowd who broke into “a number of houses to gain weapons to throw at the police”. The 15-year-old, who was known to police, was arrested once officers gained access to the church and was taken to an undisclosed location for his own safety. Premier Minns later confirmed that the attack is being treated as a terror event, saying Police Commissioner Karen Webb had designated the stabbing a "terror incident" just prior to 2am. Chris Minns urged the community to keep calm and not perpetuate further violence, saying he and religious leaders “endorsed and supported a unanimous condemnation of violence in any form, called for the community to follow first responder and police instructions and called for calm in the community”. “We’re calling on everyone to act with kindness and respect for each other,” he said. The church said Bishop Emmanuel and a senior priest were in a stable condition and also appealed for calm. “We ask for your prayers at this time,” the church said in a statement posted on social media. Image credits: Facebook / Nine News

Legal

West Side Story returns to Handa Opera on Sydney Harbour

Get ready to snap your fingers, tap your toes and experience the magic of Broadway in Sydney as Opera Australia presents the electrifying musical extravaganza West Side Story – making its triumphant return to the Handa Opera on Sydney Harbour stage in 2024. The 2019 production of West Side Story, if you were fortunate enough to grab seats, was an absolute smash hit. With record-breaking ticket sales and rave reviews, it's no wonder this show stole the hearts of over 65,000 theatre and musical buffs. Directed by the incomparable Francesca Zambello, West Side Story promises to once again whisk audiences away to the bustling streets of New York City, complete with iconic songs, heart-pounding dance numbers, and enough drama to fill the harbour twice over. Leonard Bernstein and Stephen Sondheim's musical masterpiece will once again take centre stage, accompanied by Jerome Robbins' legendary choreography – and this year, we were fortunate enough to be able to pose a few pre-performance questions to none other than Guy Simpson, the show’s musical director, and the all-singing, all-dancing Wayne Scott Kermond, who is playing “Doc” onstage. Let’s raise the curtain and see what they have to say! <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Guy-Simpson.jpg" alt="" width="1280" height="720" /> Guy Simpson Guy Simpson, a seasoned musical director with nearly 45 years of experience, boasts an illustrious career spanning global productions. Notably, his involvement with iconic shows like Miss Saigon and The Phantom of the Opera has taken him across continents, from Australia to Asia and beyond. Simpson's extensive repertoire includes serving as Musical Supervisor and Director for Opera Australia's acclaimed productions such as Evita, My Fair Lady, and of course West Side Story. Additionally, his contributions as an orchestrator and producer of cast recordings further solidify his stature in the musical theatre realm. With credits ranging from beloved classics like Les Misérables to contemporary hits like Muriel's Wedding, Simpson's versatile talent continues to enrich the world of musical theatre on an international scale. OverSixty: What memories do you have of your first time working on West Side Story – when was it and what was the experience like? Guy: “I was a rehearsal pianist for the 1983 production of West Side Story. The conductor was Dobbs Franks, who came from the US to conduct the first production of the show in 1960. So I was lucky to learn the show from him. I wasn’t in the orchestra and had tickets to watch opening night but during the afternoon of that day I received a call to play in the orchestra that night because the pianist was unwell. I’ll never forget that! Since then I have conducted three seasons of the show and learn more and more about it each time.” OverSixty: What were Bernstein’s influences and what impact did Bernstein’s score have when the musical first premiered? And why do you think it remains so recognised today? Guy: “Bernstein was influenced by many things. There is an <a href="https://www.wrti.org/arts-desk/2018-08-23/the-surprising-backstory-to-west-side-story" target="_blank" rel="noopener">excellent article by Debra Lew Harder</a> that outlines these influences. I love the combination of Jewish themes, Puerto Rican rhythm, Mexican dance music and of course American jazz. His classical roots also come in here – especially the music of Aaron Copland and George Gershwin. The genius is Bernstein's ability to blend all this into a score that tells the story so brilliantly." OverSixty: What’s your favourite moment in the music