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Freddy Krueger at 40 – the ultimate horror movie monster (and Halloween costume)

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Movie monsters have captivated audiences since the days of early cinema. They evoke fascination and terror, allowing audiences to confront their fears from the safety of the movie theatre or living room. Arguably one of the most enduring and captivating of these monsters is Freddy Krueger, the villain of the <a href="https://www.imdb.com/title/tt0087800/">A Nightmare on Elm Street</a> series who celebrates his 40th screen birthday this November. Memorably played by Robert Englund, Freddy quickly became a cultural icon of the 1980s and 1990s. Beyond his burned face and iconic bladed glove, Freddy’s dark humour and acidic personality set him apart from other silent, faceless killers of the era, such as Michael Myers in <a href="https://www.imdb.com/title/tt0077651/?ref_=nv_sr_srsg_2_tt_6_nm_0_in_0_q_halloween">Halloween</a> or Jason Vorhees in <a href="https://www.imdb.com/title/tt0080761/?ref_=fn_al_tt_1">Friday the 13th</a>. Written and directed by horror maven <a href="https://theconversation.com/wes-craven-the-scream-of-our-times-46915">Wes Craven</a>, 1984’s A Nightmare on Elm Street garnered positive reviews for its innovative concept: Freddy stalked and attacked his victims in their dreams, making him inescapable and allowing him to tap into their deepest fears. The series (seven films plus a 2010 remake and <a href="https://www.imdb.com/title/tt0329101/?ref_=fn_al_tt_1">Freddy vs. Jason</a> spin offs) blended supernatural horror and surrealism with a dark and twisted sense of humour. <h2>Scary … but funny</h2> Humour was key to Freddy’s “popularity”. Both sinister and strangely charismatic, Freddy’s psychological torture of his adolescent victims often oscillated between terrifying and amusing. A famous kill scene from 1987’s <a href="https://www.imdb.com/title/tt0093629/?ref_=fn_al_tt_1">A Nightmare on Elm Street 3: Dream Warriors</a> demonstrates this paradox. Aspiring actress Jennifer drifts off to sleep while watching a talk show on TV. In her dream, the host of the talk show suddenly transforms into Freddy, who attacks his guest before the TV blinks out. When Jennifer timidly approaches the TV set, Freddy’s head and clawed hands emerge from the device, snatching her while delivering an iconic one-liner: “This is it, Jennifer – your big break in TV!” Freddy turns his victims’ fears or aspirations – their dreams – against them. <figure><iframe src="https://www.youtube.com/embed/dCVh4lBfW-c?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Whatever you do, don’t fall asleep.’</figcaption></figure> <h2>Creating a monster</h2> Craven has shared how the character of Krueger came to life in <a href="https://www.imdb.com/title/tt1510985/?ref_=fn_al_tt_1">Never Sleep Again: The Elm Street Legacy</a>, an oral history of the series. He described a childhood experience of seeing a strange mumbling man walking past his childhood home. The man stopped, he said, and looked directly at him “with a sick sense of malice”. This deeply unsettling experience helped shape Freddy’s menacing presence. The character’s creation also emerged from the filmmaker’s interest in <a href="https://www.iflscience.com/nightmare-on-elm-street-was-inspired-by-a-real-life-medical-mystery-60527">numerous reports of Southeast Asian refugees dying in their sleep</a> after experiencing vivid nightmares. In the film, Krueger’s origin story reveals him as a child murderer who was apprehended but released due to a technicality in his arrest. Seeking justice, the parents of his victims take matters into their own hands, and form a vigilante mob. They corner him in his boiler room and burn him alive. But Freddy’s spirit survives to haunt and kill the children of his executioners. <h2>Cultural repression, expressed on film</h2> Film critic and essayist <a href="https://www.cineaste.com/summer2019/robin-wood-on-horror-film-collected-essays-and-reviews#:%7E:text=Freudian%20theory%2C%20a%20crucial%20theoretical,the%20horror%20film%20perpetually%20enacts.">Robin Wood argued</a> horror films often bring to the surface elements society has repressed. These fears, desires, or cultural taboos are not openly acknowledged. But movie monsters act as manifestations of what society suppresses, such as sexuality, violence or deviant behaviour. American academic <a href="https://www.tandfonline.com/doi/abs/10.1080/01956051.1995.9943696">Gary Heba</a> argues Freddy is: <blockquote> an example of America’s political unconscious violently unleashed upon itself, manifesting everything that is unspeakable and repressed in the master narrative (perversion, child abuse and murder, vigilantism, the breakdown of rationality, order, and the family, among others), but still always present in the collective unconscious of the dominant culture. </blockquote> <figure><iframe src="https://www.youtube.com/embed/UBrl4H0Uzng?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Actor Robert Englund calls Freddy Krueger ‘the gift that keeps on giving’.</figcaption></figure> <h2>The monster decades</h2> The 1970s and 1980s marked a golden era for the creation of horror film nasties like Krueger, Myers, <a href="https://www.imdb.com/title/tt0072271/?ref_=fn_al_tt_3">The Texas Chainsaw Massacre</a>’s Leatherface and <a href="https://www.imdb.com/title/tt0094862/?ref_=fn_al_tt_19">killer doll Chucky</a>. Since then, the landscape of horror has shifted, with fewer singular monsters emerging. The diversification of horror sub-genres (zombie virus horror, anyone?), the rise of psychological horror (<a href="https://www.imdb.com/title/tt7784604/?ref_=nv_sr_srsg_2_tt_4_nm_2_in_0_q_heredi">Hereditary</a>), and an emphasis on human-driven terror (<a href="https://www.imdb.com/title/tt0416315/?ref_=nv_sr_srsg_1_tt_7_nm_0_in_0_q_wolf%2520creek">Wolf Creek</a>) or supernatural forces all contribute to this shift. While modern horror continues to thrive, few characters have achieved the same iconic status as Freddy – although some would argue Art the Clown from the recent <a href="https://www.imdb.com/title/tt4281724/">Terrifier</a> franchise and the reinvigorated Pennywise from <a href="https://www.imdb.com/title/tt1396484/?ref_=nv_sr_srsg_1_tt_6_nm_1_in_0_q_it">IT</a> could join this exclusive group. <figure><iframe src="https://www.youtube.com/embed/ZuYoEtEI_go?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>‘Five, six, grab your crucifix.’ A 2010 Nightmare on Elm St reboot failed to fire.</figcaption></figure> <h2>Happy Halloween!</h2> Despite a <a href="https://www.imdb.com/title/tt1179056/">failed reboot in 2010</a>, the legacy of A Nightmare on Elm Street is strong, having influenced numerous filmmakers with its skilful mix of surrealism and slasher horror. However, it’s the orchestrator of the titular nightmares whose legacy is perhaps the strongest. With each Halloween, new fans choose Freddy for their costume. All it takes is a tattered striped sweater, a brown fedora hat, and a glove with sharp, finger-lengthening blades. Don’t forget makeup to re-create Krueger’s grisly facial burns. Sweet dreams!<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/240905/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/adam-daniel-301018">Adam Daniel</a>, Associate Lecturer in Communications, <a href="https://theconversation.com/institutions/western-sydney-university-1092">Western Sydney University</a> Image credits: New Line Cinema - IMDB 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/freddy-krueger-at-40-the-ultimate-horror-movie-monster-and-halloween-costume-240905">original article</a>. </div>

Movies

I’m due for a cervical cancer screening. What can I expect? Can I do it myself? And what happened to Pap smears?

