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Hundreds arrested in domestic violence crackdown

More than 550 people in NSW have been arrested in a state-wide crackdown on domestic and family violence. Operation Amarok VI ran from last Wednesday to Saturday, and in that time police arrested 554 people and made a total of 1070 charges. Of those arrests, 226 were wanted by police for alleged serious domestic violence offences, according to a NSW police spokesman. "Anyone who commits this heinous crime can expect a knock at their door," Police Minister Yasmin Catley said. "Operation Amarok is just one part of the police response. Last year, almost 150,000 calls for assistance were made to the NSWPF for domestic violence-related matters. "This shows the severity of the situation, the huge amount of police time and resources that go into addressing this epidemic and how important it is for prevention, early intervention and crisis support services to work together." Some of most significant arrests include a a 53-year-old man who allegedly threatened a woman with an imitation gun in Kempsey. Officers searched the home and seized the weapon and some cannabis. A 23-year-old woman was also arrested in the state's west after allegedly stabbing a relative around 2:30 am on May 17. The older relative received multiple stab wounds to the abdomen, head, and back and was taken to a local hospital where police were called. She was later flown to the Royal Adelaide Hospital in a critical condition. The 23-year-old was charged with wound person intend cause grievous bodily harm and was refused bail to appear in Dubbo Local Court on May 18. NSW Police Executive Sponsor for Domestic and Family Violence, Deputy Commissioner Peter Thurtell said that the operation allowed police to conduct a targeted blitz of those who have been flagged as the worst domestic violence offenders. “We demonstrated last week that we will target and arrest the offenders no matter where they are located. We saw significant arrest numbers in our regional communities, and we also saw arrests for offences that occurred allegedly while the offender was in jail," he said. "These Amarok VI results send a powerful message to offenders, and the community at large, that we do not tolerate domestic and family violence in any form, and our efforts will continue." Images: NSW Police

Legal

Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> “She’s no oil painting”. Those were the unkind words of a colleague commenting on the subject of Vincent Namatjira’s acrylic painting, Gina. Every one of the prominent Australians and cultural heroes in Namatjira’s ensemble <a href="https://theconversation.com/vincent-namatjiras-paintbrush-is-his-weapon-with-an-infectious-energy-and-wry-humour-nothing-is-off-limits-217361">Australia in Colour</a> (2021) is subject to his trademark distortions. When the painter gets to work interpreting the press photographs that his main source, resemblance is always stretched. No one comes out unscathed: Tony Abbott looks just as scary as Angus Young from AC/DC; a grimacing Queen Elizabeth as grisly as a roaring Cathy Freeman. Indeed, in the <a href="https://thamesandhudson.com.au/product/vincent-namatjira/">2023 volume on Namatjira</a> there are no fewer than four paintings of Gina Rinehart – and they look like four different people. Do we expect a portrait to be a moral <a href="https://en.wikipedia.org/wiki/Physiognomy">physiognomy</a>, the ancient pseudoscience that assumes the way someone has lived their life shapes their features and appearance? Roman emperors were shown to be ideal types: the heroic portrait. Who knows what these men actually looked like? In the case of King Charles III, whose <a href="https://www.bbc.com/news/entertainment-arts-68981200">new portrait</a> by Jonathon Yeo was unveiled this week, we can compare his likeness to the myriad photographic and filmic images. Newspaper caricature, <a href="https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-1-1720-1800/">popular since the 1700s</a>, works hard to point out imperfections, posit animal likenesses, and exaggerate specific facial features to satirise public figures. Namatjira brushes with caricature even when depicting himself. <h2>Can you control your image?</h2> I think Rinehart should be flattered to be one of Namatjira’s favourites. The wits in the twittersphere have in the past 24 hours shown several more of his Ginas, and it turns out there are also at least half a dozen colour portraits of her by other artists. They range from <a href="https://scottmarsh.com.au/products/mothers-milk">Scottie Marsh’s mural</a> on a Sydney wall of a matronly Rinehart giving the breast to infant Barnaby Joyce (with apologies to Raphael), to Xavier Ghazi’s demonic hard-hatted Gina <a href="https://citynews.com.au/2023/bald-archy-prize-heading-for-immortality/">giving Australians the finger</a> – it’s in newspaper caricature mode, his entry in the Bald Archies competition for 2023. Although Rinehart has reportedly called for Namatjira’s painting to be taken down, the initiative <a href="https://www.theage.com.au/culture/art-and-design/gold-medallist-led-campaign-to-take-down-gina-rinehart-portrait-20240516-p5je1y.html">apparently comes</a> from members of the Australian swimming team and their former coach (Rinehart is that sport’s major private sponsor). I suspect their discomfort comes from reading Namatjira’s Gina as a moral portrait; that is, ugliness of appearance projects an ugly spirit (whereas for them she is the epitome of generosity). It’s an interesting idea that the fresh-faced teenage daughter of Lang Hancock in <a href="https://www.smh.com.au/entertainment/tv-and-radio/abcs-australian-story-focuses-on-gina-rineharts-bond-with-father-lang-hancock-20150706-gi6h1f.html">old news photos</a> has changed not just because times takes beauty away (as we all know), but because of the impact of things she inherited from her father: not just the extreme wealth and the jawline, but the conservative views, and the ways she has used her money and power. Her control of vast tracts of (unceded) grazing land across western and central Australia give reason to reflect on what Western Aranda man Namatjira might think of her. <h2>And yet what about commissions?</h2> When can a sitter control their portrait image? Only when they commission the work. Art history has plenty of cases in which a sitter has rejected their portrait. Monet in the 1860s painted his brother Leon, who so disliked the canvas he locked it in an attic, from which it emerged 150 years later. Portrait paintings have had to be altered, payment refused, or be paid for then destroyed. The commissioned portrait, it’s assumed, must flatter the sitter or at least offer a fair and non-judgemental likeness. The British royal family has historically been very forgiving about portraits, and has the sophistication to know it is futile to protest a likeness. Doing so invokes the perverse “<a href="https://en.wikipedia.org/wiki/Streisand_effect">Streisand effect</a>”, as we see happening with Namatjira’s Gina. There are dozens of depictions of Elizabeth II and Charles III in Namatjira’s pantheon – including one of the late queen alongside Rinehart in Australia in Colour. Namatjira has a family link to Elizabeth and Prince Philip, who met Albert Namatjira (the painter’s great grandfather) on their 1954 tour of Australia. But no one is asking for Queen Bess to be removed from the National Gallery of Australia. As a mark of noblesse oblige, King Charles has accepted the newly unveiled commissioned portrait of himself by Jonathon Yeo. It is an absolute shocker, and he should have sent it back. The King, de-aged by 20 years, looks pleasantly out at us from a floor-to-ceiling fog of strawberry- and cerise-coloured paint that covers his dress uniform. The joke, of course, is that the red colouration can be read as a reference to “<a href="https://time.com/6226657/crown-charles-camilla-tampongate/">tampongate</a>”, the product of an infamous case of tabloid phone-hacking in 1993. It’s a case of a portrait generating an unintended consequence – just as Namatjira surely did not expect to provoke international headlines today with his Gina, whom he’s been depicting for years. Fittingly, wise heads have rejected calls for the gallery to remove the canvas, starting with director Nick Mitzevich’s <a href="https://amp.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">measured statement</a>, seconded by the National Association for the Visual Arts whose <a href="https://visualarts.net.au/news-opinion/2024/nava-defends-vincent-namatjiras-artistic-freedom-amid-demands-removal-nga/">press release</a> insists on freedom of expression. Finally, late yesterday, Namatjira, resisting myriad calls for interviews, issued a statement in the pithy mode of his book texts. Let him have the last word: <blockquote> I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.<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/230297/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </blockquote> <a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: X (Twitter) 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/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>. </div>