that audiences might not always notice but could listen out for? Guy: I like what is known as ‘THE BALCONY SCENE’. Most people will know it as the iconic love duet ‘TONIGHT’. In the show this scene moves between spoken dialogue (with underscoring), into the song and back into dialogue in a wonderfully cohesive way. It is so well crafted and is quite a challenge for the conductor to fit the music with the dialogue in a seamless way. I also love the scene in the bridal shop that includes the song ‘ONE HAND ONE HEART’. <img src="https://oversixtydev.blob.core.windows.net/media/2024/03/Wayne-Scott-Kermond-as-Doc.jpg" alt="" width="1280" height="720" /> Wayne Scott Kermond Wayne Scott Kermond, hailing from a rich lineage of Australian Vaudeville performers, epitomises the essence of musical theatre, comedy and cabaret. With a repertoire spanning from Anything Goes to Hairspray, including acclaimed performances in several productions of West Side Story, Kermond's versatility shines through. Additionally, he's showcased his creative prowess as the creator and star of captivating cabaret shows such as Candy Man and Jive Junkys. Beyond the stage, Kermond's talents extend to film, where he's contributed to projects like Happy Feet 1 & 2, and as a respected scriptwriter and director for various musicals, cabarets and corporate events. With accolades including a Green Room Award and Mo Award, alongside nominations for Helpmann Awards, Kermond's exceptional abilities and esteemed showbiz heritage solidify his status as an extraordinary Australian talent. OverSixty: You and Guy first worked on this musical 40 years ago, how does it feel to be coming back together on the Handa Opera version? Wayne: “I first performed in West Side Story at the old Her Majesty’s Theatre (Sydney), 40 years ago playing the youngest member of the Jets gang, ‘Baby John’, and then again in another fabulous production touring Australia / New Zealand in the mid-nineties playing Arab. And so it was lovely to be reminded by Guy on the first day of rehearsals for this season how special it is to us both, here we are, doing it again, just a little greyer." “We shared a few laughs about ‘where did that time go?’, and how ‘young’ we still look after all these years. It’s so great to work with Guy again, I think the last show we did together was Chicago, back in the late nineties. So with Guy's huge amount of expertise and experience at the helm as our Musical Director the show is in great hands. Wait till you hear the amazing Orchestra.” OverSixty: What about this musical’s story, lyrics, etc resonate with you and why do you think it keeps being seen on stage? Can it appeal to all ages? Wayne: “West Side Story is as iconic to music theatre as Swan Lake is to ballet. All great musicals such as West Side have to have a great love story; West Side certainly has that. And to add to that, also an incredible score, dynamic original choreography and a beautifully written book makes it a triple threat. That's why it stands the test of time – it's an inter-generational piece, whose story and message still stands today, which is the reason why I’m now getting the opportunity to play an adult character ‘Doc’ in this OA production 40 years later, as it will be for another artist, in another 40 years' time.” OverSixty: What’s your favourite moment in the show and why? Wayne: It is very difficult to say there is a favourite moment as there are so many. The whole journey of the show is something everyone who loves theatre should experience. The Prologue, Dance at the Gym, America, Cool, Tonight, Something's Comin, and not forgetting the Quintet powerhouse... Every part of this show is special, whether you're seeing the show for the first time or for the tenth time, it’s exhilarating, poignant and moving." “It’s especially wonderful for me to have been given the opportunity to revisit the show, after all these years later as a performer. And it’s very exciting to watch another generation of performers being given the opportunity to experience such an exceptional piece of theatre.” So, mark your calendars, Sydney-siders, because Handa Opera on Sydney Harbour is about to serve up a theatrical experience like no other. With world-class performances, breathtaking views of the harbour, and enough fireworks to make New Year's Eve jealous, this is one event you won't want to miss. So grab your tickets, grab your friends, and get ready to experience the magic of West Side Story like never before. See you at the opera! For more information and ticket sales, check out <a href="https://opera.org.au/productions/west-side-story-on-sydney-harbour/" target="_blank" rel="noopener">opera.org.au/harbour</a> All images: Supplied