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/karen-canfell-22668">Karen Canfell</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>; <a href="https://theconversation.com/profiles/deborah-bateson-16105">Deborah Bateson</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>, and <a href="https://theconversation.com/profiles/megan-smith-131901">Megan Smith</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Cervical screening in Australia has <a href="https://pubmed.ncbi.nlm.nih.gov/34499374/">changed</a> over the past seven years. The test has changed, and women (and people with a cervix) now have much more choice and control. Here’s why – and what you can expect if you’re aged 25 to 74 and are <a href="https://www.health.gov.au/our-work/national-cervical-screening-program">due for a test</a>. <h2>When and why did the test change?</h2> In 2017, Australia became one of the first two countries to transition from Pap smears to tests for the presence of the human papillomavirus (HPV). HPV causes virtually all cervical cancers, so testing for the presence of this virus is a very good indicator of a person’s current and future risk of the disease. This contrasts with the older Pap smear technology, which involved inspection of cells every two years for the changes resulting from HPV infection. The change to screening was supported by a very large body of <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(13)62218-7/abstract">international</a> and <a href="https://journals.plos.org/plosmedicine/article?id=10.1371/journal.pmed.1002388">Australian</a> data showing primary testing for HPV is more accurate than Pap smears. Women and people with a cervix who do not have HPV detected on their test are at a very low risk of developing cervical cancer over the next five years, or even longer. This was the basis for lengthening the screening interval when HPV screening was introduced. Australia now <a href="https://www.health.gov.au/our-work/national-cervical-screening-program">recommends</a> five-yearly HPV screening, starting at age 25 up to the age of 74 for eligible people, whether or not they have been vaccinated against HPV. Many other countries are following suit to transition to HPV screening. All established screening tests – which are conducted in people without any symptoms – are associated with health benefits but also with some harms. These can include the psychological and clinical consequences of receiving a “positive” screening result, which needs to be investigated further. However, recent World Health Organization (WHO) <a href="https://www.nejm.org/doi/full/10.1056/NEJMsr2030640">reviews of the evidence</a> have found: <ul> <li>HPV is a more effective screening test than Pap smears or any other method</li> <li>it substantially reduces incidence and death rates from cervical cancer</li> <li>it is the method of cervical screening that has the <a href="https://www.nature.com/articles/s41591-023-02600-4">best balance</a> of benefits to harms.</li> </ul> As a consequence, the WHO now unequivocally <a href="https://www.who.int/publications/i/item/9789240030824">recommends</a> HPV screening as the best-practice method. <h2>Now you can collect your own sample</h2> One of the major benefits of switching to HPV screening is it opened the door for a person being able to <a href="https://www.health.gov.au/self-collection-for-the-cervical-screening-test">collect their own sample</a> (which was impossible with the Pap smear). If HPV is present, it can be detected in the vagina rather than having to directly sample the cervix. In 2022, Australia became one of the <a href="https://www.health.gov.au/ministers/the-hon-greg-hunt-mp/media/landmark-changes-improving-access-to-life-saving-cervical-screenings">first countries</a> in the world to introduce a universal option to choose self-collection within a major national-level screening program. This means people eligible for screening, under the guidance of a primary care practitioner, can now choose to collect their own vaginal sample, in privacy, using a simple swab. By the end of 2023, <a href="https://www.ncsr.gov.au/about-us/news-and-media/self-collection-for-cervical-screening--at-an-all-time-high.html">27% of people</a> were choosing to take the test this way, but this is on an upward trajectory and is likely to increase further, with an <a href="https://acpcc.org.au/self-collection-campaign/">awareness campaign</a> due to start next month. <h2>So what happens when I have a test?</h2> You’ll receive an invitation from the <a href="https://www.ncsr.gov.au/information-for-participants/participant-forms-and-guides.html#cervical-forms">National Cancer Screening Register</a> to attend your first screen when you turn 25. If you’re older, you’ll receive reminders when you are due for your next test. You will be invited to visit your GP or community health service for the test. You should be asked whether you would prefer to have a clinician collect the test or whether you would prefer to take the sample yourself. There’s no right or wrong way. The accuracy of testing has been <a href="https://www.bmj.com/content/363/bmj.k4823">shown</a> to be equivalent for clinician or self-collected sampling. This is a matter of choice. If the clinician does the test, they will undertake a pelvic examination with a speculum inserted into the vagina. This enables the doctor or nurse to view the cervix and take a sample. If you are interested in the self-collection option, check whether the practice is offering it when making an appointment. If you opt for self-collection, you’ll be able to do so in private. You’ll be given a swab (which looks like a COVID test swab with a longer stem), and you’ll be given instructions about how to insert and rotate the swab in the vagina to take the sample. It takes only a few minutes. <h2>What does it mean if my test detects HPV?</h2> If your test detects HPV, this means you have an HPV infection. These are very common and by itself doesn’t mean you have cancer, or even pre-cancer (which involves changes to cervical cells that make them more likely to develop into cancer over time). It does mean, however, that you are at higher risk of having a pre-cancer, or developing one in future, and that you will benefit from further follow-up or diagnostic testing. Your doctor or nurse will <a href="https://www.cancer.org.au/clinical-guidelines/cervical-cancer/cervical-cancer-screening">guide you</a> on the next steps in line with national guidelines. If you require a diagnostic examination, this will involve a procedure called colposcopy, where the cervix is closely examined by a gynaecologist or other specially trained healthcare practitioner, and a small sample may be taken for detailed examination of the cells. If you have a pre-cancer, you can be treated simply and quickly, usually without needing to be admitted to hospital. Treatment involves ablating or removing a small area of the cervix. This treatment will drastically reduce your risk of ever developing cervical cancer. <h2>What does this mean for cervical cancer rates?</h2> Cervical screening for HPV is a very effective method of preventing cervical cancer. Because of Australia’s HPV screening, combined with HPV vaccination in younger people, Australia is <a href="https://www.thelancet.com/journals/lanpub/article/PIIS2468-2667(18)30183-X/fulltext">expected</a> to achieve such low rates of cervical cancer by 2035 that it will be considered eliminated. Last year, the government launched a <a href="https://www.health.gov.au/sites/default/files/2023-11/national-strategy-for-the-elimination-of-cervical-cancer-in-australia.pdf">national strategy for cervical cancer elimination</a> which provides key recommendations for eliminating cervical cancer, and for doing so equitably in all groups of women and people with a cervix. One of the best things you can do to protect yourself is to have your cervical screening test when you become eligible, whether or not you have been vaccinated against HPV. Marion Saville, a pathologist and Executive Director at the Australian Centre for the Prevention of Cervical Cancer, co-authored this article.<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/229495/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/karen-canfell-22668">Karen Canfell</a>, Professor & Director, Daffodil Centre, A Joint Venture with Cancer Council NSW, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>; <a href="https://theconversation.com/profiles/deborah-bateson-16105">Deborah Bateson</a>, Professor of Practice, The Daffodil Centre, a joint venture with Cancer Council NSW, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>, and <a href="https://theconversation.com/profiles/megan-smith-131901">Megan Smith</a>, Principal Research Fellow, The Daffodil Centre, a joint venture with Cancer Council NSW, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/im-due-for-a-cervical-cancer-screening-what-can-i-expect-can-i-do-it-myself-and-what-happened-to-pap-smears-229495">original article</a>. </div>

Body

Craig McLachlan set to return to Aussie screens

Six years after being "crucified" in the public eye, Craig McLachlan is set to make his return to Aussie screens. The 58-year-old was unexpectedly approached by movie producers who asked him to star in a new feature film, almost seven years since his last on-screen project. Speaking exclusively with <a href="https://www.dailymail.co.uk/tvshowbiz/article-13716307/Craig-McLachlan-Neighbours-Rocky-Horror-comeback-movie.html" target="_blank" rel="noopener">Daily Mail Australia</a>, McLachlan said his return to the big screen had helped him deal with the "poisonous hate" that had eaten away at him since he was hounded out of the industry six years ago. In 2018, McLachlan was forced to quit his leading role as Frank-N-Furter in a 2018 production of The Rocky Horror Picture Show after three of his former female co-stars accused him of serious inappropriate behaviour while performing alongside him four years earlier. The former Neighbours star was charged with 13 offences of assault and indecent assault after Victoria Police investigated the allegations but he was ultimately acquitted on all counts following a four-week trial in December 2020. Now, McLachlan candidly admitted that he was unlikely to ever find it in his heart to forgive the former co-stars who accused him of sexual harassment, and that he still blames them for "ruining" his life. "Here's the thing: hate is a poisonous thing. You have to get rid of the hate – and I've done that," he said. "Forgiveness is a different story. That’s hard s**t to do." McLachlan said he had "fallen out of love" with show business after his "public crucifixion" but decided to accept the role after discussing the opportunity with long-term partner Vanessa Scammell. "I only just went and met with the producers and the director last week and agreed to do it," he said. "I wasn't expecting to be approached about a return to acting… and certainly not about signing on to do a film – it was a complete surprise." "But it's a fantastic Australian production and Vanessa and I sat down and discussed it - and talked about whether it was the right thing for both of us. When you've had your life destroyed like mine has been, you need to take a little time to rest and recalibrate." "I haven't rushed into anything. I needed to think about what we wanted to do and what - physically - I could do. And we decided this was the right thing for us." McLachlan, who has been in therapy since the allegations first came to light, said he was grateful for his partner's support during the difficult few years, and is happy to be making his return to screen with a new lease on life. "When the s**t kicks off in the media, people start running for cover and they're afraid to put their heads up to support you publicly because they're worried about them getting chopped off," he said. "I'll be forever grateful to those people who did stand by me – people like Vanessa – who helped me keep going." "Irrespective of what anyone has ever said or alleged about me, nothing I do or say would ever be done intentionally to make anyone else feel uncomfortable. I know that’s not who I am." "But as for forgiveness? Ask me again about forgiveness a little further down the track." Image credits: Getty Images