Art

Line of Duty star's cause of death revealed

The sister of Line of Duty star Brian McCardie has thanked loved ones and fans for their support since the tragic passing of her brother, while also revealing what caused his sudden death at the age of 59. Sarah McCardie shared a lengthy post on social media thanking people for their "overwhelming support" during the difficult time, adding that the Scottish actor will be laid to rest in a funeral on May 23rd at a church in his home country. She also revealed that Brian died due to an aortic dissection, a tear in the aorta. "The McCardie family would like to thank everyone for their overwhelming support regarding the sudden passing of Brian James McCardie - beloved son, brother, uncle & friend," she wrote. "Brian died due to an aortic dissection, causing short pain and a sudden death." <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C7AAl3vLkfz/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C7AAl3vLkfz/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Sarah McCardie (@sarahmccardie)</a> </div> </blockquote> "There will be a funeral mass held on Thursday 23rd May... where we will celebrate Brian's life before he takes his final bow." Sarah, who is also an actress, previously confirmed the news of his death in a heartbreaking tribute post to her late sibling, saying he "is gone much too soon". "It is with great sadness that we announce the passing of Brian James McCardie (59), beloved son, brother, uncle and dear friend to so many," her post began. "Brian passed away suddenly at home on Sunday 28th April. A wonderful and passionate actor on stage and screen, Brian loved his work and touched many lives, and is gone much too soon." "We love him and will miss him greatly; please remember Brian in your thoughts." The post was flooded with comments of condolences, as one person wrote, "One of Scotland's greats on both the stage and the screen." McCardie was best known for his role as Tommy Hunter on BBC's Line of Duty, the show Time with Sean Bean, and the film Rob Roy co-starring Liam Neeson. Image credits: BBC / Instagram

Caring

5 reasons art therapy is great for your mental health as you age

We know how important it is to look after our <a style="color: blue;" href="https://www.betterhealth.vic.gov.au/health/servicesandsupport/healthy-and-active-ageing">physical health</a> as we age, but our mental health is equally important. <a style="color: blue;" href="https://aifs.gov.au/resources/short-articles/normalising-mental-illness-older-adults-barrier-care">Studies have shown</a> that besides the immediate impact on wellbeing, older people with untreated mental ill health are at risk of poorer overall health, increased hospital admissions, and an earlier transition into aged care. Art therapy is an excellent way to boost our mental wellbeing. In a nutshell, this type of therapy is when visual art, such as drawing, sculpting, or collage, is used in a <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">therapeutic context</a>. And don’t be put off if you haven’t picked up a paintbrush since you were a kid. Art therapy is not about creating works of beauty but about the process. It’s a completely <a style="color: blue;" href="https://cata.org.au/faqs-myth-busters/#:~:text=The%20focus%20of%20Creative%20Art,%2C%20growth%20and%20self%2Dawareness.&text=Reality%3A%20Creative%20Art%20Therapy%20does,to%20affect%20change%20and%20growth.">judgement free zone</a>! Emotional release: Growing up, many of us were never taught that it was okay to express how we’re feeling, especially emotions like anger and sadness. In that way, art therapy can be ideal us older folks who often feel stuck when it comes to expressing ourselves. Art therapy provides the opportunity to express our <a style="color: blue;" href="https://creativityintherapy.com/2017/06/expressing-emotions-creativity-6-step-art-process/">inner experiences</a> in a visual way. Through the act of creation, we can release pent-up feelings, reduce stress, and experience emotional release. Another challenging emotion that art therapy can help with is grief. As we age, we are more likely to experience the <a style="color: blue;" href="https://www.nari.net.au/the-impact-of-prolonged-grief-in-older-people">loss of a loved one</a> and we don’t get ‘used to it’. The hole it leaves in our hearts is just as dark. Through <a style="color: blue;" href="https://www.vivianpaans.com.au/blog/healing-through-art-how-art-therapy-can-help-with-grief-and-wellbeing">creating art</a> we can explore the feelings of grief and sadness in a safe, judgement-free space. It can also foster a sense of self-compassion and when we have more compassion for ourselves, it becomes easier to accept our emotions. Stress relief: <a style="color: blue;" href="https://www.sane.org/information-and-resources/facts-and-guides/facts-mental-health-issues">Anxiety, depression, and past traumas</a> can heavily impact on our daily lives. Risk factors over our lifespans may change but they don’t magically disappear once we hit a certain age. Illness, grief, financial stress, social isolation, and life transitions such as menopause can all be <a style="color: blue;" href="https://www.healthdirect.gov.au/older-people-and-mental-health">contributing factors</a> of poor mental health for older adults. Creating art can ease symptoms as we refocus on what we’re creating and move thoughts away from overthinking and worry. Creating art releases <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">dopamine,</a> the chemical responsible for allowing us to feel pleasure and satisfaction. This further reduces bothersome symptoms of anxiety and depression. Also, participating in art therapy leads to a more creative brain. A creative brain is better equipped to create stress-relieving techniques for other areas of our lives. Through creating art, we draw the fears that are inside our minds. This takes them out of our heads and places them away from us, helping us feel more in control. Recovering from <a style="color: blue;" href="https://www.interrelate.org.au/news-media/blogs/november-2021/how-art-can-heal-trauma">trauma</a> can be a lifelong process for many, and it’s important for someone dealing with it to find tools that will help this process. Art therapy can be one of those as it can give a sense of agency and self-understanding through the ability to express feelings symbolically. This can give <a style="color: blue;" href="https://anzacata.org/About-CAT">new perspectives</a> of ourselves and our worldview which is essential in the recovery process. It can also help connect with deeply stored emotions and help process them. Self-discovery: When we are younger we are often so busy working, socialising, and raising a family many of us never get a chance to take the time out for <a style="color: blue;" href="https://www.visionpsychology.com/starting-the-process-of-self-discovery/">self-discovery</a>. Self-discovery is important in our lives as it gives us a clearer sense of purpose and direction in life. In turn, this leads to making better decisions that lead to our overall happiness. Some of us see our kids leave home and suddenly we’re left wondering, who am I when I don’t have a family to care for? Creating art can help us acknowledge and recognise feelings that have been suppressed in our subconscious. Through learning to use different techniques of art our minds open up to thinking more freely. Self-discovery comes from both the finished product we create as well as the process of making it. Self-esteem: As we age, it’s easy to look in the mirror and struggle to recognise the person we see. Our bodies are changing, and it can often feel like society doesn’t value us as much as when we were young. It can be a major shift in the way we view ourselves and lead to poor self-esteem. Art therapy teaches us how to use a variety of media to create something new. We can develop talents and see strengths as we master new materials and see the completion of projects. This sense of accomplishment can be a big leg up to our <a style="color: blue;" href="https://artbusinessnews.com/2022/01/benefits-of-art-therapy/">self-esteem.</a> A sense of community: <a style="color: blue;" href="https://likefamily.com.au/blog/what-is-loneliness-and-how-does-it-affect-someone/">Loneliness</a> is a big contributor to poor mental health. <a style="color: blue;" href="https://www.psychiatrist.com/news/study-why-older-people-feel-so-lonely/">Studies</a> show two groups of people are most at risk: young adults and older people. With factors at our age such as children leaving home, not working as much or at all, living alone, and chronic illness, it’s easy to see how loneliness can creep into our lives. Group art therapy is a wonderful way to connect with others. We share a space with those who have similar interests, and it gives us a sense of belonging. For those who can't make a session in person due to distance or illness, some therapists offer <a style="color: blue;" href="https://www.artandplaytherapytraining.com.au/art_therapy">online group art therapy</a>. You don’t need to see an art therapist to get the mental health benefits of creating art. But the advantage of that is they have the skills to work out what best suits your needs. They’ll also work with you through any tough emotions that may arise from your art therapy. So maybe it’s time to hide those new coloured pencils from the little ones, crack them open, and enjoy them yourself! If you’d like to find out more about art therapy sessions, the links below are helpful. They offer online, in person and group sessions. <a style="color: blue;" href="https://www.zevaarttherapy.com/" target="_blank" rel="noopener">https://www.zevaarttherapy.com/</a> <a style="color: blue;" href="https://www.alliedarttherapy.com.au/" target="_blank" rel="noopener">https://www.alliedarttherapy.com.au/</a> <a style="color: blue;" href="https://www.solacecreativetherapies.com.au/" target="_blank" rel="noopener">https://www.solacecreativetherapies.com.au/</a> <a style="color: blue;" href="https://cata.org.au/programs-ndis/online-creative-art-therapy/" target="_blank" rel="noopener">https://cata.org.au/programs-ndis/online-creative-art-therapy/</a> And for some more ideas on dabbling in art therapy on your own (or with a friend), check out Shelley Klammer’s amazing resources. She is US-based but has some online workshops that are also amazing: <a style="color: blue;" href="https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/" target="_blank" rel="noopener">https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/</a> Article written by Kylie Carberry Image: Shutterstock

