Search

Filling the silences in family stories − how to think like a historian to uncover your family’s narrative

<a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</a> Great-grandmothers. We all have them. But most of us will never know them except through glimpses of fading bits of paper: sepia photographs, recipe cards, letters in handwriting traced by a fountain pen dispensing cocoa-colored ink. What does it take to build coherent stories out of such tantalizing fragments of lives? I face this question routinely in my career as a <a href="https://www.macalester.edu/english/facultystaff/andreakastontange/">professor of 19th-century literature and culture</a>. Recently, I’ve turned that experience to writing a book about my own family. When I inherited my great-grandmother’s diary, a repurposed teacher’s planner in which she chronicled the family’s 1926 move from Michigan to Miami, I found a wedding portrait tucked inside. The angled profile showcases her youthful skin and a dress too elaborate for a Midwestern schoolteacher’s daily wear. It is easy to imagine that she took pleasure in inscribing her new name on the picture’s reverse: Faith Avery. I stared at her beautiful image for years, as if details of her satin gown could explain why a woman widowed in 1918 would, for the rest of her life, refuse to admit to having had that first husband and yet carefully preserve this portrait. And then, because archives have been at the center of my scholarly work, I turned to research. I located marriage records and draft cards, pored over maps, found family members in censuses and obituaries. Within those documents lay answers both surprising and poignant. What did I look for? How might anyone with a half-told family story begin to uncover more truths? And what does it take to make sense of them? <h2>The digging</h2> Questions that begin with “why” can rarely be answered easily. Researchers thus often prefer to start with “who” and “when” and “how,” locating a person in one spot and then tracing them through time. This adventure down a rabbit hole follows a method. Make a list of unknowns. These may be facts or enticing tidbits of incomplete family lore. My mother, trying to be helpful, told me things like, “Faith always said there was a horse thief in the family, but she was too mortified to reveal his name” and “I think Aunt Harriette (Faith’s sister) was married once briefly.” Do precise, not general, searches. Typing “horse thief Avery” into Google yields nothing useful, but many other sources contain rich information about old-fashioned exploits. The New York Public Library’s <a href="https://www.nypl.org/blog/2019/03/25/genealogy-guide-books">guide for family research</a> introduces some options. The <a href="https://www.loc.gov/pictures/">Library of Congress print and photograph collection</a> can also help you envision your ancestors’ world. Physical libraries contain historic photographs, maps, local records and digitized newspapers not available online. Historical societies and state universities typically allow free, in-person use of their collections. Know that sometimes you will fail and need to change course. I spent several days looking for the horse thief to no avail, much to my mother’s disappointment. But when I turned to Aunt Harriette’s marriage, I found a character no less fascinating, one I now think of as “Four Wives Frank.” Read old documents knowing they were produced by a patchwork of individuals who took information on trust. The handwritten birth, death, marriage and <a href="https://www.archives.gov/research/census/about">census records</a> of past centuries relied on self-reported data that required no verification. They can be plagued by carelessness in the name of efficiency. One hurried census-taker recorded Faith’s mother Cara as “Cora,” another renamed her brother Horace “Harris.” Frank offered up a variety of birth years, countries of origin and maiden names for his mother as he worked his way west. He must have been charming. Who but a charming man could have convinced woman after woman to marry him, each thinking she was, at most, his second wife? Marriage register officers and census-takers, not to mention his trail of brides, were none the wiser. Which leads me to this: Cross-check information. I knew I had the right Frank because he had the same three sons in multiple records. Inconsistencies across those records, in conjunction with the trajectory of his life, made this conclusion inevitable: The man purposefully reinvented himself. <h2>The assembly</h2> My academic work has taught me that most <a href="https://doi.org/10.2979/victorianstudies.63.2.02">archival answers lead to more questions</a>. As a result, I expect multiple phases of collecting. I gathered everything I could find about Faith’s early life, in hopes something might explain her reticence about her first marriage. As her story emerged, I periodically hit holes in the narrative that sent me back for more digging. Understanding people is easier if you are familiar with their world. For background, I read histories of Miami in the 1920s and researched details in Faith’s diary that might reveal her personality or motivations. Exploring her reading lists showed me a woman who enjoyed popular entertainment, such as 1926’s blockbuster “<a href="https://www.imdb.com/title/tt0016598/">Aloma of the South Seas</a>.” Primers of <a href="https://libraryguides.missouri.edu/pricesandwages/1920-1929">1920s wages and prices</a> explained the family’s economic worries. As I got to know Faith, I revisited documents with new questions. To figure out whether Harriette’s husband Frank had anything to do with Faith, I made timelines for both sisters. To ponder the emotional underpinnings of those events, I reread Faith’s diary, paying particular attention to entries about Harriette and about Faith’s second husband. Because every pile of documents contains multiple stories, the key to a coherent narrative is locating a through line that addresses the biggest conundrums while identifying the tangents. I let go of the horse thief. <h2>The results</h2> The detective-style plots of what I call “<a href="https://www.writersdigest.com/be-inspired/lilly-dancyger-memoir-as-detective-novel">investigative memoir</a>” may inspire you to do your own family research. Genealogy sites such as <a href="https://www.ancestry.com/">Ancestry.com</a> and <a href="https://www.familysearch.org/en/united-states/">FamilySearch.org</a> can help. But it’s worth remembering that secondary reading will add richness to any family story. And local librarians are extraordinary at helping patrons navigate the search process. Improbable as it might seem, Four Wives Frank helped me understand the extent of Faith’s secrets and that she harbored them in hopes that her children’s lives would be easier. Such self-sacrifices are common for mothers. And yet, their particulars are as individual as the faintly silvered portrait of the soft young woman who married Harold Avery in 1911, and whose story requires an entire book to tell properly.<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/234341/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/andrea-kaston-tange-1417052">Andrea Kaston Tange</a>, Professor of English, <a href="https://theconversation.com/institutions/macalester-college-2632">Macalester College</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/filling-the-silences-in-family-stories-how-to-think-like-a-historian-to-uncover-your-familys-narrative-234341">original article</a>.