Movies

Does screen use really impact our thinking skills? Our analysis suggests it could

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/michoel-moshel-1433565">Michoel Moshel</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a>; <a href="https://theconversation.com/profiles/jennifer-batchelor-1485101">Jennifer Batchelor</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a>; <a href="https://theconversation.com/profiles/joanne-bennett-1485102">Joanne Bennett</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a>, and <a href="https://theconversation.com/profiles/wayne-warburton-402810">Wayne Warburton</a>, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> Screens have become seamlessly integrated into our daily lives, serving as indispensable tools for work, education and leisure. But while they enrich our lives in countless ways, we often fail to consider the potential impact of screen time on our cognitive abilities. In a <a href="https://link.springer.com/article/10.1007/s11065-023-09612-4">new meta-analysis</a> of dozens of earlier studies, we’ve found a clear link between disordered screen use and lower cognitive functioning. The findings suggest we should exercise caution before advocating for more screen time, and before introducing screens into even more aspects of daily life. <h2>Young people’s screen time is increasing</h2> In 2020, a UNSW Gonski Institute for Education report <a href="https://www.gie.unsw.edu.au/sites/default/files/documents/UNSW%20GIE%20GUD%20Phase%201%20Technical%20Report%20MAR20%20v2.pdf">noted a concerning statistic</a>: about 84% of Australian educators believe digital technologies are distracting in a learning environment. And according to the ABC, a recent Beyond Blue <a href="https://www.abc.net.au/news/2023-09-18/mental-health-depression-anxiety-support-coming-for-schools/102831464">survey</a> of Australian teachers identified excessive screen time as the second-most significant challenge for young people, just behind mental health issues. Despite mounting concerns, more than half of Australian schools have embraced a “<a href="https://www.linewize.io/anz/blog/the-rise-of-byod-in-australian-schools">bring your own device</a>” policy. Students are spending more time online than <a href="https://read.oecd-ilibrary.org/education/students-computers-and-learning_9789264239555-en#page46">ever before</a> and starting at increasingly younger ages. A 2021 report by <a href="https://www.commonsensemedia.org/sites/default/files/research/report/8-18-census-integrated-report-final-web_0.pdf">Common Sense Media</a> estimated tweens spend an average of 5 hours and 33 minutes using screen-based entertainment each day, while teenagers devote a whopping 8 hours and 39 minutes. A surge in screen use has led to some individuals, including children, adolescents and adults, developing screen-related addictions. One example is gaming disorder, for which <a href="https://journals.sagepub.com/doi/full/10.1177/0004867420962851">2–3% of people</a> meet the criteria. <h2>What is ‘disordered screen use’?</h2> The impact of screens on our cognitive abilities – that is, our thinking skills such as attention, memory, language and problem-solving – has sparked much debate. On one hand, some researchers and reporters claim screen use can have negative effects, such as <a href="https://bmcpublichealth.biomedcentral.com/articles/10.1186/s12889-022-12701-3">health problems</a>, shortened attention <a href="https://time.com/3858309/attention-spans-goldfish/">spans</a> and hindered <a href="https://www.researchgate.net/publication/312489265_The_relationship_between_television_exposure_and_children's_cognition_and_behaviour_A_systematic_review">development</a>. On the other, schools are <a href="https://www.smh.com.au/education/tech-takeover-classrooms-crowded-with-digital-devices-20200125-p53ul1.html">increasingly adopting</a> technology to boost student engagement. Tech companies are also marketing their products as tools to help you enhance your problem-solving and memory skills. Our <a href="https://link.springer.com/article/10.1007/s11065-023-09612-4">recent study</a> sought to understand the potential cognitive consequences of “disordered screen-related behaviours”. This is a broad category of problematic behaviours that may include screen dependency, and persisting with screen use even when it’s harmful. We conducted a meta-analysis of 34 studies that explored various forms of screen use (including gaming, internet browsing, smartphone use and social media use) and compared the cognitive performance of individuals with disordered screen use to those without it. Our findings paint a concerning picture. <h2>Differences in cognitive function</h2> Across these rigorously peer-reviewed studies, individuals with disordered screen use consistently demonstrated significantly poorer cognitive performance compared to others. The most affected cognitive domain was attention, and specifically sustained attention, which is the ability to maintain focus on an unchanging stimulus for an extended period. The second-most notable difference was in their “executive functioning” – particularly in impulse control, which is the ability to control one’s automatic responses. Interestingly, the type of screen activity didn’t make a difference in the results. The trend also wasn’t confined to children, but was observed across all age groups. <h2>Two ways to interpret the results</h2> Why do people with disordered screen-related behaviours have poorer cognitive functioning? The first explanation is that disordered screen use actually leads to poorer cognitive function, including poorer attention skills (but we’ll need more experimental and longitudinal studies to establish causality). If this is the case, it may be the result of being constantly bombarded by algorithms and features designed to capture our attention. By diverting our focus outward, screen use may weaken one’s intrinsic ability to concentrate over time. Crucially, impaired attention also <a href="https://akjournals.com/view/journals/2006/10/1/article-p77.xml">makes it harder to disengage</a> from addictive behaviours, and would therefore make it harder to recognise when screen use has become a problem. The second explanation is that people who already have poorer cognitive functioning (such as less inhibitory control) are more likely to engage in disordered screen use. This could be a result of the plethora of addictive cues designed to keep us glued to our screens. Being bombarded by these could make it harder to <a href="https://akjournals.com/view/journals/2006/9/4/article-p990.xml">pull the brakes</a> on screen use. Although the literature doesn’t seem to favour this explanation – and does seem to suggest that cognitive functioning is impaired as a result of disordered screen use – it’s still a possibility we can’t rule out. Attention is the bedrock of everyday tasks. People with weakened attention may struggle to keep up in less stimulating environments, such as a static workplace or classroom. They may find themselves turning to a screen as a result. Similarly, people with less inhibitory control would also find it more challenging to moderate their screen use. This could be what drives them towards problematic screen-related behaviours in the first place. <h2>Who should shoulder the responsibility?</h2> Research indicates people with impaired cognitive functioning usually aren’t as well equipped to moderate their own screen time. Many users with disordered screen use are <a href="https://www.sciencedirect.com/science/article/pii/S0747563220302326?casa_token=BQv_N_MFffYAAAAA:AsGkAfdwXjCZHJB463G40Mx-ckS2Q1c8jSOn2SWR_9iW64eWaQsru1IJAZBDCgSPXwhZ3Qwl">young</a>, with mainly males engaging in internet gaming and mainly females engaging in social media use. Neurodiverse people are <a href="https://www.mdpi.com/1660-4601/19/9/5587">also at greater risk</a>. Tech companies are driven by the goal of <a href="https://www.theguardian.com/technology/2017/apr/18/netflix-competitor-sleep-uber-facebook">capturing our attention</a>. For instance, Netflix chief executive Reed Hastings acknowledged the company’s <a href="https://www.theguardian.com/technology/2017/apr/18/netflix-competitor-sleep-uber-facebook">most formidable competitor was sleep</a>. At the same time, researchers find themselves struggling to keep up with the pace of technological innovation. A potential path forward is to encourage open-access data policies from tech companies, so researchers can delve deeper into the study of screen use and its effect on individuals. <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/216828/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/michoel-moshel-1433565">Michoel Moshel</a>, PhD/Masters Clinical Neuropsychology Candidate, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a>; <a href="https://theconversation.com/profiles/jennifer-batchelor-1485101">Jennifer Batchelor</a>, Associate Professor, School of Psychological Sciences, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a>; <a href="https://theconversation.com/profiles/joanne-bennett-1485102">Joanne Bennett</a>, Lecturer, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a>, and <a href="https://theconversation.com/profiles/wayne-warburton-402810">Wayne Warburton</a>, Associate Professor, <a href="https://theconversation.com/institutions/macquarie-university-1174">Macquarie University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/does-screen-use-really-impact-our-thinking-skills-our-analysis-suggests-it-could-216828">original article</a>. </div>