Mind

Royal photographers weigh in on photo editing fiasco

Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. "It's pretty clear what we're allowed to do – we're allowed to basically use darkroom techniques," Samir - who has also taken official portraits of members of the royal family - told 9Honey. He then explained what darkroom techniques entail: "So what photographers in the days when they were shooting film used to do in the dark rooms. "We're pretty limited in what we can do, it's sort of a basic crop, maybe a bit of colour correcting and that's how we edit our photos basically. "Sometimes you look at picture and you think 'Oh, if I crop it like this, it will stand out more, this will be more impactful'. So it's usually, if I'm honest, when looking back at the picture that's taken, that's the first thing I look at – how can this be cropped to make it have the impact that it should really." Zak, who has taken many photos of Prince Harry and Meghan as well as other royal family members agreed and said that the photographers do their best to get the shot right to reduce the need for editing. "You try and get it right first time around when you're taking the picture," he told 9Honey. "Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do. "I think cropping is really important because you're trying to find the best version of that picture, so if it means cropping in tighter to make it a nice portrait or keeping it wider to show more in what's going on in the event. "It's pretty basic what we do to the picture because it's all about when you take the picture, you're looking through the viewfinder [and] that's when you want to get it right." The topic of re-touching royal photos sensationally <a href="https://www.oversixty.com.au/lifestyle/family-pets/princess-kate-sensationally-speaks-out-over-photo-fiasco" target="_blank" rel="noopener">made headlines</a> over a manipulated image posted by Kate Middleton, and has now made its way back into the spotlight following the launch of the <a href="https://www.oversixty.com.au/entertainment/art/incredible-treasure-trove-of-unseen-royal-images" target="_blank" rel="noopener">new exhibition</a> at The King's Gallery exhibition in the Buckingham Palace. The exhibition which runs until October 6 has noted darkroom techniques including cropping and framing out backgrounds or brightening up levels in a few of the negatives, including one label that read: "retouching is an essential part of photography. "Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print." Image: 9Honey/ Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Incredible treasure trove of unseen royal images

In a mesmerising blend of history and artistry, Buckingham Palace's newly christened King's Gallery has unveiled a captivating journey through time and royalty with the debut of "Royal Portraits: A Century of Photography". Opening its on May 17, this groundbreaking exhibition delves into the illustrious lineage of the Royal Family through more than 150 carefully curated portraits – some never before seen by the public eye. A highlight among these treasures is a poignant snapshot capturing a rare familial moment: Queen Elizabeth II, Princess Margaret, Princess Alexandra, and The Duchess of Kent cradling their newborns. Lord Snowdon, Princess Margaret's husband, immortalised this touching scene as a token of gratitude to Sir John Peel, the esteemed royal obstetrician responsible for delivering all four babies within a mere two-month span. In this heartfelt image, Queen Elizabeth II tenderly holds Prince Edward, her youngest offspring, while Princess Margaret, Princess Alexandra and The Duchess of Kent embrace their own bundles of joy. Accompanying this snapshot is a handwritten letter penned by Princess Margaret to her sister, affectionately addressed as "Darling Lilibet", requesting a signature on a print destined as a cherished memento for the esteemed doctor. The exhibition transcends mere family portraits, delving deep into the evolution of royal portraiture over the past century. Visitors are treated to a visual feast of iconic images captured by renowned photographers, including Dorothy Wilding, Annie Leibovitz, David Bailey and Rankin. Notably, the legendary Cecil Beaton's immortalisation of Queen Elizabeth II's coronation remains a cornerstone of the collection, offering a timeless glimpse into history. The exhibition also pays homage to the enduring allure of Princess Anne through her striking appearances on Vogue covers and a celebrated coming-of-age portrait by Norman Parkinson, commemorating her 21st birthday. From the timeless elegance of Princess Anne to the radiant charm of Prince William and Kate Middleton, and the spirited grace of Zara Tindall, the exhibition showcases a diverse tapestry of royal personalities spanning generations. Yet, it is not merely the portraits themselves that captivate visitors, but the untold stories and intimate moments woven into each frame. Delving into the depths of royal history, the exhibition reveals unseen wartime images by Cecil Beaton, illustrating King George VI and Queen Elizabeth's unwavering resolve amidst the chaos of conflict. As visitors explore the gallery, they are guided by a free multimedia experience narrated by Dame Joanna Lumley, offering a behind-the-scenes glimpse into the artistry and craftsmanship behind these timeless portraits. From Hugo Burnand's vivid recollections of photographing the royal coronation to the candid insights of royal photographers such as Rankin and John Swannell, the multimedia guide adds depth and dimension to the exhibition, inviting visitors to immerse themselves fully in the rich tapestry of royal history. "Royal Portraits: A Century of Photography" is not merely an exhibition; it is a testament to the enduring legacy of the British monarchy, captured through the lens of some of the most esteemed photographers of our time. From the grandeur of coronations to the tender embrace of a mother cradling her newborn, each portrait tells a story – a story of tradition, resilience and the timeless allure of royalty. Images: Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Gina Rinehart demands for National Gallery to remove her portrait

Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. The portrait of Australia's richest woman appears alongside many others, including Queen Elizabeth and former Prime Minister Julia Gillard, in an exhibition by acclaimed Archibald Prize-winning Indigenous artist Vincent Namatjira. Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. <a title="www.smh.com.au" href="https://www.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">Nine Newspapers </a>have the National Gallery of Australia (NGA) have been flooded with a dozen complaints about the portrait of Rinehart, including some from athletes she sponsors through her company Hancock Prospecting. <blockquote class="twitter-tweet"> Australia’s richest person, Gina Rinehart, has demanded the National Gallery of Australia remove a portrait of her from an exhibition by Archibald Prize-winning Indigenous artist Vincent Namatjira. THAT’S A GOOD REASON TO SHARE THE PORTRAIT WIDELY. <a href="https://t.co/pYoMh6vQcW">pic.twitter.com/pYoMh6vQcW</a> — Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote> One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999. The NGA has refused to take the painting down, and the artwork will be on display until July 21st. “Since 1973, when the National Gallery acquired Jackson Pollack’s Blue Poles, there has been a dynamic discussion on the artistic merits of works in the national collection, and/or on display at the gallery,” the NGA said in a statement. “We present works of art to the Australian public to inspire people to explore, experience and learn about art.” In response to the demand to have the painting removed, Namatjira released a statement saying, “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Image credits: Getty Images / X (Twitter)

Art

15,000 squares, 500 hours, 19 months: how I used embroidery to make sense of Australia’s catastrophic fires

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> I slip the needle through a small loop of black thread, pull it tight and snip. Done. I have just tied off the very last stitch on an embroidered scroll that has taken me more than 500 hours across 19 months to complete. All of my artwork is extremely labour-intensive. But I have to admit, this is a bit excessive, even for me. It’s not surprising that I have been asked more than once “why not just outsource the labour?” and even “what is the point?” I always sigh and think enviously of plumbers. I am 100% sure hardworking tradies are never asked to justify the point of their work. Why do I work so hard? There is no one easy answer, it’s different every time. The labour intensity of my processes adds time into the equation and this both carries meaning and can change the meaning of the work as it goes on (and on and on). I always learn something unexpected. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=800&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=800&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=800&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1005&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1005&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1005&fit=crop&dpr=3 2262w" alt="A finger points to a knot on the back of a messy abstract embroidery done in black, red, orange and yellow" /></a><figcaption>The last stitch! Tracey Clement</figcaption></figure> I put my little scissors down and, before busting out the bubbles, I snap a picture for Instagram because #selfpromotion, but also because this is news, albeit of a very slow-breaking kind. This is what I’ve learned after stitching for seemingly endless hours: while no news may be good news, “slow news” is even better. My embroidered scroll is titled Impossible Numbers. It started as my attempt to memorialise <a href="https://wwf.org.au/what-we-do/australian-bushfires/in-depth-australian-bushfires">the estimated 3,000,000,000 non-human lives lost</a> in the devastating bushfires of 2019–20, a number impossible to actually comprehend. <h2>Doomscrolling an emergency</h2> During that long and awful summer Sydney was often shrouded in an eerie orange haze. You could smell smoke. Ash fell. But, like many Australians, I experienced the worst of it by <a href="https://dictionary.cambridge.org/dictionary/english/doomscrolling">doomscrolling</a> fast news. I was both horrified and fascinated by images of fires so huge and hot they generated their own weather, by pictures of houses reduced to smoking skeletal outlines that somehow remained standing, by headlines comparing the fires to <a href="https://www.theguardian.com/australia-news/2019/dec/31/mallacoota-fire-mayhem-armageddon-bushfires-rage-victoria-east-gippsland">armageddon</a> and <a href="https://www.theguardian.com/australia-news/2020/oct/30/australia-must-prepare-for-future-shaped-by-extreme-climate-bushfire-royal-commission-report-warns">the apocalypse</a>. This hyperbolic language implies we are locked in a war of good versus evil. Even headlines in the vein of “Firefighters battle blazes” pit us (people) against them (the forces of nature). And in the heat of the moment the language of war feels right. <a href="https://traceyclement.com/2020/04/21/apocalypse-now">I’ve succumbed to it myself</a>. But it is dangerous. This language reinforces the idea we can dominate nature; it frames the fires as a conflict that we can end by winning. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=1432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=1432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=1432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1800&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1800&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1800&fit=crop&dpr=3 2262w" alt="A hand holds a phone taking a picture of a long abstract embroidery in black, red, orange and yellow." /></a><figcaption>Viewing the world through the phone. Tracey Clement</figcaption></figure> I will admit watching a goat-toting woman <a href="https://www.abc.net.au/news/2020-01-03/scott-morrison-got-bushfire-welcome-he-deserved-says-liberal-mp/11838476">berate a sitting prime minister</a> left me with a short-lived, but mildly satisfying, feeling of shared righteous indignation. But mostly doomscrolling just fuelled my sorrow and left me feeling impotent as, inevitably, the fast news cycled on to the next crisis (and the next, and the next). <h2>Slowing it down</h2> In October 2022, I finally stopped trying to process the bushfires, and all their terrifying implications, through the fast-news language of war. I picked up a needle instead. Of course 3,000,000,000 stitches would be too many, even for me, so I decided to stitch a grid of some 15,000 squares, which I filled with innumerable stitches – a nod to the endless stream of pixels that usually deliver our news. I started wanting to honour the 3 billion dead, that impossible number, but after months of stitching I realised I was “writing” a kind of slow-news story. It may sound ridiculous, but this tactic has been used before. The <a href="https://www.bayeuxmuseum.com/en/the-bayeux-tapestry">Bayeux Tapestry</a> is a slow-news story that documents the Norman conquest of England through embroidery. It took years to stitch, and some 950 years later it is still in circulation. As an alternative to doomscrolling easily digestible fast-news stories of good triumphing (or not) over evil, I have created an actual fabric scroll which depicts a stylised firestorm building in intensity until it becomes all-consuming. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=799&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=799&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=799&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1004&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1004&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1004&fit=crop&dpr=3 2262w" alt="A middle-aged white woman peeks out from behind a very long abstract embroidery in black, red, orange and yellow." /></a><figcaption>The artist with Impossible Numbers. Tracey Clement</figcaption></figure> Despite mimicking pixels, Impossible Numbers is resolutely handmade. It is too messy, too crude, to be anything else. It is bleedingly obvious (and there was blood) the will of a person is inextricably stitched into this image of devastating fire. Human labour is literally entangled in this artwork; it shows us as part of the picture, part of nature. And this is good news Impossible Numbers doesn’t have a victorious ending, or any ending at all. The scroll is not fully unrolled. There is no end in sight: the story isn’t over, it’s ongoing. In this way it points to the future; a future in which we are not fighting nature. And this is good news too. If you don’t have a spare 500 hours to process the news into slow news, don’t worry. By the time I finally tied my last knot, I found I had transformed my fear and rage into something tangible, something both magnificent and beautiful (if I do say so myself), no longer about me. It is now a slow-news story that is no longer about a particular event; something everyone can share. This is why I do the work. Impossible Numbers is on display as part of <a href="https://www.casulapowerhouse.com/prizes/the-blake-art-prize">The Blake Prize</a> at the Casula Powerhouse, Sydney, until July 7. <hr /> This article is part of <a href="https://theconversation.com/au/topics/making-art-work-126611">Making Art Work</a>, our series on what inspires artists and the process of their work.<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/227907/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, Lecturer in Visual Art and McGlade Gallery Director, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Instagram 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/15-000-squares-500-hours-19-months-how-i-used-embroidery-to-make-sense-of-australias-catastrophic-fires-227907">original article</a>. </div>