Family & Pets

6 reasons why people enjoy horror movies

<a href="https://theconversation.com/profiles/shane-rogers-575838">Shane Rogers</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> The creeping shadows and haunting decorations transform the everyday into something eerie at Halloween. And you might be thinking about scaring yourself with a <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">good horror movie</a>. Grotesque imagery, extreme violence, startling jump scares and menacing characters are common elements, making viewers feel fear, dread and disgust. We generally aim to avoid these <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2023.1321053/full">negative emotions</a> in our everyday lives. So why would some people seek them out, and enjoy them, in horror movies? <h2>1. Fear can be thrilling</h2> There is lots of <a href="https://www.sciencedirect.com/science/article/abs/pii/S0149763423002063">overlap</a> between the emotions of fear and <a href="https://www.nature.com/articles/s41598-024-53533-y">excitement</a>. In both, <a href="https://www.annualreviews.org/content/journals/10.1146/annurev.neuro.051508.135620">stress hormones</a> are released that can produce physical symptoms such as increased heart and breathing rates, sweating and muscle tension. People also feel <a href="https://www.verywellmind.com/the-psychology-of-fear-2671696">more alert</a> and “on edge”. Research has <a href="https://www.frontiersin.org/articles/10.3389/fpsyg.2019.02298/full">consistently shown</a> people with personalities that crave intense emotional experiences, including fear and excitement, tend to enjoy horror movies. But for more fearful people, the jump scares and violent scenes can be <a href="https://doi.org/10.1093/oso/9780197535899.001.0001">too intense</a>. This can result in <a href="https://journals.sagepub.com/doi/full/10.1177/0956797620972116">coping behaviours</a> such as looking away or putting their hands over the ears, especially if they are <a href="https://doi.org/10.1037/ebs0000152">highly immersed</a> in the movie. Although, if they also happen to enjoy intense emotion, they may still enjoy the thrill of the ride. <figure><iframe src="https://www.youtube.com/embed/llpsjbNQIns?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Movie makers work hard to get these ‘jump scares’ just right. And viewers enjoy the thrill.</figcaption></figure> <h2>2. There’s a sense of relief</h2> People may enjoy horror movies because of a <a href="https://osf.io/preprints/psyarxiv/7uh6f">sense of relief</a> after a <a href="https://www.the-scientist.com/ts-digest/issue/science-experiments-from-the-afterlife-24-14?utm_campaign=TS_TS%20Digest%202.0%20Promotion&utm_medium=email&_hsmi=329250194&utm_content=329250194&utm_source=hs_email#why-do-some-people-enjoy-horror-movies-72181">scary moment has passed</a>. Watching a horror movie can be a bit of an emotional rollercoaster, with distinct <a href="https://www.sciencedirect.com/science/article/pii/S1053811920300094">peaks and troughs</a> of fear and relief over the course of the film. For example, in the <a href="https://www.imdb.com/title/tt1396484/">2017 movie It</a> the main protagonists survive a series of scary encounters with a demonic clown. The scary moments are separated by calmer scenes, prompting a rollercoaster of emotions. In the classic <a href="https://www.imdb.com/title/tt0073195/">1975 movie Jaws</a>, viewers experience relief from the scary moments, only to be scared again and again. <figure><iframe src="https://www.youtube.com/embed/yFXG5QQYOvg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Jaws is a rollercoaster of emotions.</figcaption></figure> <h2>3. They satisfy our morbid curiosity</h2> Many horror movies feature supernatural themes and characters such as zombies, werewolves and vampires. So horror movies can help satiate a <a href="https://www.sciencedirect.com/science/article/abs/pii/S0191886921005183">morbid curiosity</a>. The violence, death, destruction and grotesque elements can provide curious people a safe space to explore things that are not safe (or socially appropriate) in the real world. <figure><iframe src="https://www.youtube.com/embed/ZbdMMI6ty0o?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>Horror movies can help people satisfy their curiosity about death. But why are they curious in the first place?</figcaption></figure> <h2>4. We can work out our limits</h2> Horror movies can reflect our deepest fears and prompt introspection about our personal thresholds of fear and disgust. So some people may enjoy watching them to get a <a href="https://osf.io/preprints/psyarxiv/sdxe6">better understanding</a> of their own limits. Watching horror might also be a way to push personal boundaries to potentially become <a href="https://osf.io/preprints/psyarxiv/7uh6f">less fearful</a> or grossed out by things in real life. In a <a href="https://doi.org/10.1016/j.paid.2020.110397">study</a> one of us (Coltan) conducted, horror movie fans reported less psychological distress during the early months of the COVID pandemic compared with people not identifying as a horror movie fan. <h2>5. They can be social</h2> Some people say the <a href="https://doi.org/10.1037/ebs0000152">social aspect</a> of watching horror movies with others is a big part of their appeal. Watching with others might help some people feel safer. Alternatively, this might help <a href="https://osf.io/preprints/psyarxiv/b8tgs">amplify</a> the emotional experience by <a href="https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0223259">feeding off the emotions</a> of people around them. Horror movies are also a common pick as a <a href="https://www.imdb.com/list/ls023286138/">date night</a> movie. Being <a href="https://doi.org/10.1037/0022-3514.51.3.586">scared together</a> gives a good excuse to snuggle and take comfort in each other. <h2>6. They give us pleasure in other people’s misery</h2> Horror movies can provide the pleasurable emotion we feel when witnessing the misfortune of others, known as <a href="https://www.sciencedirect.com/topics/neuroscience/schadenfreude">schadenfreude</a>. This occurs most when we feel the person experiencing misfortune deserves it. In many horror movies the characters that suffer a gruesome fate are only side characters. Much of the time these unfortunate souls are made out to be unlikeable and often make foolish choices before their grisly end. For example, in the 1996 teen witch movie <a href="https://www.imdb.com/title/tt0115963/">The Craft</a>, the character Chris Hooker is portrayed as being cruel to women. Then he dies by being blasted out of a window. Despite the grisly nature of horror movies, a <a href="https://psycnet.apa.org/record/2024-43893-001">study</a> by one of us (Coltan) found horror fans seem to have the same levels of empathy as anyone else. <figure><iframe src="https://www.youtube.com/embed/ZvLmyts6cEY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>In The Craft, viewers enjoy witnessing the misfortune of others, particularly if the character is a ‘baddy’.</figcaption></figure> <h2>What do I make of all this?</h2> Horror movies allow us to confront our deepest fears through the <a href="https://doi.org/10.1027/1864-1105/a000354">safety of make-believe</a>. People enjoy them for lots of different reasons. And the precise combination of reasons differs depending on the specific movie, and the person or people watching it. What is certain though, is the <a href="https://www.the-numbers.com/market/genres">increasing popularity</a> of horror movies, with <a href="https://editorial.rottentomatoes.com/guide/best-horror-movies-of-all-time/">many</a> to choose from.<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/241480/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/shane-rogers-575838">Shane Rogers</a>, Lecturer in Psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a>; <a href="https://theconversation.com/profiles/coltan-scrivner-1475716">Coltan Scrivner</a>, Behavioral Scientist, <a href="https://theconversation.com/institutions/arizona-state-university-730">Arizona State University</a>, and <a href="https://theconversation.com/profiles/shannon-muir-2237282">Shannon Muir</a>, Lecturer in psychology, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan 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/6-reasons-why-people-enjoy-horror-movies-241480">original article</a>.

Movies

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

Young woman dies after horror cruise fall

A woman in her 20s has died after plunging from the MSC Virtuosa cruise ship in the middle of the night. The cruise ship was travelling from Lisbon to Southampton when disaster struck at around 2am on October 12. While air ambulance successfully winched her out of the English Channel, she was pronounced dead at the hospital despite the best efforts of medics. British and French police are now probing the unidentified woman's death, The Sun reported. The ship originally sounded a Man Overboard alert and spotlights were then used to light up the sea, as aircraft from France and the Channel Islands attended the sea. Infra-red cameras were used to locate the woman, who would've struggled to survive in the cold water. At around 3am French time, an emergency alert was issued saying that a person was missing, a coast guard told The Sun. A helicopter was sent to a search area just north Les Casquets rocks, near the Channel Island of Alderney, while a plane from Channel Islands Air Search was sent to the scene from Guernsey, along with lifeboat crews. The £650 million ($A1.2 billion) vessel, which has a crew of more than 1500 and can carry up to 6300 passengers, remained in the area before making its way to Southampton. “A guest on board MSC Virtuosa went overboard on 12 October, while the ship was sailing to Southampton,” a Virtuosa spokesperson said. “The body was later recovered with the involvement of the authorities. “We are deeply saddened by this tragic event, and our thoughts are with the family during this difficult time. “Out of respect for their privacy, we will not be providing further details.” A Hampshire Police spokesperson added: “The investigation is not being managed by UK authorities.” Images: P.Cartwright / Shutterstock.com/ Channel Islands Air Search

Travel Trouble

Pilot identified after horror helicopter crash

The young pilot who died after his helicopter plummeted into the roof of a Cairns hotel has been identified. Blake Wilson, a 23-year-old from New Zealand, was flying the twin-engine chopper for only a few minutes before it crashed into the roof of the DoubleTree Hotel by Hilton in Far North Queensland. Wilson had been celebrating a farewell party with co-workers just hours before the horror incident. Nautilus Aviation, the company that owned the helicopter, confirmed the pilot had worked for them as a ground crew member for about four months and had been celebrating one final day with colleagues before moving to another air base. In an updated statement on Tuesday night, police said initial investigations suggested Mr Wilson, who died at the scene, was the sole occupant of the helicopter at the time of the crash. Following his tragic death, Nautilus Aviation issued a statement saying, “We would like to address rumours regarding a gathering of some Nautilus Aviation employees, including off-duty pilots, on Sunday night.” “We can confirm this event did occur and was a privately organised send-off for the individual involved in Monday morning’s incident, who was recently promoted to a ground crew position at another one of our bases." While the company did not identify the pilot the time, they did reveal they held a New Zealand pilot’s licence. “Although the employee held a New Zealand CPL (H) pilot’s licence, they have never flown in Australia or for Nautilus Aviation and were not authorised to fly Nautilus Aviation helicopters,” company statement read. “We offer our heartfelt condolences to the individual’s family and all who have been affected by this tragedy and continue to offer our support to our employees during this very challenging period.” Mr Wilson had moved from New Zealand to Cairns for his flying training to follow his dreams of being a pilot at Christchurch Helicopters. Image credits: Facebook

Travel Trouble

Woman “bullied” on plane over budget seating trick

A young woman has recalled a flight from hell when she was “bullied” by a couple who were trying to utilise a seating hack that went viral on TikTok. The solo traveller took to Reddit to recount the story and ask social media users if she was in the wrong for her action. The woman began by saying she usually pays more to select her plane seat ahead of time, but a medical emergency on another plane had her waiting on standby and left with no option other than to sit in a middle seat. When she was finally able to board, she was greeted by a couple who had purchased both the window and aisle seats in a bid to have more space, utilising a travel “trick” that has been popular on TikTok. The method, which has been dubbed the 'poor man's business class', usually leaves travellers with an empty middle seat and more space, and few travellers opt to pick a middle seat. “When I got to my row the man and woman were chatting and sharing a snack... it was obvious they were together. I mentioned to the man that I'm in the middle, and he got up to let me in,” the unsuspecting traveller wrote on Reddit. “I asked them if they would prefer to sit together, I said I was totally okay with that. The woman reacted rudely to this and said ‘you're not supposed to be sitting here anyway’.” After noticing how the plane was full, she offered to show the pair her new ticket with the correct seat number on it. “She flicked her hand at my ticket and made a disgusted sound. I offered again if they wanted to sit together to which she didn't reply, her partner said it's okay and... made some small talk,” she continued. The man’s girlfriend then interrupted their conversation to ask,”'Did you use one of those third party websites to book your flight? It's so frustrating when people cheap out to inconvenience others.” The American woman explained that she had booked her flight directly and she had been placed on standby like everyone else and didn't choose the middle seat - she was assigned it. She then tried to keep the peace by refusing to engage with the furious woman. “I was so done with her attitude, I put my headphones on and attempted to do my own thing,” she explained. But the “entitled” girlfriend wasn't letting it go, as the woman explained, “This woman kept reaching over me and tapping her partner and trying to talk to him in a way that was super intrusive.” “I could tell even her partner was trying to engage her less so that she would hopefully stop, but she didn't.” “I think they tried to pull that tactic where they don't sit together on purpose...hoping no one will sit between them. But on full flights it doesn't work. And even so - it's not the other person's fault.” The traveller's post was met with hundreds of comments slamming the girlfriend’s behaviour, as one person wrote, “It's like a toddler having a tantrum.” “She was disappointed and a total a**hole. Gross entitled people,” another added. Another person applauded the traveller’s level-headed behaviour, writing, “Wow! You are my hero for keeping it classy - I’m afraid I would not have been as kind as you.” Image credits: Shutterstock