Mind

Breast cancer screening in Australia may change. Here’s what we know so far

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/brooke-nickel-200747">Brooke Nickel</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> and <a href="https://theconversation.com/profiles/katy-bell-134554">Katy Bell</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> The way women are screened for breast cancer in Australia may <a href="https://www.cancer.org.au/about-us/policy-and-advocacy/early-detection/breast-cancer/rosa/key-findings">change</a>. There’s international debate on the <a href="https://www.bmj.com/content/385/bmj.q1353">age</a> women should be invited for screening. But an even larger change being considered worldwide is whether to screen women at <a href="https://www.nature.com/articles/s41416-021-01550-3">high and low risk</a> of breast cancer differently. But what such a “risk-based” approach to screening might look like in Australia is not yet clear. Here’s why researchers and public health officials are floating a change to breast cancer screening in Australia, and what any changes might mean. <h2>Why breast cancer screening may need to change</h2> Mass screening (known as population-based screening) for breast cancer was introduced in Australia and many other developed countries in the 1980s and 90s. This was based on <a href="https://pubmed.ncbi.nlm.nih.gov/26756588/">robust research</a> that found early detection and treatment of cancers before there were symptoms prevented some women from dying from breast cancer. These programs offer regular breast cancer screening to women within a specific age group. For example, <a href="https://www.aihw.gov.au/reports/cancer-screening/national-cancer-screening-programs-participation/contents/breastscreen-australia">in Australia</a>, women aged 40-74 years can have free mammograms (x-rays of the breasts) every two years. The BreastScreen program sends invitations for screening to those aged 50-74. However, evidence has been mounting that mammography screening could be inadvertently causing <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(12)61611-0/abstract">harm</a> for some women. For some, screening causes a false alarm that may cause anxiety, and unnecessary tests and procedures. Even though these tests rule out cancer, these women may remain anxious and perceive something is wrong <a href="https://bmjopen.bmj.com/content/13/4/e072188">for many years</a>. A more insidious harm is <a href="https://theconversation.com/five-warning-signs-of-overdiagnosis-110895">overdiagnosis</a>, where screening detects a non-growing or slow-growing lesion that looks like “cancer” under the microscope, but would not have progressed or caused harm if it had been left alone. This means some women are having unnecessary surgery, radiotherapy and hormone therapy that will not benefit them, but may harm. Although trials have shown screening reduces the risk of dying from breast cancer, questions are being raised about how much it <a href="https://www.bmj.com/content/352/bmj.h6080.abstract">saves lives overall</a>. That is, it’s uncertain how much the reduced risk of dying from breast cancer translates into improvements in a woman’s overall survival. <h2>How about better targeting women?</h2> One idea is to target screening to those most likely to benefit. Under such a “<a href="https://www.nature.com/articles/s41416-021-01550-3">risk-based</a>” approach, a women’s personal risk of breast cancer is estimated. This may be based on her age and many other factors that may include breast density, family history of breast cancer, body-mass index, genetics, age she started and stopped her periods, and the number of children she’s had. Women who are at higher risk would be recommended to start screening at a younger age and to screen more frequently or to use different, more sensitive, imaging tests. Women at lower risk would be recommended to start later and to screen less often. The idea of this more “precise” approach to screening is to direct efforts and resources towards the smaller number of women most likely to benefit from screening via the early detection of cancer. At the same time, this approach would reduce the risk of harm from false positives (detection of an anomaly but no cancer is present) and overdiagnosis (detection of a non-growing or slow-growing cancer) for the larger number of women who are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6230256/">unlikely to benefit</a>. On face value this sounds like a good idea, and could be a favourable change for breast cancer screening. <h2>But there’s much we don’t know</h2> However, it’s uncertain how this would play out in practice. For one thing, someone’s future risk of a cancer diagnosis includes the risk of detecting both <a href="https://www.acpjournals.org/doi/10.7326/m17-2792">overdiagnosed cancers</a> as well as potentially lethal ones. This is proving to be a problem in risk-based screening for <a href="https://www.nature.com/articles/s41698-022-00266-8">prostate cancer</a>, another cancer prone to overdiagnosis. Ideally, we’d want to predict someone’s risk of <a href="https://www.thelancet.com/journals/landig/article/PIIS2589-7500(23)00113-9/fulltext">potentially lethal cancers</a> as these are the ones we want to catch early. It is also still uncertain how many women found to be at <a href="https://pubmed.ncbi.nlm.nih.gov/31701797/">low risk</a> will accept a recommendation for <a href="https://pubmed.ncbi.nlm.nih.gov/23092125/">less screening</a>. These uncertainties mean we need robust evidence the benefits outweigh the harms for Australian women before we make changes to the breast cancer screening program. There are several international <a href="https://www.nature.com/articles/s41416-021-01550-3">randomised controlled trials</a> (the gold standard for research) under way to evaluate the effectiveness of risk-based screening compared to current practice. So it may be prudent to wait for their findings before making changes to policy or practice. Even if such trials did give us robust evidence, there are still a number of issues to address before implementing a risk-based approach. One key issue is having enough staff to run the program, including people with the skills and time to discuss with women any concerns they have about their calculated risk. <h2>How about breast density?</h2> Women with dense breasts are at <a href="https://www.sciencedirect.com/science/article/pii/S0960977622001618#:%7E:text=Mammographic%20density%20is%20a%20well,increased%20risk%20of%20breast%20cancer.">higher risk of breast cancer</a>. So notifying women about their breast density has been proposed as a “first step” on the pathway to risk-based screening. However, this ignores the many other factors that determine a woman’s risk of breast cancer. Legislation in the <a href="https://www.fda.gov/radiation-emitting-products/mammography-quality-standards-act-and-program">United States</a> and changes in some <a href="https://australianbreastcancer.org.au/news-stories/latest-news/breast-density-reporting-at-all-sa-clinics/">Australian states</a> mean some women are already being notified about their breast density. The idea is to enhance their knowledge about their breast cancer risk so they can make informed decisions about future screening. But this has happened before we know what the best options are for such women. An <a href="https://www.mja.com.au/journal/2023/219/9/psychosocial-outcomes-and-health-service-use-after-notifying-women-participating">ongoing Australian trial</a> is investigating the effects that breast density notification has on individual women and the health system. <h2>What next?</h2> Robust evidence and careful planning are needed before risk-based screening or other changes are made to Australia’s breast cancer screening program. Where changes are made, there needs to be early evaluation of both the <a href="https://www.bmj.com/content/350/bmj.h1566.abstract">benefits and harms</a>. Programs also need <a href="https://www.bmj.com/content/374/bmj.n2049.long">independent, regular re-evaluation</a> in the longer term.<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/231917/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/brooke-nickel-200747">Brooke Nickel</a>, NHMRC Emerging Leader Research Fellow, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> and <a href="https://theconversation.com/profiles/katy-bell-134554">Katy Bell</a>, Professor in Clinical Epidemiology, Sydney School of Public Health, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/breast-cancer-screening-in-australia-may-change-heres-what-we-know-so-far-231917">original article</a>. </div>

Body

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

Radio stars reveal their worst on-air moments

In celebration of 100 years of Australian radio, the who's-who of the Aussie airwaves have shared their most awkward interview moments. Ben Fordham, Amanda Keller and Fifi Box were among the radio presenters who recalled their worst on-air moments to <a href="https://www.news.com.au/entertainment/tv/radio/celebrity-interview-derailed-by-radio-stars-bulge/news-story/056c130ab09f85c3c9e14a0fdeb5587b" target="_blank" rel="noopener">news.com.au</a>, with the memorable moments ranging from mispronouncing a guest's name, to announcing the death of a celebrity who was very much still alive. 2GB's Ben Fordham revealed one of the more outrageous moments from his radio show, recalling when a caller asked him about classic Aussie TV show Simon Townsend's Wonder World. "I said, 'yeah, that was a great show. Sadly we lost Simon Townsend recently,' and then people started calling in saying, 'are you sure Simon Townsend is dead?'" he said. It turned out that Fordham had made an error, as it was actually Townsend's dog Woodrow who had died. He said, "When I came out of the ad-break I had to do a mop up job. It was pretty ugly." Amanda Keller from WSFM's Jonesy and Amanda shared a story about accidentally mispronouncing Weird Al Yankovic's name, despite her co-host trying to help her. "Jonesy (my co-host) kept telling me to pronounce his surname 'Yankovick', and I said, 'no, excuse me, it's pronounced 'Yankovich'." During the entire interview with the musician, Keller introduced the singer with her mispronunciation, and was eventually corrected by the singer when the time came for him to record a promo for the radio network. "It was humiliating," she said. Fifi Box recalled an experience back in 2013 when her then co-host Jules Lund blindfolded her and took her to a secret location for their show's 'Blackout Challenge.' "I was pregnant at the time, and basically found myself lying on a bed in a dark room being serenaded by the one and only David Hasselhoff!" she said. "The Hoff then decided it was funnier to take his pants off for an added extra surprise. Also, being heavily pregnant made the whole scenario a lot more awkward." Rounding out the awkwardness was KIIS FM's Will and Woody who had an uncomfortable interview with pop star Jennifer Lopez. "We overheard Jennifer Lopez screaming at her publicist about needing to do an interview with us. We were both dressed as Santa and had to go through the whole interview knowing that she really didn't want to be there," Will said. "Suffice to say that the interview wasn't one of our best." Image credits: Getty Images