Art

King Charles unveils first post-coronation portrait

King Charles has unveiled his first post-coronation portrait in a special ceremony at Buckingham Palace. The painting by Jonathan Yeo - known for portraits of celebrities including Nicole Kidman, Paris Hilton and Grayson Perry - was commissioned in 2020 to celebrate the then Prince of Wales’ 50 years as a member of charitable institution The Drapers’ Company. Yeo had four sittings with the King, with the first sitting when Charles was still Prince of Wales in June 2021 at his country home in Highgrove, and the last sitting in November 2023 at Clarence house. The portrait – approximately 2.6 metres by 2 metres framed – depicts King Charles wearing the uniform of the Welsh Guard. “It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation,” the artist said. “When I started this project, His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed. “I do my best to capture the life experiences etched into any individual sitter’s face. “In this case, my aim was also to make reference to the traditions of Royal portraiture but in a way that reflects a 21st century monarchy and, above all else, to communicate the subject’s deep humanity,” said Mr Yeo. “I’m unimaginably grateful for the opportunity to capture such an extraordinary and unique person, especially at the historic moment of becoming King.” The King and Queen met The Master of The Drapers’ Company, Tom Harris and Past Master, William Charnley on Tuesday at Buckingham Palace. The portrait will go on public display for a month at the Philip Mould Gallery in London, from May 16 until June 14 and will be displayed at Drapers’ Hall from the end of August. Images: news.com.au

Art

"A Duck-Filled Platypus?!": Wheel of Fortune contestant's $10k mistake

A Wheel of Fortune contestant has made a hilarious mistake that cost her US$7250 ($10,900) with viewers blasting her on social media for not knowing the painfully obvious answer. During an episode of the American game show this week, Floridian contestant Kimberly Wright failed to complete the puzzle when she picked the wrong letter, according to Fox News. The puzzle board read “D U _ _ – _ _ L L E D PLATYPUS,” and Wright chose to spin the wheel which landed on the Express wedge. “I’m going to call an F,” she said, which elicited groans from audiences in the studio. Wright believed that the answer was “duck-filled platypus”, when it was “duck-billed platypus" an animal native to Australia, and many fans were in disbelief over her "painful" mistake. “I have never been more enraged watching wheel of fortune,” one fan wrote in response to a clip of the viral moment. “Oh my, that was painful. F?? She thought the platypus was filled? with what exactly?” another tweeted. “F***** brutal,” a third agreed. “Where did this lady think an F was going to go in this puzzle?" a fourth asked, while another wrote: “wheel of fortune puzzle was clearly duck-billed platypus and the lady asked for an F she’s like reverse autocorrect.” “A Duck-Filled Platypus!?” another chimed in. “Oh, I hope Red isn’t on social media. She gonna get blasted for missing that puzzle,” wrote another viewer. Image: News.com.au/ Wheel of Fortune

Hospice nurse reveals six unexplainable "death bed phenomena"

Hospice nurse Julie McFadden has lifted the lid on six unexplainable "death bed phenomena" that occur within a person's last weeks of life. The LA-based nurse, who specialises in end of life care, explained that as a person nears the end of their life, they will experience a range of unusual things, including hallucinations, random bursts of energy and even choosing when they're going to die. McFadden once again took to her YouTube channel to educate people on what happens when you're on your death bed, detailing each of the six strange occurrences. Julie explained that patients often experienced "terminal lucidity", "hallucinations", "death stares", and more in their final weeks. She began by explaining the first wild thing that happened at the end of life was terminal lucidity, in which people get a "burst of energy" in the days before they die, sharing that it happens "very often". She said, "Just enjoy it and expect that maybe they will die soon after because that's the kicker with terminal lucidity, it looks like someone's going to die very soon then suddenly they have a burst of energy." "They maybe have a really great day, they're suddenly hungry, they're suddenly able to walk, they're suddenly very alert and oriented, and then shortly after usually a day or two they will die, so that can be the hard part if you're not ready for it, if you don't know what's coming you can think they're getting better and then they die, which can be very devastating." Julie then described how most people in their final days will encounter "death visioning" or "hallucinations", as many people describe seeing the ghosts of loved ones in their final days. "I wouldn't have believed it unless I saw it for myself over and over again," the nurse admitted. "Number three, this is really crazy - people choosing when they're going to die. I have seen some extreme cases of this, people just saying, 'Tonight's when I'm going to die I know it, I can feel it,' and they do. There's also a time when people will wait for everybody to get into town or get into the room arrive at the house whatever it is and then they will die," the nurse explained. The fourth phenomena is known as the "death reach", according to Julie. She explained, "It's when the person's lying in bed and they reach up in the air like they're seeing someone or they're reaching for someone either to hug them or to shake their hands. A lot of times they'll hold their hands up for a long time, like they're seeing something that we're not seeing and they're reaching for someone that we can't see." Julie then listed "number five is the death stare," explaining that the death stare and the death reach often "go together". "It usually looks like someone is staring off into the corner of the room or the side of the room basically looking at something intently, but if you're snapping your finger in front of their face or trying to say their name to kind of snap them out of it, they won't," she said. The last wild thing the nurse has seen is known as a "shared death experience" and is "most impactful", according to Julie. She explained, "A shared death experience is when someone who is not dying feels or sees or understands what's happening to the person who is dying." "It's kind of like the dying person gives you the sensation of what they're going through. From what I experienced, it was a very good feeling. It was like the person was giving me these feelings of freedom and joy and kind of telling me that they were okay." "At the time, I was shocked, I didn't know what was happening, but I've come to find out that that's called a shared death experience." Image credits: YouTube / Instagram