Travel Trouble

Man arrested over horror crash that left 11-year-old orphaned

A British man has been arrested over a horror crash that left an 11-year-old girl orphaned. Shannen Morgan and Shane Roller have died alongside their two young daughters Rubie, 9, and Lillie, four, when their car collided with a motorbike as the family were travelling home from a walk on Sunday. Christopher Barton, 56, and his wife Janine, 48, who were on the motorbike were also both killed. The couple's son, Lewis, 21 has now been left without his parents, along with Shane and Shannen's 11-year-old daughter Poppie. Shocking pictures taken after the horror crash between Barnsley and Wakefield in northern England, showed the burnt out wreckage of the family's car, who were all declared dead at the scene. Police have confirmed a man has been arrested on suspicion of causing death by dangerous driving, according to The Sun. Poppie managed to escape the tragic accident because she had gone to a friend's house for dinner, and Lewis was on holiday in Thailand when he found out about his parents death. The 11-year-old was being looked after by family friend, Paul Hepple, at the time, and he said that they were just tucking into a roast dinner when the phone rang with the devastating news. “Her mum actually contacted us and asked if we could watch her because she didn’t want to go on the walk that they went on,” he told Mail Online. “She was with our daughter having fun. And on their way home, that’s when the accident happened. “We were having Sunday dinner as a family, and Poppie's aunty was with us and obviously, Poppie was as well. And then she got a phone call and she ended up leaving really quickly to go and see what happened.” Hepple, has set up a <a href="https://www.gofundme.com/f/support-for-poppie" target="_blank" rel="noopener">GoFundMe</a> page for Poppie and has raised almost £380,000 (about $745,000 Australian dollars) to put towards her education, emotional support and future care. The family friend has described Poppie as a “bright and resilient young girl” who has turned to Taylor Swift’s music to find comfort after she “lost her whole world in an instant”. “Despite her unimaginable loss, she shows incredible strength every day,” he wrote on the fundraiser. “Poppie now faces an uncertain future. With her immediate family gone, she needs support to ensure she has a stable, loving environment where she can heal and grow.” Shannen and Shane's devastated friends and family have shared their tributes on social media, vowing to look after Poppie. Shane’s brother Callum said he was “lost for words”, adding: “I’m absolutely heartbroken. I’m gonna miss all of you! You all had a heart of gold. My heart is ripped into a million pieces!” Shannen's friend Chelsea Element wrote: “You are and always will be one of my closest friends. “There are no words to describe the utter loss this has created for family/friends and the community around us. I hope you’re at peace Shannen Morgan and Shane Roller, with your beautiful girls. “Everyone will always look after Poppie, she will never want for anything she has the love of everyone.” Her cousin Beth Brittain said: “My heart just hurts my brain won’t accept what’s happened. “Shannen you were always my extra sister not just my cousin, we grew together. I just can’t speak. No words. Sleep tight my little Roller family your memory will live on for eternity.” Christopher and Janine’s son Lewis, is believed to have flown home immediately after finding out about his parents death. The couple had recently celebrated their 25th wedding anniversary, according to West Yorkshire Police, and they were just 20 minutes from home when the devastating accident occurred. In a tribute released through the police, the couple were described by their son as “a loving, caring mum and dad who always put me before everything else”. Superintendent Alan Travis of Wakefield District Police has urged anyone who has dashcam, doorbell or CCTV footage of the car to contact them and assist with their investigation. They have also issued a public plea for anyone who saw a grey coloured Porsche 911 at the time of the crash to come forward. “This is an absolutely tragic incident which has resulted in the loss of six lives," the Superintendent said. “Our thoughts go out to the families of those who have died who we are working with to provide support at this time.” Images: news.com.au

Caring

Vale ‘sister suffragette’: how Glynis Johns became a pop-culture icon in the story of votes for women

<a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Glynis Johns, most famous for her role as the suffragette mother Mrs Winifred Banks in Disney’s Mary Poppins (1964), passed away last week at the age of 100. A fourth-generation performer who made her <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">stage debut</a> in London when she was only three weeks old, Johns inherited her Welsh father’s love of acting. She appeared with him in The Halfway House (1944) and The Sundowners (1960) and argued for the establishment of a Welsh National Theatre <a href="https://twitter.com/huwthomas/status/791367871242862592">as early as 1971</a>. Johns’s career spanned eight decades in Hollywood, Broadway and the British stage and screen. As Palm Springs’s Desert Sun <a href="https://cdnc.ucr.edu/?a=d&d=DS19630426.2.50">reported</a> in 1962, her “husky voice and big blue eyes” were her hallmarks. But it was her portrayal of Mrs Banks in Mary Poppins which would make her a pop culture icon. <h2>A childhood inspiration</h2> Feminist activists and scholars often describe the Mrs Banks character as a childhood inspiration. As feminist communications scholar Amanda Firestone <a href="https://www.google.com.au/books/edition/Resist_and_Persist/s5HiDwAAQBAJ">reflects</a> on the film: "I especially loved […] Mrs Banks (Glynis Johns), who marches around the family home, putting Votes for Women sashes onto the housekeeper, cook, and the (departing) nanny. Of course, as a kid, I had no idea that the people and events embedded in the song’s lyrics were actual parts of history, but I did find a kind of joy in a vague notion of women’s empowerment." Set in 1910, the symbolism associated with Mrs Banks references the history of the British suffragettes. Johns’ musical showstopper, Sister Suffragette, directly refers to <a href="https://www.thehistorypress.co.uk/articles/the-pankhursts-politics-protest-and-passion/">Emmeline Pankhurst</a>, who founded the militant Women’s Social and Political Union in 1903. In 1906 British newspapers <a href="https://doi.org/10.1017/S0020859007003239">coined</a> the moniker “suffragette” to mock the union. <figure><iframe src="https://www.youtube.com/embed/K0SDECwO54E?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> This ambivalence continued into the 1960s. Historian Laura E. Nym Mayhall <a href="https://www.jstor.org/stable/4316653">argues</a> that American concern over the impact of women’s public roles on their domestic responsibilities influenced the film’s depiction of Mrs Banks, especially her movement from a public suffragette back into an involved mother at the film’s end. For Mayhall, the figure of the suffragette emerges in popular culture as “a symbol of modernity”: a harbinger of democracy and political progress whose characterisation would elide ongoing struggles such as the civil rights movement. <figure class="align-right zoomable"><a href="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=949&fit=crop&dpr=1 600w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=949&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=949&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1193&fit=crop&dpr=1 754w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1193&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/568335/original/file-20240108-23-tf6kwm.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1193&fit=crop&dpr=3 2262w" alt="" /></a><figcaption>This 1909 Dunston Weiler Lithograph Co. anti-suffrage postcard offers resonances of Mrs Banks and her household staff in Mary Poppins. <a class="source" href="https://thesuffragepostcardproject.omeka.net/items/show/44">Catherine H. Palczewski Postcard Archive/The Suffrage Postcard Project</a></figcaption></figure> While some see the character of the suffragette mother as <a href="https://www.google.com.au/books/edition/Mary_Poppins/BLujEAAAQBAJ">supporting</a> women’s votes during the 1910s and women’s liberation during the 1960s, other readings of the film suggest a more satirical representation of the suffrage movement. Some historians even find <a href="https://doi.org/10.1215/02705346-6923118">resonances</a> of anti-suffrage propaganda in Mrs Banks, including in her usage of her Votes for Women sash as the tail of a kite in the film’s final scene. Looking back at film reviews offers insight into how audiences received this character – and, by extension, Johns as an actor. American studies scholar Lori Kenschaft <a href="https://books.google.com.au/books/about/Girls_Boys_Books_Toys.html?id=Or13vhnA_W4C">suggests</a> that film critics who saw Mrs Banks as a “nutty suffragette mother” reiterated popular stereotypes about suffragettes and feminists being “mentally unbalanced”. Such stereotypes may have been reinforced by the film’s depiction of motherhood and the nuclear family. Involved parenting emerged as the bedrock of the 1960s nuclear family, an idea both supported and actively promoted by Walt Disney in both his films and his theme parks, as <a href="https://www.google.com.au/books/edition/Children_Childhood_and_Musical_Theater/XHrRDwAAQBAJ">argued</a> by American musicologist William A. Everett. As Mrs Banks, Johns embodied the transition from the distant, uninvolved parenting of the British middle-class in the earlier 20th century to the involved mother who facilitated the stable nuclear family. As women’s studies scholar Anne McLeer <a href="https://www.jstor.org/stable/4316893">argues</a>, Mary Poppins, through Johns’ portrayal of Mrs Banks, demonstrated the liberated woman of the 1960s could be contained within the nuclear family: the bedrock for a Western capitalist economy. <h2>A long career</h2> Beyond Mary Poppins, her most prominent role was in Stephen Sondheim’s Broadway musical A Little Night Music (1973). Johns originated the character of ageing actress Desiree Armfeldt, becoming the first to sing Send in the Clowns. As she <a href="https://www.latimes.com/archives/la-xpm-1991-04-17-ca-126-story.html">reflected</a> of the classic in 1991: "It’s still part of me. And when you’ve got a song like Send in the Clowns, it’s timeless." Sondheim composed this song with Johns’s famously husky voice in mind. Yet some were less enamoured with her performance. One 1973 theatre critic <a href="https://www.jstor.org/stable/3850619">described</a> Johns as “a now somewhat overage tomboy, kittenish and raspy-voiced, precise and amusing in her delivery of lines but utterly, utterly unseductive.” <figure><iframe src="https://www.youtube.com/embed/OAl-EawVobY?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> A veteran of stage and screen, Johns appeared in more than 60 films and 30 plays. In 1998, she was honoured with a Disney Legends Award for her role as Mrs Banks. Johns also received critical acclaim throughout her career, including a Laurel Award for Mary Poppins and a Tony Award and Drama Desk Award for A Little Night Music. Regardless of how incongruous her status as a “<a href="https://www.abc.net.au/news/2024-01-05/glynis-johns-mary-poppins-send-in-the-clowns/103287036">Disney feminist icon</a>” may be, Johns’s extraordinary influence upon the 20th century’s cultural memory is a remarkable legacy. <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/220766/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ana-stevenson-196768">Ana Stevenson</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> and <a href="https://theconversation.com/profiles/lindsay-helwig-1500979">Lindsay Helwig</a>, Lecturer in Pathways, <a href="https://theconversation.com/institutions/university-of-southern-queensland-1069">University of Southern Queensland</a> Image credits: Disney 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/vale-sister-suffragette-how-glynis-johns-became-a-pop-culture-icon-in-the-story-of-votes-for-women-220766">original article</a>.