Music

Princess Diana’s twin nieces' major announcement

Lady Amelia and Lady Eliza Spencer have announced that Australia’s most prestigious race wear event, Fashions on the Field will go global for the first time ever. The competition will be open to international fashion-lovers as they will be accepting digital entries, with a new category allowing them to compete for the Best Dressed and Best Suited awards. The international winners will then be flown to Flemington during Cup Week to experience the glitz and glam of the races, and compete in person during the live final against Australian state and territory finalists on Thursday November 9. Princess Diana's twin nieces championed the prospects of international entries to the prestigious event and worked together with the Lexus Melbourne Cup trophy to make it a reality. "Racewear fashion really is its own fashion category and I know there will be some amazing international entries for the Melbourne Cup Carnival Fashions on the Field competition," Lady Eliza said. "It was great to discover some wonderful Australian labels at our Melbourne Cup Carnival Fashions on the Field shoot in London and I can't wait to see the style and creativity of entrants this year," Lady Amelia added. Victoria Race Club Chairman Neil Wilson also shared his excitement for opening up the event to internationals. "Fashion is a universally appreciated expression of people's individual style and we look forward to racing enthusiasts across the globe showcasing their unique take on race wear on track at Flemington or virtually, which will include the new international competition for the first time," he said. Image: Victoria Racing Club

Beauty & Style

Little House on the Prairie star passes away

Hersha Parady, renowned for her role in Little House on the Prairie, has passed away at the age of 78. According to a statement provided to The Hollywood Reporter by her son, Jonathan Peverall, Parady passed away at her residence in Norfolk, Virginia on Wednesday August 23. Her son had been actively seeking financial assistance before her demise, as Parady had been diagnosed with meningioma, a prevalent type of brain tumour. Peverall initiated a <a href="https://www.gofundme.com/f/helping-hersha" target="_blank" rel="noopener">GoFundMe campaign</a> with the intention of aiding his mother's escalating medical expenses. In a heartfelt plea on the fundraising page, he recounted how the illness had depleted her vitality, memory and vibrant demeanour, rendering her predominantly bedridden and struggling with day-to-day tasks. Relocating his mother to his own home, Peverall worked diligently to ensure she received the necessary medical attention. He emphasised that the associated costs extended beyond medical procedures, encompassing aspects such as moving expenditures, at-home nursing care and medical equipment. "While we contemplate a surgery to potentially ameliorate her condition, the path to recovery is an arduous one," he stated, acknowledging the substantial financial burden posed by these circumstances. Balancing a full-time job and caring for his three children added to the challenge, yet he reassured that they were providing the best care they could, regardless of external contributions. "Rest assured, we are taking care of her to the best of our ability, and we will continue to do so, regardless of any contributions made here," Peverall wrote. "This GoFundMe is about improving my Mom’s quality of life and giving her the support she needs during this difficult time. It's also about showing her that she is not alone in her fight. "Her family and friends have been here supporting her through everything, but there is only so much help she is willing to accept from the people she loves. My Mom has always been a fiercely independent woman, and asking for help isn't in her nature. That's why I'm stepping in to do it on her behalf." Peverall expressed his gratitude and urged supporters to rally around Parady, demonstrating that her on-screen "Little House" family was united in this battle, just as she had been a presence in their lives through the show. In an update dated August 1, Peverall shared that his mother had undergone a "successful" surgery. However, complications arose as Parady developed pneumonia during her recovery, leading to her admission to the intensive care unit. Unfortunately, her condition deteriorated to a point where she couldn't regain full consciousness. The medical team at the hospital launched an investigation into her condition. Peverall maintained ongoing communication with the medical professionals, seeking insights to guide the best decisions for her care. Despite the trying circumstances, he expressed hope and called upon others to remain optimistic. Parady embarked on her career in theater after graduating from Berea High School in 1963. Her journey took her to Los Angeles, where she secured a role opposite Jon Voight in a production of A Streetcar Named Desire. Subsequently, she transitioned to the silver screen, featuring in an episode of Bearcats!. However, it was in 1977 that Parady achieved widespread recognition for her portrayal of school teacher Alice Garvey in the fourth season of Little House on the Prairie. Appearing in 35 more episodes, her character, Alice, met a tragic end in season six, perishing in a fire. The actress also appeared in other shows including Kenan & Kel, The Phoenix, and The Quest, and movies like The Break and The Babysitter's Seduction. Parady is survived by her son Jonathan Peverall and her three grandchildren. Images: GoFundMe / Instagram

News

6 best screening hedge plant

<h4>Lillipilly</h4> With its dense screen and fast growing habit, lillipilly can grow up to eight metres tall but should be pruned to thicken the foliage. The Syzygium smithii variety is commonly known as ‘Neighbours Be Gone’. <h4>Juniper</h4> A conifer such as Juniperas spartan is an excellent choice due to its dense evergreen dark blue-green coloured foliage. This column-shaped hardy plant grows to three metres in 10 years and no trimming or pruning is required. <h4>Camellia</h4> Camellias come in two main varieties, japonica and sasanqua. For hedging, the sasanqua is the preferred choice with its faster growing habit, smaller leaves and better sun tolerance. The flowers in autumn are an added bonus. <h4>Photinia</h4> Photinias come in larger and smaller leaf varieties with the smaller leaf types more suitable for hedges up to two metres. With an overall deep green leaf appearance, the new growth comes as striking red foliage. <h4>Murraya</h4> A great alternative to box hedges with a somewhat similar texture but lighter green leaves, murraya is fast growing and easy to care for, with a pretty flush of orange blossom scented flowers in spring and summer. <h4>English Box</h4> Box is the most popular choice for hedging and is the best choice for a more formal look. Its slow growing tendency means it will not provide privacy for several years, but the bonus is it’s easy to maintain. Image credit: Shutterstock This article originally appeared on <a href="https://www.readersdigest.com.au/gardening-tips/best-screening-hedge-plants" target="_blank" rel="noopener">Reader's Digest</a>.

Home & Garden

106-year-old tattoo artist becomes Vogue’s oldest cover star

Apo Maria ‘Whang-Od’ Oggay has made history as the oldest woman to have featured on the cover of Vogue. Regarded as the last mambabatok of her generation, Whang-Od was born in the remote village of Buscalan in the northern Philippines’ province of Kalinga in 1918, and entered the world of tattooing at just 16 years old. As Vogue Philippines’s editor-in-chief Bea Valdes explained of their decision to feature her on the cover, “we felt she represented our ideals of what is beautiful about our Filipino culture. "We believe that the concept of beauty needs to evolve, and include diverse and inclusive faces and forms. What we hope to speak about is the beauty of humanity.” And Whang-Od was the perfect choice. Vogue Philippines’ demonstrated as much when they wrote on Twitter that “the symbols of the Kalinga tribe signifying strength, bravery & beauty” are imprinted on her skin, and that Whang-Od embodies the “strength and beauty of the Filipino spirit”. <blockquote class="twitter-tweet"> Apo Maria “Whang-Od” Oggay symbolizes the strength and beauty of the Filipino spirit. Heralded as the last mambabatok of her generation, she has imprinted the symbols of the Kalinga tribe signifying strength, bravery & beauty on the skin. Read more on <a href="https://t.co/2F1mJ5iQWG">https://t.co/2F1mJ5iQWG</a>. <a href="https://t.co/urVcA3g2Ek">pic.twitter.com/urVcA3g2Ek</a> — Vogue Philippines (@vogueph) <a href="https://twitter.com/vogueph/status/1641276503433572353?ref_src=twsrc%5Etfw">March 30, 2023</a></blockquote> As tattoo anthropologist Dr Lars Krutak found out for Vogue, it was through Whang-Od’s father’s mentorship that she launched her career in tattooing. She was the first - and only - mambabatok of her time, and would spend her time visiting neighbouring villages - and beyond - to “to imprint the sacred symbols of their ancestors on individuals who have crossed or about to cross a threshold in their lives.” Her own life story can be found on her skin - featuring everything from her accomplishments to her ailments, and even the names of past lovers - in a story of beauty, bravery, and the heritage of the Kalinga tribe. For men, tattoos reflected them as “a headhunting warrior”, while women were typically tattooed for “fertility and beautification”. As Vogue reported, the elder women of Kalinga say that “when they die, they can’t take their beads and gold with them to the afterlife. They only have the markings on their body.” As Vogue went on to cover, decades of colonial erasure had a significant impact on batok - in Kalinga, village girls had to cover their arms, while many others abandoned the art. But through Whang-Od and her descendants, the ancient art of batok will continue - both in Buscalan and the rest of the world. Batok itself, as explained by the Vogue team who had the honour of receiving a tattoo from Whang-Od, involves “an unused gisi, a bamboo stick with a thorn attached to one end” and a pattern traced “using a length of grass dipped in the soot and charcoal mixture”. The process then sees Whang-Od hold the inked gisi in one hand, while she “uses a larger stick to whack it with her right hand, driving it over a hundred times per minute into the flesh until the three dots are filled and oozing with blood and ink. She dabs at them with a wet wipe before deciding to go over the freshly wounded spots again for good measure.” And now, Whang-Od has been teaching her craft to her grand-niece, Grace Palicas. Under Whang-Od’s mentorship, the thousand-year-old tradition will live on, as the next generation of stick-and-thorn artists strive to preserve their craft, and share it with the world. As for Whang-Od herself? Her plans are quite simple, with the artist explaining that “when visitors come from far away, I will give them the tatak Buscalan, tatak Kalinga for as long as my eyes can see.” Images: Instagram