Caring

6 little known facts about The Sound of Music

The Sound of Music, released in 1965, continues to be one of the most beloved family films of all time. In honour of the iconic film, we look behind the scenes to reveal some little known facts about one of our favourite movies. 1. Julie Andrews kept falling over during the famous opening mountain scene While Julie Andrews may look graceful twirling atop the mountain in the opening scenes, in reality she kept being knocked over by the draft of the helicopter trying to capture the iconic aerial scene. Andrews said: “the down draft from those jets was so strong that every time… the helicopter circled around me and the down draft just flattened me into the grass. And I mean flattened. It was fine for a couple of takes, but after that you begin to get just a little bit angry… And I really tried. I mean, I braced myself, I thought, ‘It’s not going to get me this time.’ And every single time, I bit the dust.” 2. Christopher Plummer hates the movies Fans of Christopher Plummer’s Captain von Trapp will be disappointed to learn that he hated the film so much he called it “The Sound of Mucus”. “Because it was so awful and sentimental and gooey,” he said. “You had to work terribly hard to try and infuse some minuscule bit of humour into it.” To ease his pain, Plummer drank, even on set. He admitted on the DVD commentary that he was drunk when filming the Austrian music festival scene. 3. Charmian Carr injured herself during “Sixteen going on seventeen” Charmian Carr, who played Liesl Von Trapp, slipped while leaping from a bench in the gazebo scene. She fell through the glass and injured her ankle. In the scene, she is wearing a bandage on her leg, which is covered by make up. 4. Friedrich grew 15 centimetres during the six months of filming Nicholas Hammond, who played Friedrich Von Trapp, grew from 1.60 metres to 1.75 metres in the six months of filming. It caused many continuity problems in the movie as Friedrich had to be shorter than Liesl but taller than Louisa. As the beginning of the film, Hammond had lifts in his films but by the end, Carr who played Liesl had to stand on a box. 5. Mia Farrow auditioned for the role of Liesl. <a href="https://youtu.be/66v7gtwRGdM" target="_blank" rel="noopener">Watch her audition tape here.</a> 6. The film is historically inaccurate The movie is loosely based on the autobiography of Maria von Trapp, The Story of the Trapp Family Singers, but the film took many liberties. For instance, there were 10 von Trapp children, not seven. Maria left the convent to tutor one of the children, not to governess all them. Georg was a kind man, not the stern disciplinarian as depicted the film. Maria and him were married 11 years before the Nazis invaded Austria. And the Von Trapp family didn’t escape from the mountains by crossing over the mountains – that would have led straight to Hitler’s Germany. Image credits: Getty Images

Movies

Insider spills on Robert Irwin's plans for I'm a Celeb

Robert Irwin received rave reviews for his co-hosting skills alongside Julia Morris on this year's I'm a Celebrity...Get Me Out of Here, but an insider has claimed that he won't be returning for another season. "His easygoing and faultless live TV skills have won over the nation. But his career at Ten will only be short-lived, and he is heading back to Seven," a source told Woman's Day. The negotiation is believed to have been orchestrated by the ultimate "mumager" Terri Irwin. "The Irwins are very smart when it comes to negotiations," the insider added. The source also claimed that Robert's decision to join I'm a Celebrity was seen as a one-off opportunity to elevate his television profile - which he has achieved after bringing fresh energy into the show. Channel Seven is reportedly keen to welcome Robert back with a massive deal, according to the source. "Seven want Robert back and have thrown a king's ransom at him," they said. If the deal goes through, Julia Morris will have to find a new partner to head to the jungle with. Many fans have praised Robert for bringing some fun into the jungle. "I have not ever been keen on watching this show but Robert you have brought some class and good honest fun to the jungle. Thank you," one fan wrote under a clip of the show's grand finale that Robert posted on his Instagram. "How awesome was Robert? This gig was like it was made for him. What a natural," another added. "Best year of I'm a Celebrity, and it was because you added something to the show as Co-Host. Brilliant job for somebody with no experience but with a lot to give," commented a third. Images: Instagram

"I'm shocked": Queen of the jungle crowned in I'm a Celeb finale

The 2024 season of I’m A Celebrity … Get Me Out Of Here! has concluded with the coronation of a new monarch. No, it’s not some royal lineage we’re talking about; it’s the queen of reality TV herself, Skye Wheatley. After weeks of enduring the culinary horrors of the jungle and the occasional emotional breakdown, Australia has spoken and Skye is officially their jungle royalty. Her reign over the camp was nothing short of spectacular, featuring riveting moments such as her triumph over creepy crawlies, her dramatic monologues about missing Wi-Fi, and of course, her unforgettable friendship with that one tree that seemed oddly supportive. In an “incredibly close” result that had us all on the edge of our seats (or couches, let’s be real), Skye managed to outshine her fellow campmates and secure the coveted title of Jungle Queen. But it wasn’t just about the glory; it was about the charity, too. Skye walked away with $100,000 for Bully Zero, proving once and for all that you can battle both bullies and bugs and emerge victorious. In her post-victory interview, Skye expressed her shock at the win, saying, “I’m shocked.” Truly, her eloquence knows no bounds. “I feel absolutely blessed to have had this opportunity, and to go through the things I went through with these boys.” But behind those eloquent words lies the heart of a true champion, one who faced her fears head-on and emerged triumphant, all while looking fabulous in a khaki jumpsuit. Before her jungle adventure, Skye confessed that she thought the public expected her to “fall flat on my face”. Well, Skye, the joke’s on them because you soared like a majestic eagle, or at least like a slightly disoriented possum. And let’s not forget the emotional rollercoaster that was the finale. Tears flowed like the Brisbane River as the top three reunited with their loved ones. It was a moment of pure emotion, a stark contrast to the usual scenes of celebrities eating bugs for our entertainment. As we bid farewell to another season of jungle shenanigans, we can’t help but reflect on the memories created, the friendships forged, and the questionable food choices made. Here’s to Skye Wheatley, the queen of our hearts and the jungle alike. Long may she reign, or at least until the next season starts. And to all the celebrities who braved the jungle, whether voluntarily or not, we salute you. May your next adventure be slightly less bug-infested and involve significantly more room service. New host Robert Irwin had the last word to longtime host Julia Morris: “From the bottom of my heart, I have loved this so much," he said. "It’s been so much fun.” Images: Network Ten

Heartbreaking twist after mum dies on her way to a wedding

A mother has been killed in a horrific car crash while on her way to a wedding in regional NSW, just hours after announcing she was expecting her third child. Shellymaine Ah Foon, 32, her partner Troy, and their two young daughters, aged six and two, were on their way to a wedding in Mudgee, NSW when their SUV crashed at Aarons Pass, about 2pm on Friday. Foon was left with critical injuries and was taken to Mudgee hospital, but soon passed away. Her partner was seriously injured and airlifted to Westmead Hospital to undergo surgery after suffering several fractures to both limbs on his left side. Their two daughters were also taken to the same hospital. A family member, who wished to remain anonymous, confirmed the sad detail to 7News. “We spoke to Shelly on the Thursday night, and she told us she was pregnant,” she said. “She was meant to go for tests when she came back from Mudgee to see how far along she was.” Foon was remembered as a "social butterfly" who could “strike up a conversation with anyone.” “She was very family oriented, was always there for anyone who needed anything, she was very selfless with her time,” the family member said. “Her death has really impacted a whole community of people,” she added. A <a href="https://www.gofundme.com/f/in-loving-memory-of-shellymaine-ah-foon" target="_blank" rel="noopener">GoFundMe</a> page has since been organised to help cover funeral costs, support Troy following his surgery, and help Foon's family, who are largely based overseas. “Troy won’t be able to go to work while he recovers,” the woman said. “He still has to undergo rehab, and he will be on crutches for some time.” Their two daughters have since been discharged from the hospital, and are in the care of family while Troy recovers. The family friend added that Foon's love for her kids was exceptional saying: “she was the light of Troy and her girls’ lives. “Their world has changed forever and the love their Mum gave them will never be replicated ever again.” Police said investigations are still underway into the circumstances leading up to the crash, with the other driver taken to Mudgee Hospital with minor injuries. Images: 7News