Caring

Explore. Dream. Discover: An Over60 Reader's epic journey

Many people travel to all corners of the earth, seeking new and exciting experiences, especially when we retire and are able to do so. Sometimes we can be pushed beyond the boundaries of our comfort zone but usually the experience is positive and often transformational. One popular destination for travellers who enjoy adventure is Sedona in Arizona, a town that nestles in a desert on the edge of red rock canyons. Nearby is Hopiland, home to the Hopi Indians. One of my most treasured memories occurred in this part of the world in 1990, on top of a desert mountain known as a mesa. The mesa rose thousands of feet above ground level and I climbed up there with a group of friends from Australia. As we reached the top, we began to hear the sound of drums and chanting coming from an underground cave. Our travel guide informed us that inside the cave, Hopi women and children huddled together on the dirt floor to watch their menfolk perform legendary rituals honouring their ancient ancestors. Since the ceremony was forbidden to tourists, we were given an hour to explore the top of the mesa. Moving a short distance away from the rest of the group, I sat down on a rock to fully absorb the nearby pulse of drums and chanting. A few minutes later, three young Hopi boys appeared and attempted to converse with me. Initially, I found it difficult to understand what they were saying until I realised they were actually inviting me to accompany them underground to join their tribal family. Throwing caution to the wind, I followed them down a rickety wooden ladder poking out of a hole in the ground. The atmosphere inside the cave was thick with burning sage combined with swirling dust from the pounding feet of men dancing, their heads hidden inside huge masks. Barefooted women and children squatted on the dirt floor and I felt very much an intruder as I squeezed myself amongst them. But, reassured by friendly smiles and head-nodding, I began to relax, absorbing the magical rituals of times past. Eventually the ancient ceremony ended, and I climbed the ladder back into the twentieth century, overcome by a newfound sense of humility and realisation of just how unimportant the wealth and material greed of Western society is. One can often rely on the unexpected to occur when travelling. During a visit to Egypt one year, our group emerged from the Temple of Isis to settle down and meditate on the bank of a nearby river when a military policeman appeared out of the bushes, clutching a large submachine gun. His other hand appeared to conceal something behind his back and as he drew closer, we noticed he had a second gun tucked into his belt. Terrified, we leapt to our feet. Then, his face breaking into a smile, he held out the hand from behind his back. Lying in its brown sinewy palm were eleven pink oleander blossoms, one for each of us. A moment of sheer terror switched instantly to one of absolute delight. Another example of ‘the unexpected’ occurred a few days later for a member of our group who had just turned eighty. All her life she had suffered with claustrophobia and its related anxiety and panic attacks. Consequently, when we visited the Great Pyramid to ascend the steep tunnel inside which would take us up to the King’s Chamber, we arranged for her to remain outside with our tour guide. But at the last minute she changed her mind, not wanting to miss out on such a special experience. By slowly crawling through the tunnel all the way up inside the Great Pyramid, she managed to achieve something she had never in her life believed possible. We celebrated her victory that night with champagne, lots of laughs and some hilarious attempts at belly dancing. A travel memory that always makes my grandchildren laugh is when I was visiting my friend Palden Jenkins, an historian who lives in Glastonbury. One day we set off for Snowdonia, North Wales, for a holiday. As we pulled up outside the 500-year-old stone cottage a farmer approached, urging us to be sure to leave a pot of tea outside every night for the Booka, the name given to Welsh brownies or elves. If we did this, he said, we would be assured of a hassle-free holiday. The Booka would not trouble us if we kept the cottage clean, left out the tea and didn’t have long noses. Words cannot describe the fun we two ‘grown-ups’ had in brewing tea every evening over an open fire to cater to the whims of Snowdonia’s faerie folk. Travelling the world can create change in our lives that we will never regret, opening our hearts, broadening our minds, and sometimes transforming our lives forever. To quote Mark Twain, ‘Twenty years from now you will be more disappointed by the things you did not do than by the ones you did. So, sail away from the safe harbour. Explore. Dream. Discover.’ This wonderful story, including the images, was sent in by Over60 Reader Jo Buchanan. Thank you, Jo, for sharing your adventure with us! If you have a Reader Story you would like to contribute to Over60, please send it to the editor via <a href="mailto:greg@oversixty.com.au" target="_blank" rel="noopener">greg@oversixty.com.au</a>.

International Travel

“That flying baby” shares her story almost 30 years on

While most babies have their little hands full with the all-important business of teething and crawling at six months, some have other things to be getting on with - and for one, that meant reaching for the stars. In 1991, six-month-old Jordan Leads was on a rock climbing trip with her parents in California’s Joshua Tree National Park when a picture of the young family was taken by photographer Greg Epperson, and then published by adventurewear brand Patagonia in its 1995 spring catalogue. The photo, titled “Come to Papa”, saw young Jordan - and the adventure-loving Sherry and Jeff Leads - bundled in a jumpsuit, soaring through the air between two large rocks with a substantial gap between them. She appeared to have been launched from her mum’s arms, and was heading straight for her father’s waiting ones. It fast tracked the family to worldwide fame, and even once the attention had settled, Sherry and Jeff made sure the moment wouldn’t be forgotten, choosing to hang a copy in the hallway of their family home. And now, almost 30 years on from the height of her stardom, Jordan has come to embrace that chapter of her life, going so far as to use the handle ‘That Flying Baby’ online. Though like her parents, Jordan’s life goal isn’t to head for the skies, with the young Leads following in their footsteps as an avid climber. And Jordan, who has a baby of her own, hopes to pass that passion onto her children when they’re old enough, as well as the story of her unusual rise to fame. "I can't wait to show [the pictures] to my kids one day,” she told NPR, “and to show them how I was growing up, how my parents raised me and to really just bring that whole family value of going outside back to them. "I would put [it] up on the wall, and then I could put my child's right next to it in our hallway ... I think that would be really cool." Jordan may have her work cut out for her getting the story to them first, however, with the picture making a resurgence online in recent years as entertained internet users transformed it into a popular meme. Thankfully, Jordan could see the fun in it all, even getting in on it herself when it came to her pregnancy announcement, when she photoshopped the faces of herself and her partner onto her parents’ bodies, and their ultrasound over the image of her younger self. But her favourite of all the edits takes things a little further from reality, as Jordan told Weekend Edition Saturday’s Scott Simon, it showed her parents “feeding me to a Jurassic Park dinosaur. I think that’s the best.” Images: Instagram

Travel Trouble

Why you should encourage your grandchildren to write stories

In an article published in <a href="https://www.jstor.org/stable/41405103" target="_blank" rel="noopener">Language Arts</a>, educators who were interested in encouraging children to write were asked why it was important for children to be encouraged to write. Their reasons were varied and interesting, and worth considering for anyone who has a young child in their life – let’s take a look at some: 1. To entertain As humans, we tell stories for many reasons, but perhaps the foremost reason is that we want to entertain one another. By encouraging children to write their own stories, they can discover what entertains them, as well as what entertains others – well-told, engaging stories. 2. To stimulate the imagination By creating from nothing a story full of characters and original plots, a child’s imagination grows and develops. 3. To search for identity When children write their own stories, they can use the conflict and characters to take their first steps on their search for identity. The power simple stories can have on a child’s self-development is remarkable. 4. To improve reading and writing skills Children need to read and write, so we may as well find a way to make it more interesting for them. Not only will writing help kids learn how to read, it can also help them understand literary devices (suspense, twist, dramatic irony, etc.), and grammatical structures. Now that we’ve explored some of the reasons creativity in writing in our kids, let’s find some ways to help get them started: 5. Inspiration exploration When you’re spending time with your grandchildren, make a game out of looking for fun story inspirations. Interesting newspaper headlines, a unique-looking house, a colouring-in book. You could even keep a box full of story inspirations to explore together with your grandchildren. 6. Unblank the page Anyone who has ever sat down to write knows there’s nothing more intimidating than a blank page. To help kids out, try giving them the opening line to a story. You can create these yourself, find a list of opening lines on the internet, or even borrow the opening line of a book on your own shelf. 7. Work all of the mind If you find that your grandchildren have difficulty focusing on just words, encourage them to explore other aspects of their own creativity by using visuals. Storyboards, illustrations, or even writing the story as a comic book can help stimulate storytelling. Image credit: Shutterstock