Domestic Travel

Elevating tradition: La Traviata at the Sydney Opera House

Opera Australia is set to enchant audiences as it opens its highly anticipated 2024 season with the Sydney premiere of Sarah Giles’ acclaimed production of Verdi’s timeless masterpiece, La Traviata. The curtains will rise on January 2nd at the iconic Joan Sutherland Theatre in the Sydney Opera House, promising an unforgettable journey into the world of love, sacrifice and redemption. Hailed as "an absolute triumph" by The AU Review and described as "audaciously new" by InReview, this co-production by Opera Queensland, State Opera South Australia and West Australian Opera promises to deliver the quintessential glamour of La Traviata while offering a fresh, female perspective. Director Sarah Giles skilfully brings the inner turmoil of Violetta to the forefront, shedding light on the harsh realities and heartaches of her life as a courtesan. Enhancing the narrative, Charles Davis' masterful set design delves into Violetta's public and private spheres, while his costumes brilliantly capture the opulent world of lavish parties and extravagance synonymous with La Traviata. For the first time, the award-winning conductor Jessica Cottis will take the baton, leading the Opera Australia Orchestra and the celebrated Opera Australia Chorus through Verdi's emotionally stirring score. Audiences can anticipate spine-tingling renditions of iconic pieces such as the lively "Brindisi" and the achingly beautiful "Sempre libera". Taking centre stage as Violetta, Australian soprano Samantha Clarke, fresh from a string of successful debuts in prestigious venues worldwide, including Carnegie Hall and the Sydney Symphony Orchestra, is set to mesmerise audiences with her poignant portrayal. Joining her are the talented Australian-Chinese tenor Kang Wang, reprising the role of Alfredo, and New Zealand baritone Phillip Rhodes, making his Opera Australia debut as Giorgio Germont. As the season progresses, rising Australian soprano Sophie Salvesani will step into the shoes of Violetta, a role she previously captivated audiences with in 2022. Alongside her, Australian tenor Tomas Dalton returns as Alfredo, while baritone Luke Gabbedy, fresh from his acclaimed performance in OA's five-star production of the Ring Cycle in Brisbane, graces the stage as Giorgio Germont. Prepare to be swept away by the passion, drama, and timeless melodies of La Traviata, as Opera Australia invites you to experience this unforgettable journey of love and sacrifice, reimagined for a new era. Don't miss your chance to witness this exquisite production at the Sydney Opera House, from January 2nd to March 16th, 2024. For more information, <a href="https://www.sydneyoperahouse.com/opera-australia/2024-season/la-traviata" target="_blank" rel="noopener">click here</a>.

Art

Mission: Impossible Sydney mansion sells for eye-watering price

One of Sydney's most iconic properties, known as the Boomerang in Elizabeth Bay, has sold for $80 million. The mansion is featured in the second instalment in the Mission: Impossible franchise, with the 2000 movie starring Tom Cruise being set and filmed in Sydney. It was the first house to officially sell for above $1 million in 1978, before setting another record in 2002 when it fetched $20.7 million. Now, multiple sources have confirmed it has been snapped up by a purchaser, originally from Asia, for four times what it last sold for. The property has long been rated as one of Sydney’s Top 50 homes, and has been in the name of Katrina Fox, the daughter of Melbourne-based billionaire trucking magnate Lindsay Fox, since 2005. The impressive home was put up for sale by Ray White in 2017 with hopes of selling for $60 million and then again with Brad Pillinger of Pillinger for $80 million in 2021 — the last agent to have it listed. Pillinger couldn’t be contacted ahead of publication, but other sources have confirmed the property has sold for the $80m asking price, while speculation from other sources that the result was $105 million have been dismissed. Boomerang sits on 4233 square metres of waterfront land, and features 25 rooms including a private cinema modelled on the State Theatre. Image credits: realestate.com.au / Paramount Pictures