Beauty & Style

Can death on the screen feel the same as a ‘real’ one?

Death is a part of life, an adage usually reserved for those who physically exist in our lives – family, friends, colleagues, acquaintances. So what happens when a profound death experience happens on the screen? Is that still a legitimate experience of mourning? Last week, the popular TV show Succession had a significant “on screen” death - where even the cast filming the scene spoke as if the response to the trauma had a very <a href="https://www.independent.co.uk/arts-entertainment/tv/news/succession-episode-three-logan-dead-b2317366.html">real feeling</a>. In the same way as the cast, social media reactions to the sudden and unexpected death of a person with a complex character, after four seasons of growing to understand them, can feel like the death of someone you actually know. The <a href="https://royalsocietypublishing.org/doi/full/10.1098/rstb.2017.0267#d3e765">research</a> behind this phenomenon can be found as far back as the 1970s when early understandings around the death of a main character on children’s television served to provide real world insight into the irreversibility of death as a universal experience. Over time, as popular culture and television became more nuanced, the diversity of the ways in which death occurred in fictional programs began to <a href="https://www.sagepub.com/sites/default/files/upm-binaries/5234_Bryant__Death,_Dying,_Dead,_Popular_Culture.pdf">replicate the complexity</a> of “real” loss in our lives. Via television, we get access to catastrophic loss, multiple casualty events, loss after significant illness – as well as seeing how death impacts the people left behind. In the most recent episode of Succession, we also see what happens when a death occurs involving a person where their character or relationship to others is strained. We see ways in which grief is not always a byproduct of love. <h2>Why does this grief feel real from an armchair perspective?</h2> Death on screen can also act as a trigger or a reminder of the losses we have endured. When a show realistically portrays grief in its purest form, the emotive or reflective reaction can unlock our own grief. Engaging with the small screen is an overt act of escapism, often for entertainment. We might be switching on a program with the intention of relaxation, only to be met with trauma and sadness. When a sudden loss is brought into our lounge rooms, or via the devices on our laps, we experience shock, confusion and anger about the abruptness of an event, just like the feelings we can experience when loss happens suddenly in our real lives. Safe reporting of sudden and traumatic death on fictional TV shows is not covered by media reporting guidelines. Warnings prior to a scene, or consistent information at the end of an episode about seeking additional support, might be minimal. <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0266722">Recent research</a> identifies multiple contexts related to warnings where TV shows may note that an episode will explore death, however, the complexity of how this might be portrayed is limited. <figure> <h2>What is this grief called?</h2> While there is no rulebook for grief, reacting emotionally to a small screen death can bring about concerns that we look silly or that we lack awareness of the distinction between reality and fiction. This form of <a href="https://journals.sagepub.com/doi/full/10.1177/00302228211014775?casa_token=qZ3_RQR6xw0AAAAA%3Awv53_SeeKUgDIH34Z3diViJjcghG-dJb39n--oZP5-Gz-vCRn8RTQOmNxVFZ34fnNjdrwNDriq8GCg">parasocial grieving</a>, described as having feelings attached to a pseudo-relationship, does feel real, does have consequences and does need space to be managed. We don’t all watch the same shows, we don’t all respond to the death of a character the same way, we might even struggle to understand why people have the reactions they do when a TV death occurs. I would encourage you to pause for a moment and remember the ones that did get under our skin. In 1985, Australian viewers lived through the death of <a href="https://www.theguardian.com/tv-and-radio/2020/feb/06/how-mollys-death-on-a-country-practice-touched-a-nation-the-writers-room-was-shedding-tears">Molly from A Country Practice</a>, where the final image of a mother’s end-stage cancer diagnosis played out while watching her daughter fly a kite. Teens watching Sarah Michelle Gellar stumble across the sudden untimely death of her mother in <a href="https://www.theatlantic.com/entertainment/archive/2017/03/the-body-the-radical-empathy-of-buffys-best-episode/519051/">Buffy the Vampire Slayer </a>shaped many feelings when there is a catastrophic loss without warning. In the last decade, the <a href="https://www.theguardian.com/culture/australia-culture-blog/2013/aug/08/offspring-fans-mourn-patrick">sudden death of Patrick from Offspring </a>had people legitimately calling in sick from work the next day. The <a href="https://www.youtube.com/watch?v=kAgpbPIVy0M">global reaction</a> to the Red Wedding scene in Game of Thrones had forums on Reddit unpacking why so many characters were murdered and sharing the impact of the sights and sounds of blood and murder and traumatic grief. We engage in a social contract when we connect to a TV show. We expect to be removed from our real life and engage in the viewing of other spaces. Death in those spaces – and the reactions to that loss – can feel as if they break that contract. Image credits: HBO This article originally appeared on <a href="https://theconversation.com/can-death-on-the-screen-feel-the-same-as-a-real-one-203549" target="_blank" rel="noopener">The Conversation</a>. </figure>

Age, not weight, should be the big decider in whether to screen for diabetes

Because it’s possible to be diabetic or prediabetic without any symptoms, and early diagnoses lead to better health outcomes, lots of countries have screening programs for diabetes. <div class="copy"> In the US, overweight or obese people between 35 and 70 are recommended to regularly get diabetes tests. But <a href="https://www.ajpmonline.org/article/S0749-3797(23)00006-5/fulltext" target="_blank" rel="noreferrer noopener">new research</a> in the American Journal of Preventative Medicine has called this into question, suggesting that screening based purely on age will catch the greatest proportion of diabetic and prediabetic people. “It might sound counterintuitive because we think of being overweight or obese as the primary cause of diabetes,” says lead author Dr Matthew O’Brien, an associate professor of medicine at Northwestern University Feinberg School of Medicine, US. “But if we make decisions about diabetes testing based on weight, we will miss some people from racial and ethnic minority groups who are developing prediabetes and diabetes at lower weights.” The researchers examined data from all the 2021 diabetes screenings recommended by the US Preventive Services Task Force. Based on this data, they recommend screening every US adult aged between 35 and 70. “All major racial and ethnic minority groups develop diabetes at lower weights than white adults, and it’s most pronounced for Asian Americans,” says O’Brien. Roughly half of US adults have Type 2 diabetes or prediabetes, and 81% of adults with prediabetes don’t know they have it. Diagnoses are delayed in ethnic minorities, compared to white people. “Diabetes is a condition in which unacceptable racial and ethnic disparities persist,” says O’Brien. “That’s why we need a screening approach that maximises equity. If we can find everyone earlier, it helps us reduce these disparities and the bad outcomes that follow.” The researchers also found that it might be beneficial for members of some ethnic minorities to receive earlier screening, but they don’t formally recommend it. “It’s imperative that we identify a screening approach that is equitable across the entire US population,” says O’Brien. “Our findings illustrate that screening all adults aged 35 to 70 years, regardless of weight or body mass index, performs equitably across all racial and ethnic groups.” This age cut-off also makes it much simpler for clinicians to decide whether someone should get a diabetes test. “There are many ways to nudge patients and providers to complete this testing, which should be the focus of future research,” says O’Brien. In Australia, diabetes tests are recommended based on a <a href="https://www.healthdirect.gov.au/diabetes-screening-tests" target="_blank" rel="noreferrer noopener">range of risk factors</a>, including age, waist measurement, ethnicity, physical activity and family history. Diabetes Australia has a <a href="https://www.diabetesaustralia.com.au/risk-calculator/" target="_blank" rel="noreferrer noopener">risk calculator</a> with which you can determine your own risk.  <img id="cosmos-post-tracker" style="opacity: 0; height: 1px!important; width: 1px!important; border: 0!important; position: absolute!important; z-index: -1!important;" src="https://syndication.cosmosmagazine.com/?id=240911&title=Age%2C+not+weight%2C+should+be+the+big+decider+in+whether+to+screen+for+diabetes" width="1" height="1" data-spai-target="src" data-spai-orig="" data-spai-exclude="nocdn" /></div> <div id="contributors"> This article was originally published on <a href="https://cosmosmagazine.com/health/diabetes-tests-screening-age-weight/" target="_blank" rel="noopener">cosmosmagazine.com</a> and was written by <a href="https://cosmosmagazine.com/contributor/ellen-phiddian">Ellen Phiddian</a>. Images: Shutterstock </div>