Family & Pets

How to avoid mobile phone bill horror stories when travelling

"I'm sorry, calls to this number are not allowed, please try again later". This. Again. At 1am standing outside what I thought was our Galway Airbnb, but instead was a popular alley for Irish revellers to relieve themselves. Brilliant. After begging a convenience store manager, borrowing a phone and stealing some local wi-fi, we made it to bed before 3am (one-star rating for the Airbnb host, naturally). Such was the power of the phone company when you're on holiday, I still got pinged far-too-high amounts for calls and data used to attempt a check-in at the Irish abode. A reader recently contacted me wanting to avoid such a conundrum by asking for the best SIM cards available in Europe. Thankfully, EU law has recently shielded travellers from harsh cross-border roaming charges by ruling that providers cannot charge excessively for access to rival networks in fellow EU nations. You'll see the kiosks hawking pre-paid SIM packages at many major airports. If you want the dependability a SIM provides, assess your needs and shop around. Better yet, get to know your smartphone better and use the whole range of mobile apps that will soon make international call and text roaming redundant. Organising hotels, taxis, tours, dinner reservations as well as calling home and making your friends and colleagues jealous with holiday snaps can all be done with a wi-fi connections, which are readily available and far cheaper (if not free). Avoid phone bill shock when you're away <ul> <li>Contact your mobile phone company rep about your destination and length of stay to see what add-ons and spending caps may be best.</li> <li>Only purchase local SIMs if you're in the country more than a week, have an unplanned itinerary or will have no free wi-fi at your accommodation.</li> <li>If you're on a per-day bundle, choose a few days to be on-the-grid and turn off your mobile data on other days.</li> <li>Go wi-fi only, in North American, Asian and European cities it's readily available.</li> <li>Embrace apps like Uber, Gett, WhatsApp, OpenTable and TripAdvisor to book taxis, call home and book restaurants and tours using hotel wi-fi and thus limiting calls.</li> </ul> Image credit: Shutterstock Written by Josh Martin. Republished with permission of <a href="http://www.stuff.co.nz/" target="_blank" rel="noopener">Stuff.co.nz</a>.

Travel Tips

A mother’s love story blossoms from a family reunion 40 years in the making

When Helen Mansfield took to social media in search of her biological mother, she could never have foreseen the good fortune she’d bring about - not only to herself, but to those she held most dear, too. It was in 2016 that Helen posted to Facebook, hoping to connect with her mother - who had given her up when Helen was only 10 days old. And a mere five hours later, someone did reach out, informing Helen that her mother was in the United Kingdom, and that her name was Glenda Joy. Helen, on the other hand, was in Perth, Australia. She’d been adopted by a Welsh couple, but had moved to Perth after marrying an Australian - with whom she shares two daughters. Four decades of mystery had gone by, but after that stranger on Facebook had set her on the right path, things had quickly fallen into place. As Helen informed 7News, “straight away, we knew each other. [She] gave me a big hug and said ‘I feel I just won the lottery’.” It should have marked the end of that happy chapter for Helen and Glen, but Helen’s adoptive dad, Gwyn, had other ideas. Because when Helen introduced the two - as her biological mother and her adoptive father - they immediately felt a connection, and set out on a number of adventures together, enjoying everything from the cricket to the beach, and last but certainly not least, a kiss. “I went in to Helen,” Glen recounted, “and I said ‘I’ve got something to say’. “I said ‘your dad kissed me’.” Glen added that she hadn’t been expecting it, but that wasn’t a bad thing, as she’d very much “wanted it to happen”. And it was only good times from there, with the unexpected couple getting married in the United Kingdom after enjoying a commitment ceremony in Perth with Helen as their joyous celebrant. They have every intention of returning to Australia, too, for a trip packed full of celebration with Gwyn’s 80th and the upcoming birth of a great-grandchild. But at the end of the day, Helen is “just really happy it happened”, and holds hope in her heart that their story will offer encouragement to anyone else in a similar position, searching for their biological or long-lost families. “I hope that anybody else - you know, it probably won’t go this far because this is a different story - but anybody else who wants to reach out and find their birth mother,” she added, “should try and do it.” Images: 7News

Relationships

10 horror travel stories that will make you think twice about that destination

From terrorist attacks and natural disasters to good old-fashioned scams, you might want to think twice about that next holiday. 1. A very expensive meal, Vietnam Last year an Aussie tourist was charged around $40,000 for a single meal at a restaurant in Vietnam after the manager fraudulently used his credit card. A staff member swiped the diner’s credit card numerous times after he told him there had been an error. In reality he was taking a large sum of money straight from his account. 2. Honeymooner murdered in paradise, Mauritius Mauritius is one of the world’s top honeymoon destinations. But in 2011 27 year old newlywed Michaela McAreavey was strangled in the bathtub of her room. Two hotel workers were charged though were eventually cleared, meaning the crime has never been solved. Tragically, her body was returned to Ireland and she was buried in her wedding dress at the same church where she had been married just 12 days before. 3. In flight toilet nightmare, Los Angeles A Virgin Australia flight from Los Angeles to Sydney was forced to turn around after one of the toilets exploded, sending water and waste pouring into the aisles. The smell was so bad that passengers were given face masks to wear and had to wait at least three hours before they could land again at LAX. 4. Hotel terrorist attack, India In 2008 10 members of Lashkar-e-Taiba, an Islamic militant organisation based in Pakistan carried out a series of coordinated terrorist attacks over four days in Mumbai. Two of the locations targeted were hotels, the Taj Mahal Palace and the Oberoi Trident with a number of hostages taken, including foreign tourists. 61 people were killed in the hotels, with 166 killed around the city. 5. Britons contract Zika, Florida In 2016, the Zika virus was all over the news though many people assumed the danger was restricted to South America. However, two unlucky British tourists travelling to the state of Florida contracted the disease. Zika has been linked to serious birth defects microencephaly, which limits brain development. 6. Thousands die in Boxing Day tsunami, Asia On Boxing Day in 2004 a 9.2 magnitude earthquake occurred off the coast of Sumatra. The resulting tsunami killed an estimated 230,000 people across 14 countries in Southeast Asia. Among the dead were around 2,000 foreign tourists who had been holidaying in the coastal resorts of the region. Germany and Sweden were the worst effected, making up around 1,000 of the casualties. 7. Corrupt police demand huge bribes, Bali The Indonesian island of Bali is the most popular international destination for Australian tourists. But for one group of men it quickly became a nightmare. The 16 men were celebrating a bucks party when police and private guards burst into their restaurant, tasered and pistol whipped them, and demanded $25,000 in ‘fines’. The men were told they faced 10 years jail if they didn’t pay up. 8. Gunman storms a casino, Philippines At least 37 people were killed and many more injured in June 2017 when a gunman stormed into the gaming floor of Resorts World Manila, setting fire to gaming tables with gasoline. Most of the casualties died due to smoke inhalation and suffocation, and the gunman was also killed. Authorities said his motivation was robbery, not terrorism. 9. Unexplained deaths on Koh Tao, Thailand One of Thailand’s most popular islands, the diving paradise of Koh Tao, has earned the name ‘Death Island’ after a number of unexplained cases in recent years. At least eight foreigners have been killed or died under mysterious circumstances since 2014. Many people accuse the corrupt Thai police for failing to adequately investigate the cases. 10. Tragic death in a water tank, Los Angeles In February 2013 guests at the Hotel Cecil in downtown LA began complaining that the tap water had a strange colour and taste, and there was little pressure. Little did they know that the decomposing body of 21 year old Canadian tourist Elisa Lam was floating in the water tank on the roof. Elisa, who had bipolar disorder, had been in the tank for 18 days. Her death has never been explained, though there is security footage of her behaving strangely prior to going missing. Images: Getty