Real Estate

Pink denied entry to Sydney hotspot

Global superstar Pink, known for her chart-topping hits and gravity-defying aerial stunts, faced an unexpected hurdle during her recent visit to a Sydney hotspot. Reports have emerged detailing how the 44-year-old singer, with her entourage of eight, was turned away at the door of the Manly Skiff Club on Monday evening, sending waves of disbelief through the entertainment world. Eyewitness Mark Eymes recounted the cringe-worthy encounter to <a href="https://manlyobserver.com.au/surf-and-turf-how-manly-snubbed-both-pnk-and-a-kardashian-this-week/" target="_blank" rel="noopener">The Manly Observer</a>, highlighting Pink's valiant yet futile attempts to gain entry. "I overheard her saying that she had a booking, but when they asked her to provide her ID, she said she didn’t have any on her," Eymes disclosed, echoing the sentiments of many who witnessed the debacle unfold. Despite Pink's earnest explanation that she had already secured her booking with a deposit, the club's staunch adherence to the Registered Clubs Act 1976, mandating the presentation of identification for temporary membership, left the pop icon out in the cold harbour breeze. "Next thing, I saw Pink and her group walking away. They just turfed her out," Eymes recounted, painting a picture of celebrity rejection that would make even the most stoic of us cringe. In a valiant effort to come to Pink's rescue, Eymes, akin to a knight in a polo shirt, attempted to summon the Skiff Club directors and floor manager to rectify the situation. Alas, his efforts were in vain, as Pink and her posse were unceremoniously ushered away, leaving behind a cloud of disappointment and a faint echo of "Get the Party Started". However, amid the chaos and the flustered apologies from the Skiff Club's Secretary Manager, Matt Hazell, Pink maintained her composure, displaying a level of grace and decorum belying her superstar status. Witnesses attested that not once did she resort to diva antics, despite the palpable sting of rejection. "Not once did she throw her weight around. She was really pleasant despite being a little upset that she couldn’t come in," Eymes reported. As Pink continues her Summer Carnival stadium tour, captivating audiences with her electrifying performances and trademark aerial acrobatics, one can't help but wonder if this unfortunate incident will serve as inspiration for her next chart-topping hit. Will we soon find ourselves belting out lyrics about the perils of forgetting one's ID at the club? Only time will tell. Images: Instagram / Manly Skiff Club

Travel Trouble

Leaked photo of Sydney shark victim sparks urgent probe

The sanctity of patient privacy has come under scrutiny at Sydney's St Vincent's Hospital following the leak of a graphic photograph depicting the treatment of <a href="https://www.oversixty.com.au/health/caring/woman-bitten-by-shark-in-sydney-harbour-identified" target="_blank" rel="noopener">shark attack victim Lauren O'Neill</a>. The 29-year-old suffered a serious injury after being attacked by a bull shark near a private wharf in Elizabeth Bay, sparking both a medical and privacy crisis. The photograph in question, which we are not going to publish, shows Ms O'Neill's uncovered leg being attended to by medical staff, and has stirred concerns about the vulnerability of patient privacy in the digital age. St Vincent's Hospital has launched a comprehensive investigation into the breach, expressing deep regret and extending apologies to Ms O'Neill. "St Vincent’s has become aware of photos in the public domain that appear to have been taken in the Emergency Department and are related to those of a patient injury," said hospital spokesperson David Faktor. "We have sincerely apologised for any part St Vincent’s played in the photos being taken." The investigation aims to uncover the identity of the person responsible for taking the photograph and how it ended up in the public domain. Faktor aptly described the incident as a "wake-up call", highlighting the ease with which privacy can be compromised in today's digital landscape. Ms O'Neill, who is on track for a full recovery, expressed her gratitude to the heroic neighbours, emergency services and medical professionals who aided her. However, her appreciation comes amid the distressing breach of her privacy during a vulnerable moment. As the investigation unfolds, it is crucial for St Vincent's Hospital to implement robust protocols and security measures to prevent future breaches and reassure the public of their commitment to patient confidentiality. Images: Instagram