Caring

Viewers stunned after Denise Drysdale booted from I'm a Celeb

The first celebrity has been voted out of this year's I'm A Celebrity...Get Me Out Of Here! Aussie TV legend Denis Drysdale became the first shock elimination of the 2024 series after arriving late in the jungle. While fans and campmates were shocked when Robert Irwin announced the star's name, she was more than happy to return to civilisation. “Oh, it was more than what I expected,” she told the show's hosts, Irwin and Julia Morris. When asked if she felt "bittersweet" about being the first celebrity booted out of the show, she admitted: “Can I say not so bitter?! It’s sweet! I’m sorry, I have to be – I have to be completely honest!” “It is s**t in there!” she continued. “It is s**t, it’s unbelievable! The dunnies, the dirt! Now I’m a clean person – there’s dirt upon dirt upon dirt upon dirt.” “But I’m so glad that I’ve done it. I’ve done it and I’m proud of myself. So I must say thank you to the Celebrity people for giving me the opportunity to prove to myself I can go in there and do it," she added. A few fans took to X, formerly known as Twitter, to express their shock at the decision. “What on earth?!” wrote one. “People saved Callum over DENISE??” added another. Images: Network Ten

"His family was horrified": Young man jumps off cruise ship

What was meant to be a voyage of leisure and joy turned into a nightmare in the early hours of Thursday morning when a young man made a fateful decision to leap overboard, leaving passengers and crew stunned and grieving. The incident occurred as Royal Caribbean's colossal 18-storey Liberty of the Seas cruise ship navigated the waters between Cuba and the Bahamas' Grand Inagua Island. <a href="https://nypost.com/2024/04/04/us-news/royal-caribbean-cruise-horror-as-20-year-old-man-jumps-overboard/" target="_blank" rel="noopener">According to the New York Post</a>, witnesses recounted the harrowing scene: a young man took a spontaneous plunge from one of the ship's decks, despite the desperate pleas and helplessness of his father and brother who stood witness to the impulsive act. Passengers onboard shared their accounts, describing the chilling moments leading up to the tragedy. Bryan Sims, one of the witnesses, told the New York Post he had spent time with the young man and his brother in the ship's hot tub until the early hours of the morning. "He was pretty drunk," Sims said, noting the jovial atmosphere that abruptly transformed into shock and chaos. The young man's declaration to his father, followed by his abrupt jump, left bystanders reeling in disbelief: “As we were walking from the hot tub back to the elevators, his dad and brother were walking towards us," Sims continued. "His dad was fussing at him for being drunk, I guess. When we got to them, he said to his dad, ‘I’ll fix this right now.’ And he jumped out the window in front of us all.” Deborah Morrison, another passenger, echoed the sentiments of shock and horror that rippled through the ship. "His family was horrified. Just beside themselves," she recounted. “There was a lot of yelling, and the crew was alerted immediately.” In a statement addressing the tragic incident, Royal Caribbean affirmed its commitment to providing support to the family, while respecting their privacy during this difficult time. Amy Phelps Fouse, another passenger onboard, attested to the sombre atmosphere that enveloped the ship in the wake of the tragedy. Despite the uncertainty that lingered, she commended Royal Caribbean for their transparency and compassionate response to the situation. More to come. Image: Royal Caribbean

Cruising

Undernourished, stressed and overworked: cost-of-living pressures are taking a toll on Australians’ health

<a href="https://theconversation.com/profiles/nicole-black-103425">Nicole Black</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>; <a href="https://theconversation.com/profiles/anthony-harris-7148">Anthony Harris</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>; <a href="https://theconversation.com/profiles/danusha-jayawardana-1406565">Danusha Jayawardana</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>, and <a href="https://theconversation.com/profiles/david-johnston-1126643">David Johnston</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> For the past few years, it has been impossible to escape the impact of inflation. Meeting our most basic needs – such as food, housing and health care – now costs significantly more, and wage increases <a href="https://futurework.org.au/post/for-most-workers-wages-are-still-failing-to-keep-up-with-inflation/">haven’t kept up</a>. There are signs relief could be on the horizon. Inflation has fallen to its <a href="https://www.abs.gov.au/statistics/economy/price-indexes-and-inflation/consumer-price-index-australia/latest-release">lowest levels</a> since January 2022. But Australia now also finds itself in the midst of an <a href="https://theconversation.com/prepare-to-hear-about-an-official-recession-unofficially-weve-been-in-one-for-some-time-224963">economic downturn</a>, putting further pressure on households. Rising prices have an obvious negative impact on our financial health. But they can also have a profound effect on our physical and mental wellbeing, which is often overlooked. Australians may continue to feel the health effects of high inflation for quite some time. <h2>It’s costing more to live well</h2> Between March 2021 and March 2023, the price of goods and services <a href="https://www.abs.gov.au/statistics/economy/price-indexes-and-inflation/consumer-price-index-australia/jun-quarter-2023">rose substantially</a>, marking a period of high <a href="https://www.rba.gov.au/education/resources/explainers/inflation-and-its-measurement.html">inflation</a>. <iframe id="5vFeh" class="tc-infographic-datawrapper" style="border: none;" src="https://datawrapper.dwcdn.net/5vFeh/" width="100%" height="400px" frameborder="0"></iframe> Worryingly, the prices of basic needs that are important for staying healthy – nutritious food, health care, housing and utilities – rose between 11% and 36%. <h2>Who is affected the most?</h2> Higher prices on essentials are virtually impossible to dodge, but they impact certain groups of people more than others. Wealthier households have managed their higher expenses by <a href="https://www.rba.gov.au/publications/fsr/2023/oct/pdf/financial-stability-review-2023-10.pdf">cutting back on discretionary spending and dipping into savings</a>. However, lower income households spend <a href="https://www.rba.gov.au/publications/fsr/2023/oct/household-business-finances-in-australia.html#:%7E:text=Lower%20income%20households%2C%20including%20many,than%20households%20on%20higher%20incomes.">a much larger portion of their income</a> on housing and other essentials. Without a savings buffer, these households experience severe financial strain and poor health outcomes. <h2>Financial stress affects our health</h2> Our research shows that high inflation has <a href="https://www.vichealth.vic.gov.au/resources/resource-download/high-inflation-and-implications-for-health">a range of effects</a> on people’s health. These effects fall into three main groups: material hardship, psychosocial, and behavioural. 1. Material hardship People facing material hardship can’t meet their basic needs because they can’t afford to pay for them. Material hardship can present itself in a variety of ways: <ul> <li><a href="https://theconversation.com/how-many-australians-are-going-hungry-we-dont-know-for-sure-and-thats-a-big-part-of-the-problem-195360">food insecurity</a> – not getting adequate nutrition</li> <li><a href="https://theconversation.com/1-in-4-households-struggle-to-pay-power-bills-here-are-5-ways-to-tackle-hidden-energy-poverty-204672">energy poverty</a> – struggling to pay for electricity and gas</li> <li>deferred health care – putting off medical treatment</li> <li>housing insecurity – struggling to find a stable place to live.</li> </ul> Between August 2022 and February 2023, when inflation hit its highest levels in 33 years, over half (53%) of surveyed Australians reported <a href="https://melbourneinstitute.unimelb.edu.au/data/taking-the-pulse-of-the-nation-2022/2023/australians-face-challenging-budgetary-constraints">struggling to afford</a> their basic needs. Finding ourselves in this situation can have far-reaching implications for our health. For example, food insecurity is linked to <a href="https://www.vichealth.vic.gov.au/sites/default/files/VH_High-Inflation-Paper_FINAL_1.pdf">an increased risk of poor nutrition, obesity and chronic illness</a>, as households facing cost-of-living pressures shift towards cheaper, lower-quality food options. Energy poverty is linked to <a href="https://www.vichealth.vic.gov.au/sites/default/files/VH_High-Inflation-Paper_FINAL_1.pdf">physical and mental health problems</a> as people struggle to keep warm in wintertime, and cool in the summer. Delaying health care <a href="https://www.vichealth.vic.gov.au/sites/default/files/VH_High-Inflation-Paper_FINAL_1.pdf">increases</a> the risk of facing severe health problems, staying in hospital for longer, and being admitted to the emergency department. This isn’t just worse for individuals, it’s also far more costly for our health care system. 2. Psychosocial effects Psychosocial effects are the ways in which cost-of-living pressures impact our mind and social relationships. Difficulties in meeting our basic needs are strongly associated with <a href="https://www.vichealth.vic.gov.au/sites/default/files/VH_High-Inflation-Paper_FINAL_1.pdf">increased levels of psychological distress</a>, including symptoms of anxiety and depression. This impact can worsen over time if individuals experience sustained financial stress. By undermining our ability to work well, the psychosocial effects of prolonged financial stress can initiate a “vicious cycle”, leading to reduced productivity and lower earnings. Financial stress can also have a detrimental impact on spousal relationships, which can affect the mental health of other household members such as children. 3. Behavioural effects Cost-of-living pressures can also cause a number of changes in the way we behave. For many, these pressures have become a reason to work longer hours and gain additional income. Last year, Australians collectively worked 4.6% longer, an <a href="https://www.abs.gov.au/statistics/labour/employment-and-unemployment/labour-force-australia/aug-2023">extra 86 million hours</a>. But working longer hours <a href="https://www.vichealth.vic.gov.au/sites/default/files/VH_High-Inflation-Paper_FINAL_1.pdf">reduces people’s overall health</a>, especially among parents of young children facing greater time constraints. It also leaves less time for activities that help to keep people healthy, such as getting regular exercise and cooking healthy meals. <h2>How can policymakers respond?</h2> In theory, the Reserve Bank of Australia’s primary tool for combating inflation – raising interest rates – should help. By reducing aggregate spending in the economy, it is designed to put downward pressure on prices. But by bluntly increasing the cost of borrowing, it also puts significant short-term financial pressure on both lower-income mortgage holders and renters. Better acknowledgement of this fact, and of inflation’s broader impact on people’s physical and mental health, would be a great start. When formulating policy responses to high inflation, governments could factor health and wellbeing impacts into their assessment of the trade-offs between alternative policy responses. This could help minimise any policy’s long-term negative health consequences and its impact on the health care system. Policymakers could also focus on making sure affordable and timely access to health care, especially mental health support, is made available to those most vulnerable to cost-of-living pressures.<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/223625/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/nicole-black-103425">Nicole Black</a>, Associate Professor of Health Economics, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>; <a href="https://theconversation.com/profiles/anthony-harris-7148">Anthony Harris</a>, Professor of Health Economics, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>; <a href="https://theconversation.com/profiles/danusha-jayawardana-1406565">Danusha Jayawardana</a>, Research Fellow in Health Economics, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a>, and <a href="https://theconversation.com/profiles/david-johnston-1126643">David Johnston</a>, Professor of Health Economics, <a href="https://theconversation.com/institutions/monash-university-1065">Monash 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/undernourished-stressed-and-overworked-cost-of-living-pressures-are-taking-a-toll-on-australians-health-223625">original article</a>.