Travel Trouble

King's-eye-view: Story behind incredibly rare shot from palace balcony

Getty photographer Chris Jackson has shared insight into what it was like to capture the coronation, and watch the moment King Charles III and Queen Consort Camilla walked out onto Buckingham Palace balcony from a unique perspective. Taking to Instagram, Jackson shared a rare image that gave the public a small sense of what Charles and Camilla would see from the balcony. <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/Cr6FZQwtiE6/?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/Cr6FZQwtiE6/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Chris Jackson (@chrisjacksongetty)</a> </div> </blockquote> "An honour to shoot 'behind the scenes' and a never seen before angle from today's historic Coronation, what a day!!!!!! Save a 🥂 for me!", he captioned the post. That wasn’t the only ‘behind-the-scenes' look at the King and Queen’s time on the Palace balcony. Jackson also shared a photo of the pair watching the Royal Navy, Army Air Corps and Royal Air Force doing a flypast. The image shows the aircraft leaving a trail of red, white and blue exhaust as they flew over the proceedings. <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/Cr6M3BDNoYw/?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/Cr6M3BDNoYw/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Chris Jackson (@chrisjacksongetty)</a> </div> </blockquote> "What a view! What a day!" Jackson captioned the post. King Charles and Queen Camilla were captured waving to the crowd from the Palace balcony following his coronation at Westminster Abbey. The pair travelled to the infamous site in a royal carriage for the long-lived tradition. Charles and Camilla were joined on the balcony by their royal pages and members of the British royal family. Prince William and Princess Katie appeared on the balcony with their three children, Prince George, Princess Charlotte and Prince Louis. There were two noticeable absences from the balcony, although neither were expected to be there as only working royals are given the honour of making an appearance on the balcony. Although Prince Harry did attend the coronation, he left shortly afterwards to travel back to the US for his son Archie’s fourth birthday celebrations. Prince Andrew was also present at the coronation but not on the balcony as Charles looks to “slim down” the monarchy. The day marked the first time the royal family appeared on the Buckingham Palace balcony since the death of Queen Elizabeth II. The late Queen waved to the crowd from the balcony, accompanied by Charles, Camilla, William, Kate and their children during Platinum Jubilee celebrations in June 2022. She passed away three months later on September 8, 2022, with Prince Charles immediately anointed as King. Image credit: Getty/Instagram

Beauty & Style

New lessons about old wars: keeping the complex story of Anzac Day relevant in the 21st century

What happened on the Gallipoli peninsula in Turkey 108 years ago has shocked and shaped Aotearoa New Zealand ever since. The challenge in the 21st century, then, is how best to give contemporary relevance to such an epochal event. The essence of the Anzac story is well known. As part of the first world war British Imperial Forces, the Australian and New Zealand Army Corps (Anzacs) landed at Gallipoli on April 25 1915. For eight months they endured the constant threat of death or maiming in terrible living conditions. Ultimately, their occupation of that narrow and rugged piece of Turkish coast failed. The 30,000 Anzacs were evacuated after eight months. More than 2,700 New Zealand and 8,700 Australian soldiers died, with many more wounded. The <a href="https://nzhistory.govt.nz/war/anzac-day-resources">first anniversary</a> of the landing was a day of mourning, with Anzac Day becoming a public holiday in 1922. A remembrance day of sorrow mixed with pride, it has grown over the years to include all those who served and died in later international conflicts. Over time, various narratives and themes have emerged from that Gallipoli “origin story”: of Aotearoa New Zealand’s emergence as a nation, proving itself to Britain and Empire; of the brave, fit, loyal soldier-mates who emblemised the Kiwi spirit of egalitarianism, fairness and duty. All this mingled with the lasting shock and underlying anger at class hierarchy and the British leadership’s incompetence. But historians know well that the “Anzac spirit” is a complex and ever-evolving idea. In 2023, what do we teach school-aged children about its meaning and significance? One way forward is to rethink those Anzac narratives and tropes in a more complex way. <h2>Colonialism and class</h2> The Anzac story is tied up in the nation’s history as part of the British Empire. The Anzac toll was just part of a staggering 46,000 “Britons” – including many from India and Ireland – who died at Gallipoli. Some 86,000 Turks also died defending their peninsula. We need to teach about the Anzac sacrifice in the context of a global conflict where the magnitude of loss was horrific. Importantly, Anzac themes are bound up in early forms of colonial nationalism: New Zealand proving itself to Britain and developing its own fighting mentality on battlefields far from home. Part of this involves the notion of incompetent British commanders who let down the Anzac troops – but this is part of a bigger story. Focusing on imperial and class hierarchies of the time can place what happened in that broader context. The legendary story of <a href="https://nzhistory.govt.nz/wellington-battalion-captures-chunuk-bair">Chunuck Bair</a>, taken on August 8 by Colonel William Malone’s Wellington Regiment, but where most of the soldiers were killed when they weren’t relieved in time, is particularly evocative. <h2>Māori and the imperial project</h2> From our vantage point in the present, of course, we cannot ignore the Māori experience of war and colonialism. As the historian Vincent O’Malley has suggested, New Zealand’s “great war” of nation-making was actually <a href="https://teara.govt.nz/en/new-zealand-wars">Ngā pakanga o Aotearoa</a> – the New Zealand Wars. It’s time to teach the complexity of this past and the multiple perspectives on it. For example, Waikato leader <a href="https://nzhistory.govt.nz/people/te-kirihaehae-te-puea-herangi">Te Puea Hērangi</a>led opposition to WWI conscription and spoke against Māori participation on the side of a power that had only recently invaded her people’s land. Conversely, Māori seeking inclusion in the settler nation did participate. On July 3 1915, the 1st Māori Contingent landed at Anzac Cove. <a href="https://teara.govt.nz/en/biographies/3b54/buck-peter-henry">Te Rangi Hiroa</a> (Sir Peter Buck) (Ngāti Mutunga) was to say, "Our feet were set on a distant land where our blood was to be shed in the cause of the Empire to which we belonged." These words echo the familiar Anzac trope of the New Zealand nation being born at Gallipoli. Such sentiments led to postwar pilgrimages to retrace the steps of ancestors and claim the site as part of an Anzac heritage – a corner of New Zealand even. For many young New Zealanders it has become a rite of passage, part of the big OE. That a visit to Anzac Cove is still more popular than visiting the sites of Ngā pakanga o Aotearoa is something our teaching can investigate. <h2>Mateship and conformity</h2> The notion of the Anzac soldier as courageous and beyond reproach, willing to make the ultimate sacrifice for nation and empire, is also overdue for revision. The “glue” of mateship – a potent combination of masculine bravery and strength with extreme loyalty to fellow soldiers – is again a contested narrative. By the 1970s, as historian Rowan Light’s work shows, there was a significant challenge to such perceptions from the counterculture, peace protesters and feminists. And by the 1980s, veterans were sharing their stories more candidly with writer Maurice Shadbolt and war historian Chris Pugsley. Teaching about the meaning of mateship might examine the history of those peer-pressured into participating in war, those who were conscripted and had no choice, and more on the fate of conscientious objectors like Archibald Baxter. At its worst, the idea of mateship was window dressing for uniformity and parochialism. New Zealanders today have complex multicultural and global roots. We have ancestors who were co-opted to fight on different sides in 20th-century wars, including those who fought anti-colonial wars in India, Ireland and Samoa. Some came here as refugees escaping conflict. Jingoism and what it really represents deserves critical analysis. <h2>Poppies and peace</h2> The ubiquitous poppy, an icon much reproduced in classrooms, is also ripe for contextualisation and debate over its meaning. In the age of global environmental crisis, it can be seen as more than a symbol of sacrifice immortalised in verse and iconography. The poppy also reminds us of the landscapes devastated by the machinery of war that killed and maimed people, plants and animals. It contains within it myriad lessons about the threats science and technology can pose to a vulnerable planet. Anzac Day rose from the shock, loss and grief felt by those on the home front. And beyond the familiar tropes of nationalism, mateship and egalitarianism, this remains its overriding mood. Remembering and learning about the terrible physical and mental cost of war is the real point of those familiar phrases “lest we forget” and “never again”. That spirit of humanitarianism chimes with Aotearoa New Zealand’s modern role and evolving self-image as a peacekeeping, nuclear-free nation. Anzac Day also speaks to the need for global peace and arbitration, and how war is no viable solution to conflict. Those are surely lessons worth teaching. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/new-lessons-about-old-wars-keeping-the-complex-story-of-anzac-day-relevant-in-the-21st-century-204013" target="_blank" rel="noopener">The Conversation</a>.

Caring

The Super Mario Bros. Movie: don’t watch it for the story but for how it successfully represents gameplay