Caring

Woman bitten by shark in Sydney Harbour identified

A 29-year-old woman may lose her leg after being bitten by a bull shark while swimming in Sydney Harbour. On Monday night, Lauren O'Neill went for an evening swim near a private wharf in Elizabeth Bay when she was attacked by the shark, screaming out to neighbours for help. Michael Porter told NCA NewsWire he had just gotten home from work when he heard the woman’s scream. “I saw Lauren climbing out of the Harbour on the ladder and she was sort of pulling herself up quite weakly, she didn’t have much strength and there was a whole pool of red blood in the Harbour,” Mr Porter said. “Her leg was limp.” An ambulance was called and transported Lauren to St Vincent's Hospital, where she remains with "serious injuries". While her condition is stable, the 29-year-old is facing the possibility of losing her leg. Marine biologist Lawrence Chlebeck told <a href="https://www.news.com.au/technology/science/animals/woman-bitten-in-sydney-harbour-shark-attack/news-story/c59017954729f2452efc7f26a8a3f0b1" target="_blank" rel="noopener">news.com.au</a> it was “highly likely” to be a bull shark that bit Ms O'Neill, and warned people against swimming in the harbour, particularly in low light. “Bull sharks know they can come into Sydney Harbour and score an opportunistic feed,” he said. “If they can’t see or the water is cloudy, these animals will bite just to determine what something is and whether it’s prey. Unfortunately, Sydney Harbour after dusk is simply not a safe place to swim.” Image credits: Instagram / Nine News

Caring

Final goodbyes to Sydney dad after Bali scooter crash

Kevin Malligan, 24, who was critically injured in a horror <a href="https://www.oversixty.com.au/news/news/heartbreaking-update-after-young-father-critically-injured-in-bali-scooter-crash" target="_blank" rel="noopener">Bali scooter crash</a> has been taken off life support, after he was declared brain dead by doctors. The young father-of-two was left fighting for his life after the accident. He suffered a brain bleed and a fracture to his neck, and was put into an induced coma at the BIMC Hospital in Nusa Dua. On Friday, his mother-in-law confirmed his death via a <a href="https://www.gofundme.com/f/kevin-malligan-accident#xd_co_f=NDIzY2U3YjUtNTQ2Yi00MjhjLWEwNTMtNGNhZTMyZmNiMzc0~" target="_blank" rel="noopener">GoFundMe</a> page that was previously set up to raise funds for his return to Australia. “Our last hours with our son-in-law Kevin were this morning as we all said our goodbyes,” she wrote, with a heartbreaking photo of Malligan's heavily pregnant wife, Leah and young daughter Ivy at his bedside. “We had to go through a traumatic time that no wife, father, mother, dad and family should have to go through. “Leah and his dad made the beautiful, generous choice to donate his internal organs," she added. She then thanked everyone who has supported their family during these tough times, with over $122,000 raised by generous donors in the fundraiser. “We are forever grateful for so much support over these last two weeks from family, friends, work colleagues, community and complete strangers. “Leah is overwhelmed by the support to bring Kevin back home and to have the opportunity to farewell her beloved husband and father to Ivy and her soon-to-be bub – due early February 2024.” Images: GoFundMe