Money & Banking

Full cast for I'm A Celeb revealed

The much-anticipated premiere of I'm A Celebrity... Get Me Out Of Here! hit screens with a bang, revealing a star-studded lineup of personalities ready to face the challenges of the South African jungle. Channel 10 unveiled the roster on Sunday's premiere episode, promising viewers an exciting season ahead. Leading the charge was none other than Hollywood child star Frankie Muniz, known for his iconic role in Malcolm in the Middle. Muniz, who surprised both fans and fellow contestants with his presence, was joined by an array of intriguing personalities, each bringing their own flair to the jungle. Retired Australian iron-woman Candice Warner, wife of cricketer David Warner, made a notable entrance, expressing her surprise at Muniz's participation. Alongside Warner, the lineup boasted a diverse mix of talents, including retired Paralympian Ellie Cole, British comedian Stephen K. Amos, influencer Skye Wheatley, and former Studio 10 host Tristan MacManus. The premiere episode kicked off with Muniz leading the pack, setting the stage for a series of nerve-wracking challenges. Hosted by the dynamic duo of Julia Morris and Robert Irwin, the celebrities faced their first trial: Warner locked in a glass room teeming with cockroaches, while her campmates braved a mystery box challenge to secure her release. However, the drama didn't stop there. Wheatley's fear of snakes led to a tearful breakdown during her challenge, highlighting the intense nature of the jungle environment. Yet, despite the obstacles, the contestants displayed resilience and determination, setting the tone for an adrenaline-fuelled season. As the episode unfolded, additional celebrities were unveiled, including AFL legend Peter Daicos, radio host Brittany Hockley, fitness guru Michelle Bridges, Love Island star Callum Hole, and MasterChef contestant Khanh Ong. Among the standout contestants is Michelle Bridges, renowned for her role on The Biggest Loser and her thriving fitness empire. Similarly, Khanh Ong, known for his culinary prowess on MasterChef Australia, brings a unique skill set to the jungle environment. With such a diverse cast, the dynamics within the camp are sure to be electric. The premiere also offered glimpses into the personal lives of the contestants, from Cole's inspiring journey as a Paralympic swimmer to Warner's resilience showcased on SAS Australia. As the season progresses, viewers can expect more surprises, twists, and edge-of-your-seat moments. With an intruder poised to shake things up and a cast described as a "national treasure", the stage is set for an unforgettable season. Images: Network Ten

Qantas announces major price hike

Qantas customers have been warned that they will see a significant increase in price to the airline’s domestic club lounges from next month. For the first time in seven years, the airline will charge Qantas Club membership holders 17 per cent more to access their lounges, with price changes set to be made from April 18. The increase coincides with Qantas' plans to renovate 24 of their domestic lounges over the next year, with the carrier spending an estimated $100 million on renovations. This means that annual fees for new members will increase from $699 to $828, including the $129 joining fee. For current members looking to renew, their annual fees will rise from $540 to $629. “This is the first time the Qantas Club membership fees have increased in seven years and will help cover cost increases passed on from a range of suppliers over that time. This follows a reduction in the membership fees for several years during the pandemic,” a spokesperson told news.com.au. They added that these changes will not affect Qantas Frequent Flyers members who will continue to receive complimentary access to the Club through Points Club Plus or their Gold, Platinum or Platinum One status. Members can also avoid the price hike if they renew their membership before April 18. Image: Getty

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