The first videogame I ever played was the arcade game <a href="https://www.youtube.com/watch?v=Pp2aMs38ERY">Donkey Kong</a>. Released in 1981, it took us into a blocky-looking world where a carpenter in overalls raced along platforms and up ladders in a building site to rescue a lady kidnapped by a large ape. Its humble hero, <a href="https://en.wikipedia.org/wiki/Mario">Mario</a>, went on to feature in scores of multi-million dollar grossing games, becoming an icon <a href="https://www.dukeupress.edu/recentering-globalization">as popular as Mickey Mouse</a>. Having grown up in the 1980s, the new <a href="https://www.youtube.com/watch?v=TnGl01FkMMo">Super Mario Bros. Movie</a> meant more to me than the average fantasy animation film. Watching <a href="https://www.youtube.com/watch?v=yKxaYsn_F78">Mario and Donkey Kong have it out</a> on a massive screen – at a resolution so high you can see a single hair or wrinkle on these crisp-looking, toy-like characters – was remarkable. Yet, it felt like the mission of this movie wasn’t just about creating flashy, fleshy cartoon characters or trying to tell a compelling story – it was about doing justice to the feel of these videogames that span decades and are still enjoyed by millions around the world. <h2>A film about jumping</h2> Story-wise, this is another of those PG-rated fantasy comedies that celebrate the 1980s and games culture. There’s a beta male baddy (Bowser, a fire-breathing dragon-turtle hybrid) and his army who must be defeated by a good-hearted guy (Mario) – helped by his brother (Luigi), a strong independent woman (Princess Peach), and a cast of zany allies. But what makes the film worth watching is how it tips its hat to aspects of gameplay. One of its biggest achievements is the unpretentious, funny recreations of moments from the videogames. Sometimes this happens by staging action-packed scenes that are <a href="https://www.youtube.com/watch?v=yP-Qduvw9zY">framed from the same perspective as the videogame players</a>. For instance, seeing Mario and Luigi dash through a building site with the camera zoomed out to capture the entire screen from a side perspective is the filmmaker’s nod to the pleasures of platform games. The film also humorously reflects on player experience. Anybody who has enjoyed a Mario game might recall the disappointing feeling of falling down a pit after a failed attempt to reach a high platform. In the movie, Mario is initially inept at all of this. He is put through a funny 1980s montage of <a href="https://www.youtube.com/watch?v=pKKBlSzMs4o">trial and error</a>, which reminds us how players got the hang of these games. The emphasis on replicating gameplay may be the influence of Japanese games design superstar <a href="https://www.rollingstone.com/tv-movies/tv-movie-features/the-super-mario-bros-movie-shigeru-miyamoto-koji-kondo-nintendo-interview-easter-eggs-1234706449/">Shigeru Miyamoto</a>, the creator of Mario, who co-produced the movie. Where other designers may have attempted to create a “proper” Mario movie by focusing on realism or a more sophisticated story, Miyamoto has long been adamant about seeing videogames <a href="https://shmuplations.com/miyamoto1989/">as toys</a>. Now he has created a true videogame movie. <h2>Games as toys</h2> Approaching games as toys is consistent with the long history of Kyoto-based games company Nintendo. It started back in 1889 producing playing cards, and even <a href="https://www.hobbydb.com/marketplaces/hobbydb/subjects/n-b-block-series">competed with Lego</a> before going on to revolutionise the videogaming medium with titles such as Super Mario Bros. in the early 1980s. In most of Nintendo’s games, the end goal is not necessarily found in the stories – rather, these serve the pleasure of playing. In Super Mario Bros., for example, the damsel-in-distress narrative of Bowser kidnapping Princess Peach merely kicked off a game mostly about jumping. <a href="https://www.youtube.com/watch?v=a6Al_DShXX0">Other Mario adaptations for the big screen</a> have sought to translate gameplay with varying success. Take the 1993 <a href="https://www.youtube.com/watch?v=GuXwMHF9y1Y&ab_channel=RottenTomatoesClassicTrailers">Super Mario Bros. live action</a> film, which was critically panned but has gone on to gain cult status. As a <a href="https://www.nytimes.com/1993/05/29/movies/review-film-plumbing-a-video-game-to-its-depths.html">reviewer in the New York Times</a> put it: “This bizarre, special effects-filled movie doesn’t have the jaunty hop-and-zap spirit of the Nintendo video game from which it takes – ahem – its inspiration.” Gone, now, are the days of third-party licensing when cinematic game adaptations were left in the hands of external developers, resulting in <a href="https://www.youtube.com/watch?v=nKqFEV9rA1U">output that could look very different</a> to the games themselves – such as Super Mario Bros. Super Show! from the late 1980s. This animated show was not particularly faithful to the games: Mario and Luigi had a different kind of Italian-American accent and a Princess Toadstool. The live-action segments also featured crasser and more adult iterations of the characters. This time, however, Nintendo has worked with Universal Pictures to adapt the game, so the new animated movie is more faithful in brand continuity. <h2>Mario’s most successful cinematic appearance</h2> There are now entire TV series based on story-driven games, <a href="https://www.youtube.com/watch?v=eNF27c3-5Qw">whose scripts replicate the game almost verbatim</a>. For instance, the recent hit series The Last of Us saw fans cross-reference scene by scene with the original game. In contrast, the Super Mario Bros. Movie looks like an attempt to make a film that works more like a game. And in spite of a <a href="https://www.theguardian.com/film/2023/apr/09/the-super-mario-bros-movie-review-game-over-for-this-lazy-animated-mess">lukewarm reception from critics</a>, the new film stands to be the most successful cinematic Mario appearance yet. While the film has been downplayed by some as a “marketing machine” to sell Nintendo toys, critics overlook the fact that its success might be connected to how popular these toys already are. The games have <a href="https://www.theverge.com/2023/2/7/23589075/nintendo-switch-q3-2023-earnings-sales-console-third-bestselling">sold in the 100 millions</a>, which may explain the film’s ability to <a href="https://www.independent.co.uk/arts-entertainment/films/news/super-mario-bros-movie-box-office-b2317192.html">smash box-office records</a>. This film will have gameplaying fans poring over frames to identify references to the games and “Easter eggs” – messages hidden for knowing watchers to look out for. Older and new fans alike will recognise <a href="https://www.youtube.com/watch?v=otZ-D3OJeW4">the GameCube jingle in Luigi’s ringtone</a>, and enjoy vintage gaming items such as the “hammer power-up” that are on sale in the film’s antique shop. Many viewers will also recognise the <a href="https://www.youtube.com/watch?v=QilqLbynOsY">iconic musical motifs from the Super Mario Bros. levels</a>, and how the maps are reminiscent of Super Mario World. They will spot cutesy fan-favourites <a href="https://www.youtube.com/watch?v=_o6yvb5E2Sw">Yoshi</a> and Toad. The Super Mario Bros. Movie may indeed work to re-market Nintendo’s four-decade back catalogue of gaming classics to both nostalgic parents and kids. But in being driven by the very success of gaming culture, it defies critics looking at it as “just another movie”. Instead, they should see it as an extension of the videogame, and a celebration of how this expansive world makes people feel. This article originally appeared on <a href="https://theconversation.com/the-super-mario-bros-movie-dont-watch-it-for-the-story-but-for-how-it-successfully-represents-gameplay-203592" target="_blank" rel="noopener">The Conversation</a>. Images: Universal Pictures

Movies

"The wilderness of mirrors": 70 years since the first James Bond book, spy stories are still blurring fact and fiction