Caring

One humble Sydney pub's big plans for Princess Mary's coronation

A pub in Sydney has shared their plans to celebrate Crown Princess Mary's coronation as she ascends to the Danish throne. The Slip Inn, a Merivale-owned pub near Sydney's Darling Harbour, was where Princess Mary met Denmark's Prince Frederik in 2000 during the Olympic Games. Now, the Aussie princess is set to become Queen of Denmark following the shock announcement of the abdication of Queen Margrethe, who announced she will be handing the throne to her son as of January 14th. In celebration of the Princess Mary <a href="https://oversixty.com.au/lifestyle/family-pets/crown-princess-mary-set-to-make-history" target="_blank" rel="noopener">making history</a> as the first Aussie to ever hold the title of Queen Consort, the Slip Inn have shared their plans for coronation day. The pub will be honouring the occasion with a Danish themed menu and decorations ahead of a busy weekend expected to attract tourists and royal punters. The Slip Inn is closed on Sunday, so there will be no live broadcast of the official proclamation ceremony taking place in Copenhagen, however the pub couldn’t let the day pass without paying tribute to the couple. Danish flags will fly throughout the venue, while Daisies, the national flower of Denmark, will adorn the venue and King and Queen thrones have been installed for people to pose on and take photos with. A special menu will feature hotdogs and a Scandinavian inspired cocktail titled “There’s Something About Mary”. The Danish-inspired menu will run at The Slip Inn for the whole month of January to celebrate the new King and Queen. Chief operating officer at Laundy Hotels Justin Tynan said the Sussex St pub was “the place to be” in Sydney’s thriving night-life scene of the time, and soon became the centre of royal attention after the couple disclosed it as their meeting place. “I think I did about 50 live crosses around the world when the news broke,” he said of the time. “The Danish flag still hangs out the front of the building but back in the day we put Carlsberg beer on, we put Danish food on the menu, we had buses turning up with Danish tourists just wanting to see exactly where they were.” “It was absolutely crazy.” Image credits: Getty Images

Relationships

"It breaks my heart": Robbie Williams' dedication to fallen Sydney fan

Robbie Williams has dedicated an emotional song to the woman who passed away after an incident at his concert in Sydney. Robyn Hall, a woman in her 70s, died after spending a week in an induced coma, after she suffered a serious head injury at Williams' show at Allianz stadium on November 16th. Performing in Melbourne on Thursday, Williams addressed the devastating incident and dedicated his hit song Angels to Robyn and her family. He said on stage to the crowd at AAMI Park, “It breaks my heart and I’ve been thinking about it an awful lot and I’ve thought about it through the show tonight.” <div class="embed" style="font-size: 16px; box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; vertical-align: baseline; outline: none !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; vertical-align: baseline; width: 600px; max-width: 100%; outline: none !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7304437214732094728&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40theageaustralia%2Fvideo%2F7304437214732094728%3Fembed_source%3D121355059%252C121351166%252C121331973%252C120811592%252C120810756%253Bnull%253Bembed_masking%26refer%3Dembed%26referer_url%3Ddk79lclgtez2i.cloudfront.net%252FPyWtRc2%253Fapp%253D1%2526v%253D1%2526img%253D1%2526lazy%253D1%26referer_video_id%3D7304437214732094728&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Ftos-alisg-p-0037%2Fo8cJDW8MgQerjBKI3SeYVvhS6CfAUQUwXD1FgA%7Etplv-dmt-logom%3Atos-alisg-i-0068%2FocfI48S6IAgjMyAgAEvQA5EgSDvWQfdeKwXIAF.image%3Fx-expires%3D1700949600%26x-signature%3DfCsDz4T93Vyn5CSPoqnmFZJY%252FOc%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> “I just want to give a big shout out and lots of love from me and my band to Robyn and Robyn’s family." “Let’s all sing up, she was somebody just like you who came to the gig just like you did tonight, this is for her.” After Robyn <a href="https://oversixty.com.au/health/caring/sydney-woman-who-died-at-robbie-williams-concert-identified" target="_blank" rel="noopener">tragically died</a> in St Vincent's Hospital, her son Michael paid tribute to his mum on Facebook, saying he had lost his "best friend". “I haven’t got the words to say what my mum meant to me,” he said. “Taken from under me and my best friend is no longer with me … I love you forever.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">A family friend said Hall loved the British singer and had “thoroughly” enjoyed the evening before tragedy struck. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“She was one of those ones who looked 50 but was 70. She took care of herself and didn’t need carers,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Robyn was the most beautiful human I have ever met. Through all adversity, she smiled, hugged and laughed her way through,” he said. <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">“Broken hearts amongst all her family and friends, she will be missed by all who knew her.” <p style="font-size: 16px; box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; caret-color: #212529; color: #212529; font-family: -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji';">Image credits: Facebook / Getty Images <div id="fuse-injected-22953829264-1" class="fuse-slot-dynamic publift-video-ad" style="box-sizing: border-box; padding-top: 24px; padding-bottom: 24px; display: flex; justify-content: center;" data-fuse="22953829264" data-fuse-injected-at="1700777022430" data-fuse-code="fuse-slot-22953829264-1" data-fuse-zone-instance="zone-instance-22953829264-1" data-fuse-slot="fuse-slot-22953829264-1" data-fuse-processed-at="892"> <div id="fuse-slot-22953829264-1" class="fuse-slot" style="box-sizing: border-box; max-width: inherit; max-height: inherit;"></div> </div>