Body

Hilarious footage emerges of Sam Neill's James Bond screen test

Jurassic Park star Sam Neill appeared on the Today show to discuss his career and new memoir 'Did I Ever Tell You This?' but the hosts had other plans. Karl Stefanovic, Sarah Abo and Brooke Boney managed to dig up an old screen test that left the 75-year-old red-faced. "Oh, my God, no - That is so cruel to play that, so cruel," a flustered Neil said, as footage from his James Bond audition started rolling. In the video, a young Neill armed with a gun and donning an unbuttoned shirt bursts into a bedroom-to the surprise of a naked woman- and says the famous line "My friends called me Bond, James Bond". Neill said he was thankful that he didn’t get the part and that someone else was chosen to do the role. "I felt so awkward all day that we made that thing and it just went on and on and on," he said. "I am so relieved they offered it to someone else, they are welcome to it - you don't want to be the Bond that no-one likes, you know - that is a fate worse than death." Although he didn’t get the role of agent 007, the actor has starred in three of the Jurassic Park films, Event Horizon, The Dish and Peter Rabbit. He also told the Today show hosts that he never intended on becoming a professional actor and his success was completely unexpected. "I never really imagined I would have a career in film, let alone a career as an actor," he said. "At the rather advanced age of 30 I suddenly realised I could make a living at what I loved best and I never looked back until I wrote (the memoir) and it has been good to look back - it has been really good for me." Image: Today Show, Channel 9

Movies

"Downhearted": Rod Stewart reveals sad reason for cancellation

Fans of Rod Stewart, Cyndi Lauper and Jon Stevens were left devastated after the trio’s highly anticipated performance was cancelled hours before they were due to take the stage. The sad announcement was made just after midday, with the trio set to perform at 4 pm at A Day on the Green festival in Mt Duneed Estate in Geelong, Victoria. Stewart took to Instagram to share his heartfelt apology, “Hello, my friends. I’m absolutely downhearted that I’m disappointing my fans who bought tickets to A Day on the Green. “Late this morning I was advised that I have a viral infection and my throat is too irritated to sing. I’m only human and sometimes get sick just like you do. “My greatest joy is performing for you, so I’m doing everything I can to get on the mend and back on stage!” <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cp7XzziNTVN/?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/Cp7XzziNTVN/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Sir Rod Stewart (@sirrodstewart)</a> </div> </blockquote> On Saturday, the promoters of the event posted an online statement confirming that the show was cancelled. The statement read: “Live Nation and Roundhouse Entertainment regret to announce that tonight’s performance, Saturday 18 March 2023, by Rod Stewart, Cyndi Lauper and Jon Stevens at Mt. Duneed Estate, Geelong will not go ahead, due to illness.” Ticketmaster also apologised for the cancellation and to hold on to their tickets while they wait for further updates regarding the show. Hundreds of fans have shared their disappointment, with some saying they had travelled just for the show. “Would’ve been good to receive an email/text and not have to find out from a random in a cafe. Booked a weekend away for my mother-in-law’s 60th birthday which is today, we’re beyond devastated,” one person commented in an Instagram post from A Day on the Green. “A text or email would have been lovely, we just arrived after driving 5 hours and our notification was the sign out the front. This was my partner's dads Christmas present,” commented another. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Cp6WmRLOsHo/?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/Cp6WmRLOsHo/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by A Day On The Green (@adayonthegreenofficial)</a> </div> </blockquote> Others have expressed their sympathy in response to the statement shared by Stewart. “It's all good Sir Rod.. Take care of your people first.. The rest can be sorted out afterwards…” wrote one user. “I hope it's nothing too serious. Sending hugs. 💜” shared another fan. “Hope you feel better soon. Must have been an awful decision to make to cancel at such short notice,” wrote a third. Image: Oscar Gonzalez/Getty Images

Music

Fiddler on the Roof star passes away

Chaim Topol has passed away at the age of 87. The Israeli actor, known around the world for his role as Tevye the Milkman in Fiddler on the Roof, died at home with his loved ones at his side. He is survived by his wife and three children. Topol’s son had previously confirmed that the actor had been diagnosed with dementia in 2022, while The Times of Israel reported that the 87-year-old had been battling with Alzheimer’s for years. Israel’s president Isaac Herzog announced Topol’s death in a statement, describing him as a “gifted actor who conquered many stages in Israel and overseas, filled the cinema screens with his presence, and most importantly entered deep into our hearts.” <blockquote class="twitter-tweet"> President <a href="https://twitter.com/Isaac_Herzog?ref_src=twsrc%5Etfw">@Isaac_Herzog</a> mourns the passing of Chaim Topol: <a href="https://t.co/PXWYUKq8iY">pic.twitter.com/PXWYUKq8iY</a> — Office of the President of Israel (@IsraelPresident) <a href="https://twitter.com/IsraelPresident/status/1633716213925724160?ref_src=twsrc%5Etfw">March 9, 2023</a></blockquote> Topol was just 30 years old when he first stepped into the role of Tevye in 1996 for the stage musical Fiddler on the Roof. At the time, he was required to wear makeup and special costuming to make him look older than he was, but by the time he finished performing in 2009, he had to act younger, as he was then in his 70s. It has been estimated - and claimed by Topol himself in 2014 - that he had portrayed Tevye in the stage play over 4000 times. His credits weren’t limited just to the stage, however, with the actor also diving in as the beloved character for the 1971 screen adaptation. For this work, he secured himself nominations for both an Academy Award and a Golden Globe. While he did not win the Oscar, he did go home with the Golden Globe award. He also received a Tony Award nomination in 1991 for the Broadway revival. Throughout his career, Teyve was the first character people recognised him for, though Topol didn’t seem to mind. In a 2015 interview, he said “how many people are known for one part? How many people in my profession are known worldwide?” Production took him across the globe with Fiddler on the Roof, and saw him visit everywhere from Australia to Europe, Asia, and Israel. “Sometimes I am surprised when I come to China, or when I come to Tokyo, or when I come to France, or when I come to wherever, and the clerk at immigration says ‘Topol, Topol, are you Topol?’” he said, “many people saw [the play] and it’s not a bad thing.” Topol also starred in the likes of Galileo, Flash Gordon, and For Your Eyes Only, as well as providing his voice for Hebrew dubs of both The Jungle Book and two Harry Potter films. His later years, however, saw him turn to writing and illustrating books. And in 2015, the actor was awarded The Israel Prize by the State of Israel, something that is considered to be one of the state’s top cultural honours. Images: Getty