Caring

Sydney woman who died at Robbie Williams concert identified

The woman who tragically died after falling down six rows of seats at Robbie Williams' Sydney concert has been identified. Robyn Hall, who was in her 70s, passed away at St Vincent's Hospital after spending a week in an induced coma after the fall. Her son Michael paid tribute to his mum on Facebook, saying he had lost his "best friend". “I haven’t got the words to say what my mum meant to me,” he said. “Taken from under me and my best friend is no longer with me … I love you forever.” A family friend said Hall loved the British singer and had “thoroughly” enjoyed the evening before tragedy struck. “She was one of those ones who looked 50 but was 70. She took care of herself and didn’t need carers,” he said. “Robyn was the most beautiful human I have ever met. Through all adversity, she smiled, hugged and laughed her way through,” he said. “Broken hearts amongst all her family and friends, she will be missed by all who knew her.” Robyn had remained in an induced coma since Thursday November 16th, when she was rushed from Sydney's Allianz Stadium where Williams was performing on his Australian tour. It is understood that Robyn was climbing over chairs when she slipped and fell down six rows of seating. Paramedics were called to the stadium around 10:15pm, after Robyn suffered serious head and face injuries. She was treated at the scene before being rushed to hospital. The sold-out show kicked off just after 7pm and had wrapped by about 10pm when the 40,000 fans began making their way to the exit. It was around this time the woman began climbing over the seats and fell. Image credits: Getty Images / Facebook

Caring

Sydney Opera House at 50: a public appeal, a controversial build, a lavish opening – and a venue for all

<a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> It is one of the most famous buildings in the world. It has an instantly recognisable silhouette that adorns tea towels, bottle openers and souvenir sweatshirts. Miniature versions huddle in snow domes. You can build your own from <a href="https://www.lego.com/en-us/product/sydney-opera-house-10234">Lego</a>. Bidjigal artist and elder Esme Timbery constructed a replica in her trademark <a href="https://recollections.nma.gov.au/issues/volume_7_number_2/papers/displaying_the_decorative">shell art</a>. Ken Done put it on doona covers and bikinis. If you search the hashtag on Instagram, you will see over a million posts. Fifty years ago today, after a prolonged and controversial period of construction, the Sydney Opera House was officially opened by Queen Elizabeth II in a lavish ceremony. Spectators carrying flasks of coffee and cushions watched from the sidelines. More than 2,000 small boats viewed the ceremony from the water. After the national anthem was played and nine F111 aircraft roared overhead, the crowd heard a didgeridoo and Aboriginal actor Ben Blakeney delivered a prologue “representing the <a href="http://nla.gov.au/nla.news-article110753207">spirit of Bennelong</a>”. In her speech, the Queen remarked the Opera House had “captured the imagination of the world”. The opening festivities gestured both to Australia’s deep Indigenous roots and white imperial origins. The building itself symbolised a new era of state investment in cultural infrastructure. This was a hallmark of the “new nationalism” in the 1970s: the arts were regarded as essential to Australia’s newly confident sense of national identity. Today, the Sydney Opera House reminds us Australia can value culture for its own sake. But what did the Opera House mean to Australians when it opened 50 years ago? <h2>Building the Opera House</h2> The campaign for an Opera House in Sydney was initiated by Sir Eugene Goosens, who came to Australia as conductor of the Sydney Symphony Orchestra in 1947. He found a sympathetic ear in Joe Cahill, the Labor premier who committed Bennelong Point to the project and launched an international competition to design the building in 1955. This part of the story is well-known (indeed, there was even an <a href="https://www.theeighthwondertheopera.com">opera</a>). Danish architect Jørn Utzon’s bold, avant garde design won the competition and construction began in 1961, funded – in a democratic touch – by the NSW government’s Opera House lottery. Construction was plagued by difficulties and expanding costs. Utzon famously resigned from the project in 1966; Australian architect Peter Hall oversaw the construction of the interior. In spite of the jokes and doubts, by the time the building was finished, Australians had embraced the Opera House as their own. The Queen tactfully acknowledged the building’s construction delays in her speech at the opening ceremony, <a href="http://nla.gov.au/nla.news-article110753207">suggesting</a> “every great imaginative venture has had to be tempered by the fire of controversy”. <h2>Cringe and strut</h2> As historians Richard White and Sylvia Lawson <a href="https://trove.nla.gov.au/work/35026797/version/50553486?keyword=symbols%20of%20Australia">note</a>, while the Opera House was intended for all performing arts, the centrality of opera – with its expense and small audiences – made a symbolic statement a “new, more sophisticated Australia” had arrived. As Australia sought to find an identity independent of Britain, the Opera House became a symbol of this new nationalist turn. Some fitted the Opera House into older narratives of Britishness: in his book Sydney Builds an Opera House, Oswald Zeigler remarked we needed to thank Captain Arthur Phillip “for finding the site for this symbol of the Australian cultural revolution”. <a href="http://nla.gov.au/nla.news-article110752757">Gough Whitlam declared</a> it was "a magnificent building, Our civilisations are known by their buildings and future generations will honour the people of this generation […] by this building." In spite of this, there was still cultural cringe. The <a href="http://nla.gov.au/nla.news-article110753207">Canberra Times</a> reported the British media believed the Opera House was a sign that “the country had turned a corner artistically”. It was a telling sign of cultural cringe that their opinions were sought at all. The Opera House was part of an Australian cultural renaissance in 1973. The ABC broadcast an adaptation of Ethel Turner’s beloved Seven Little Australians. The bawdy Alvin Purple was a box-office smash. Patrick White became the first (and so far, only) Australian to win the Nobel Prize for Literature. The new wave of Australian drama was in full swing, and the Opera House’s opening season included a play by new wave star David Williamson alongside Shakespeare’s Richard II. Historians have nominated many emblems for the new nationalist mood (from the new national anthem to The Adventures of Barry McKenzie) but I would suggest the Opera House embodies it best: the soaring sails, the bold, rich colours of the interiors, and John Coburn’s glorious, confident curtains for the performance venues. <h2>For the elite or for the people?</h2> There were always objections on the grounds that government investment would be better focused elsewhere, rather than on a performance venue for “elites”. These arguments are wearyingly familiar today. Premier Joe Cahill rejected this charge from the outset: in <a href="https://mhnsw.au/stories/general/sydney-opera-house-the-gold-book/">1959 he declared "</a>the average working family will be able to afford to go there […] the Opera House will, in fact, be a monument to democratic nationhood in its fullest sense." Cahill’s insistence this was a building for everyone to enjoy and be proud of has been fulfilled by its creative use ever since. School children regularly perform; new audiences have been drawn by musicians of all genres, from punk to Prince. But the Opera House has also been a place for creative experimentation and innovative performance – as it should be. Today, 50 years from its opening, the Sydney Opera House reminds us the state still has a role to play in supporting the performing and creative arts in Australia. This radiant, soaring building belongs to all of us: a great reason to celebrate its birthday.<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/213252/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/michelle-arrow-45">Michelle Arrow</a>, Professor of History, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> Image credits: Getty Images 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/sydney-opera-house-at-50-a-public-appeal-a-controversial-build-a-lavish-opening-and-a-venue-for-all-213252">original article</a>.

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