News

Daryl Braithwaite joins Harry Styles on stage for a show-stopping performance

As Harry Styles finished up his Love on Tour shows in Australia, he was joined by an impressive 70,000-strong crowd in Sydney's Accor Stadium. On Saturday night, after two weeks Down Under, Styles performed his final show in Australia before heading to New Zealand. As a special treat for his fans to commemorate the final Aussie show, the British pop icon brought an Aussie legend to the stage. “It’s our last show in Australia, so it only felt right to do something a little bit special,” Harry told his fans. “Please welcome, Mr Daryl Braithwaite!” In a true display of Australianism, Daryl Braithwaite led a duet of The Horses as the entire crowd sang along, with Styles dancing alongside him. <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: 610px; 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%2F7206678993213426945&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40yourislandgyalmb%2Fvideo%2F7206678993213426945&image=https%3A%2F%2Fp16-sign-sg.tiktokcdn.com%2Fobj%2Ftos-alisg-p-0037%2F15d698da8fda4e8e9aea6713dcd8c6bf_1677935718%3Fx-expires%3D1678075200%26x-signature%3Dn3BzCrm7n9lxLVMnztJiIKKoiTA%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> As the song finished, Harry told the crowd the "Aussie was coursing through my veins," before explaining, “He’s a TimTam, he’s a shoey, he’s Vegemite ... He’s Mr Daryl Braithwaite!” The iconic on-stage moment comes just days after Daryl attended Harry's Melbourne show, in which Styles also sang a cover of The Horses, not knowing the man behind the song's Aussie fame was in the crowd. Braithwaite was impressed by Styles' cover, sharing his admiration for him on Facebook, writing, “What an extraordinary night it was at Harry’s gig." "I just love the feeling of these massive concerts as they take on a life of their own." “Harry Styles is so good at what he does and they loved him. I was completely overwhelmed by the night.” When Styles first performed The Horses in Perth, he described the track as "catnip" to Aussies, with every member of the audience knowing every word to the iconic song. <blockquote class="twitter-tweet"> Daryl Braithwaite watching Harry cover The Horses at Marvel Stadium in Melbourne, Australia - February 25 (via fenellamai) <a href="https://t.co/zsEot2TbQt">pic.twitter.com/zsEot2TbQt</a> — HSD Love On Tour (@hsdlot) <a href="https://twitter.com/hsdlot/status/1629529137680351232?ref_src=twsrc%5Etfw">February 25, 2023</a></blockquote> “I’ve been playing that a couple of times here and there,” Styles said of the song. “And every time you are around an Australian, this happens.” Styles then turned his back to the Perth audience, pretended to hear the song, quickly twisting his head with interest, and asked, “Is that Daryl Braithwaite?” Image credits: Instagram

Music

TV host humiliated live on air by 9-year-old daughter

A TV host has been left mortified after her 9-year-old daughter embarrassed her live on air. Jenna Hager Bush, one of the hosts of the US morning show Today with Hoda & Jenna, had her daughter Mila on the show to chat about fashion. The 9-year-old then shocked her mum by telling viewers that Hager “never wears underwear.” She continued, “She is not wearing it right now! I saw her change!” The little one’s confession came one month after the journalist first confessed that she often skips underwear for a “more pretty silhouette” after co-host Hoda Kotb called her out. Hager, who also shares daughter Poppy, 7, and son Hal, 3, with husband Henry Hager, explained that her controversial wardrobe choice makes her life “easier.” “You don’t have to pack as much,” she pointed out last month. “There [are] a lot of pros to it.” While Mila wasn’t the first to out her mother’s lack of underwear, she did continue to embarrass Hager with another story on Tuesday. “One time she was laughing in our living room and she peed her pants!” Mila said, noting that Hager had to “change [her] pyjamas” at the time. Hager was a good sport, sarcastically thanking Mila before saying, “I think Hoda is trying to get the truth bombs out [of you] but no more.” <div id="ad-hybrid-banner-1" data-type="unruly" data-ad-size="4x4" data-device-type="web"> <div> </div> </div> When Mila showed no signs of keeping quiet, Hager abruptly concluded, “OK, goodbye! Goodbye, I love you!” As Mila exited the stage, Kotb gushed, “What a great kid. … You and her are very similar because you’re both just exactly who you are.” Image credits: Today with Hoda & Jenna

“An exciting place to be”: Carmen becomes first opera performed on Cockatoo Island

Operas as we know them conjure up images of concert halls with soaring ceilings, tiered, cushiony seats, and singers projecting their voices for the whole audience to hear. To take opera beyond the theatre and into the great outdoors comes with plenty of challenges, many of which conductor Tahu Matheson has become all too familiar with while conducting the orchestra for <a href="https://www.oversixty.com.au/travel/domestic-travel/fireworks-motorbikes-and-opera-carmen-on-cockatoo-island-review">Carmen on Sydney’s Cockatoo Island</a>. “It’s quite tricky,” he tells OverSixty. “In particular, it’s the distance. The orchestra is a long, long way away from the grand outdoor stage.” With the orchestra located in one of the island’s historic buildings and the opera’s main stage on the water’s edge, Matheson and the cast rely on monitors to see each other and stay in time. “I can see the stage but only really from a distance,” he explains. “So really, I just listen, basically, and try and follow the singers as much as possible. “And they've got a big monitor, and when they can they take note of the monitor.” Naturally, the elements present another challenge to be overcome with the help of microphones, and the help of sound designer Tony David Cray, who Matheson describes as a “sound genius”. “He never stops working. When we’re all having a break, we hear moments of stuff that we’ve just done, and then he's just working on the sound and seeing if we can make this clearer and more beautiful, and more articulated,” Matheson says. But the most interesting part of this production for Matheson has been how it has changed from the original under the guidance of director Liesel Badorrek. “Carmen, probably one of the strongest women in opera, is being sort of interpreted just slightly differently, from a woman’s point of view,” he says. “There’s always a little bit of Carmen where, yes, she’s an incredibly strong character, but it’s definitely been written by a man, so a man’s idea of a strong woman. “And so Liesel just interprets that in a slightly different way… a strong woman from a woman’s perspective. I think it’s timely and it’s also slightly more interesting than we’ve had in the past.” Opera Australia’s version of Carmen draws attention to themes of violence against women at a time when sexual violence and coercive control have been in the spotlight. It also modernises the appearance of Carmen through costuming and set design, opening up questions of whether future productions could follow suit in a bid to appeal to modern audiences. But, Matheson says this can be tricky when dealing with an artform like opera. “I think there are some things about opera, just the artform itself, that are so thrilling and exciting that I don’t think you're going to experience them in any other artform,” he says. “It’s very difficult because it’s a hybrid of three or four different artforms, each of which, in itself, is capable of reducing the audience members to tears, whether it’s just the spoken word alone, or just music in a concert, or just a singer with a piano. “And then you bring all these things together and then you add a dramatic plot to it - it has the ability to be something so thrilling and so amazing. “But it also has this fragility because it depends on all four or five disparate parts working together. And so it can fail, and sometimes it does. “And I think it’s worth remembering as a member of the public that it has the possibility to be the most stunning experience that you’ve ever had in your life. “At the same time, we do need to modernise, think forward a little bit and [think]: How do we engage with people as well as wanting them to engage in the artform itself?’ “I don’t think it’s as simple as going, ‘We’ll add more people in jeans and t-shirts so that people empathise with characters’, but somehow a mixture of both, I think it’s what we need.” Carmen on Cockatoo Island is showing Tuesday through Sunday nights from November 25 until December 18, with tickets available <a href="https://opera.org.au/productions/carmen-on-cockatoo-island" target="_blank" rel="noopener">here</a>. Images: Prudence Upton / Opera Australia

Domestic Travel

Dog found hidden in carry-on bag at airport security

A US Transportation and Security Agency (TSA) officer has discovered a small dog stashed in a traveller's carry-on luggage. The animal was found in a backpack when going through the X-ray machine at the Dane County <a title="Airport " href="https://www.9news.com.au/airport" target="_blank" rel="noopener">Airport</a> in Wisconsin. TSA told a local news outlet that the passenger was unaware of the screening protocol and did not tell security officers about her dog. After an officer explained the proper process and confirmed she disclosed she was travelling with a pet to the airline, she proceeded to her gate to board her flight. TSA Great Lakes confirmed that the woman's error was an accident on social media, while alerting people to the proper flying rules. <blockquote class="twitter-tweet"> Video: Here’s the proper way to travel with your pet. Note: This is a <a href="https://twitter.com/TSA?ref_src=twsrc%5Etfw">@TSA</a> PreCheck passenger traveling with a cat. If you think your pet will attempt an escape, ask to speak with a supervisor before removing the animal. Alternative screening options may be available. (2/2) <a href="https://t.co/NL2jNjni2l">pic.twitter.com/NL2jNjni2l</a> — TSA_GreatLakes (@TSA_GreatLakes) <a href="https://twitter.com/TSA_GreatLakes/status/1600210121136537600?ref_src=twsrc%5Etfw">December 6, 2022</a></blockquote> "A dog was accidentally sent through the X-ray @MSN_Airport this week," it tweeted. "When travelling with any animal, notify your airline and know their rules." "At the checkpoint, remove your pet from the bag and send all items, including the empty carrier, to be screened in the machine." It then uploaded a video showing "the proper way" to travel with pets. Image credits: Twitter

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