"The scent and smoke and sweat of a casino are nauseating at three in the morning." With these opening words, Ian Fleming (1908-64) introduced us to the gritty, glamorous world of James Bond. Fleming’s first novel, <a href="https://www.ianfleming.com/items/casino-royale/">Casino Royale</a>, was published 70 years ago on April 13 1953. It sold out within weeks. British readers, still living with rationing and shortages after the war, eagerly devoured the first James Bond story. It had expensive liquor and cars, exotic destinations, and high-stakes gambling – luxurious things beyond the reach of most people. The novel’s principal villain is Le Chiffre, the paymaster of a French trade union controlled by the Soviet intelligence agency SMERSH. After losing Soviet money, Le Chiffre takes to high-stakes gambling tables to recover it. Bond’s mission is to play against Le Chiffre and win, bankrupting both the Frenchman and the union. The director of British intelligence, known only by his codename “M”, also assigns Bond a companion – Vesper Lynd, previously one of the agency’s assistants. The two infiltrate the casino, play at the tables, and dodge assassination attempts, while engaging in a dramatic battle with French communists, the Soviets, and each other. Fleming’s Bond – the sophisticated, tuxedo-clad secret agent – is an enduring image of espionage. Since 1953, martinis, gadgets, and a licence to kill have been part of how ordinary people understand spycraft. Some of this was real: Fleming drew on his own work as a spy for his novels. Intelligence work is often less glamorous than he depicted, but in both espionage and novel-writing, the difference between fact and fiction is not always easy to distinguish. <h2>Ian Fleming, Agent 17F</h2> Fleming came from a wealthy, well-connected British family, but he was a mediocre student. He only lasted a year at military college (where he contracted gonorrhoea), then missed out on a job with the Foreign Office. He could write, though. He spent a few years as a journalist, but drifted purposelessly through much of the 1930s. The outbreak of war in 1939 changed everything. The director of British Naval Intelligence, Admiral John Henry Godfrey, recruited Fleming as his assistant. Fleming excelled, under the codename 17F. He didn’t see much of the war firsthand, but was involved in its planning. He was an ideas man, not overly concerned with practicalities or logistics. Fleming came up with the fictions; other people had to turn them into realities. In 1940, for example, he developed “<a href="https://www.reuters.com/article/entertainment-britain-fleming-bond-finea-idCAL1663266620080416">Operation Ruthless</a>”. To crack the German naval codes, Fleming planned to lure a German rescue boat into a trap and steal its coding machine. They would obtain a German bomber, dress British men in German uniforms, and deliberately crash the plane into the channel. When the German rescue crew arrived, they would shoot them and grab the machine. Preparations began but Fleming’s plan never eventuated. It was too difficult and risky – not least because crashing the plane might simply kill their whole crew. Fleming worked on various operations. When he began writing after the war, these experiences found their way into Bond’s world. Fleming and Godfrey had visited Portugal, a neutral territory teeming with spies, where they went to the casino. Fleming claimed he played against a German agent at the tables, an experience that supposedly inspired Bond’s gambling battles with Le Chiffre in Casino Royale. Godfrey maintained that Fleming only ever played against Portuguese businessmen, but Fleming never let facts get in the way of a good story. Fleming picked up inspiration everywhere. Godfrey became the model for M. Fleming’s secretary, Joan Howe, inspired Moneypenny. The Soviet SMERSH coding device in <a href="https://jamesbond.fandom.com/wiki/From_Russia_with_Love_(novel)">From Russia, With Love</a> (1957) was based on the German Enigma machine. Many of Fleming’s characters were named for real people: one villain shares a name with Hitler’s Chief of Staff, another with one of Fleming’s schoolyard adversaries. It became something of a sport to hypothesise about the inspiration for Bond. Fleming later called him a “compound of all the secret agents and commando types” he met during war. There were elements of Fleming’s older brother, an operative behind the lines in Norway and Greece. Fleming also pointed to <a href="https://en.wikipedia.org/wiki/Sidney_Reilly">Sidney Reilly</a>, a Russian-born British agent during the First World War. He had access to reports on Reilly in the Naval Intelligence archive during his own service. Other possible models include <a href="https://en.wikipedia.org/wiki/Conrad_O%27Brien-ffrench">Conrad O’Brien-ffrench</a>, a British spy Fleming met while skiing in the 1930s, and <a href="https://en.wikipedia.org/wiki/Wilfred_Dunderdale">Wilfred “Biffy” Dunderdale</a>, MI6 Station Chief in Paris, who wore handmade suits and was chauffeured in a Rolls Royce. Stories of discovering <a href="https://www.smh.com.au/lifestyle/mr-bond-i-presume-20141017-117xji.html">the real-life James Bond</a> still appear. But there was also much of Fleming himself in Bond. He gave 007 his own love of scrambled eggs and gambling. Their attitude towards women was similar. They used the same brand of toiletries. Bond even has Fleming’s golf handicap. Fleming would play with this idea, teasing that the books were autobiographical or that he was Bond’s biographer. Much like a cover story for an intelligence officer, Bond was Fleming’s alter-ego. He was anchored in Fleming’s realities – with a strong dash of creative licence and a little aspiration. <h2>The changing world of Bond</h2> The success of Casino Royale secured contracts for more Bond novels. In the early 1960s, critics began to denounce the books for their “sex, snobbery, and sadism”. Bond’s attitude toward women, in particular, was clear from the beginning. In Casino Royale, he refers to the “sweet tang of rape” in relation to sex with his MI6 accomplice and paramour Vesper Lynd. But the public appeared to be less concerned. Bond novels still sold well, especially after John F. Kennedy listed one among his top ten books. The first film adaptation, <a href="https://www.imdb.com/title/tt0055928/">Dr. No</a>, appeared in 1962 and Fleming’s success continued apace. Bond’s world was evolving, though. From Casino Royale to For Your Eyes Only (1960), Bond battled SMERSH, a real Soviet counter-espionage organisation. The early Bond novels were Cold War stories. Soviet Russia was the West’s enemy, so it was Bond’s. But East-West relations were thawing in 1959 when Fleming was writing Thunderball (1961). The Cold War could plausibly have ended and he didn’t want any film version to look dated, so Fleming created a fictional villain: SPECTRE. This was an international terrorist organisation without a distinct ideology. It could endure beyond the battles of the Cold War – and did. It features in the 2021 Bond film <a href="https://www.imdb.com/title/tt2382320/">No Time To Die</a>. Fleming’s more fantastic plots were always anchored in reality by recognisable brands and products. Bond’s watch was a Rolex; his choice of bourbon was Jack Daniels. His cigarettes were Morlands, like Fleming’s. In the novels, Bond drove Bentleys – the Aston Martin was introduced in the 1964 film <a href="https://www.imdb.com/title/tt0058150/">Goldfinger</a>. The films have changed Bond’s brands to keep up with the world around them (and secure lucrative product-placement deals): Omega replaced Rolex in <a href="https://www.imdb.com/title/tt0113189/">Goldeneye</a> (1995); the <a href="https://www.theguardian.com/film/2012/apr/17/bond-taste-for-beer-skyfall">martini was swapped for a Heineken</a> in <a href="https://www.imdb.com/title/tt1074638/">Skyfall</a> (2012). Bond now carries a Sony phone. Other changes brought the 1950s spy into the 21st century. Recent films have more diverse casting. Their female characters do more than just spend a night with Bond before their untimely deaths. The novels, too, continue to change – the 70th-anniversary editions have had <a href="https://www.theguardian.com/books/2023/feb/27/james-bond-novels-to-be-reissued-with-racial-references-removed">racial slurs and some characters’ ethnic descriptors removed</a>. Some have criticised this as censorship. But as with <a href="https://theconversation.com/roald-dahl-a-brief-history-of-sensitivity-edits-to-childrens-literature-200500">recent rewritings of Roald Dahl’s books</a>, changes like this are not new. Fleming’s family has <a href="https://www.abc.net.au/news/2023-02-28/ian-fleming-james-bond-books-changes-to-new-editions/102035958">defended the alterations by citing similar removals</a> in 1955, when Live and Let Die was first published in the United States. There is a risk that this whitewashes Fleming’s attitudes, making them appear more palatable than they really were. But the revised Bond novels will include a disclaimer noting the removals. Casino Royale itself has not been altered (Bond’s rape comment remains intact), so the changes will perhaps be less extensive than the media coverage suggests. <h2>Spies After Bond</h2> Fleming is not the only ex-spy to have successfully turned his hand to spy fiction. John le Carré’s George Smiley is perhaps an anti-Bond: slightly overweight, banal, and essentially a bureaucrat. He relies on a shrewd mind rather than gadgets or guns. Le Carré introduced his readers to a more mundane, morally grey world of espionage. He had worked for MI5 and MI6 in the 1950 and ‘60s. He thought Bond was a gangster rather than a spy. Le Carré’s stories have also shaped how we think about espionage. Words like “mole” and “honeytrap” – the terminology of spycraft – <a href="https://www.theatlantic.com/books/archive/2023/02/john-le-carre-spy-came-in-from-cold-book/673227/">entered common usage via his novels</a>. Stella Rimington, <a href="https://www.theguardian.com/lifeandstyle/2022/apr/23/stella-rimington-i-fell-into-intelligence-by-chance">the first female director-general of MI5</a>, began writing fiction after retiring from intelligence in the late 1990s. Her protagonist, 34-year-old Liz Carlyle, hunts terror cells in Britain. Like Smiley, Carlyle appears rather ordinary. She is serious and conscientious. We get glimpses of the everyday sexism she experiences. Carlyle triumphs by remaining level-headed, not by fiery gun battles or explosions. After three decades of agent-running for the CIA, Jason Mathews wrote his <a href="https://www.simonandschuster.com/series/The-Red-Sparrow-Trilogy">Red Sparrow</a> trilogy to occupy himself in retirement. He called it <a href="https://www.nytimes.com/2015/05/28/books/shadowing-jason-matthews-the-ex-spy-whose-cover-identity-is-author.html">a form of therapy</a>. There’s a little more Bond in Mathews’ books than in those of le Carré or Rimington. His protagonists Nate Nash and Dominika Egorova are attractive, charismatic and entangled in a personal relationship of stolen moments and high drama. This is counterbalanced by the many hours they spend running surveillance-detection routes before meeting targets. The more tedious and banal aspects of spycraft – brush passes, broken transmitters, and dead drops – accompany the glamour and romance. <h2>The wilderness of mirrors</h2> Spy fiction is never just about entertainment. The real world of espionage is so secret that most of us only ever encounter it on pages or screens. We don’t usually look to Bond films for accurate representations of espionage. But the influence of Fleming’s spy and the general aura of secrecy surrounding intelligence work lend some glamour and excitement to the work of real spies. These fictions also influence our views on real intelligence organisations, their activities, and their legitimacy. This is why the <a href="https://lareviewofbooks.org/article/the-cia-goes-to-hollywood-how-americas-spy-agency-infiltrated-the-big-screen-and-our-minds/">CIA invests time and money into fictionalisations</a> dealing with its work. From stories based on true events, such as <a href="https://www.imdb.com/title/tt1024648/">Argo</a>(2012) or <a href="https://www.imdb.com/title/tt1790885/">Zero Dark Thirty</a> (2012), to fictional series like <a href="https://www.imdb.com/title/tt1796960/">Homeland</a> (2011-20), the agency’s image is shaped via the media we consume. This was true when Fleming was writing, too. Soviet authorities <a href="https://www.routledge.com/Russia-and-the-Cult-of-State-Security-The-Chekist-Tradition-From-Lenin/Fedor/p/book/9780415703475">were preoccupied</a> by Sherlock Holmes’ surging popularity behind the Iron Curtain and fretted over the release of the Bond novels and films. The KGB studied both carefully. It was likely Bond who prompted KGB officers to release classified details about their most successful spy story: the career of <a href="https://www.spectator.co.uk/article/the-name-s-sorge-richard-sorge/">Richard Sorge</a>. Former intelligence officers such as Fleming are often quite good at fiction – perhaps because it is a core part of spycraft. A solid cover story has to be grounded in reality, with just enough fiction to protect the truth or gain a desired outcome. A good operation often requires creativity, to outwit a target or evade detection. And spreading fictions – disinformation – can sometimes be just as useful as gathering information. The world of espionage is sometimes referred to as the “wilderness of mirrors”. Spycraft relies on both reflections and distortions. The line between fact and fiction, between real stories of intelligence work and invented ones, can become blurry – and intelligence agencies often prefer it that way. Image credits: Columbia Pictures This article originally appeared on <a href="https://theconversation.com/the-wilderness-of-mirrors-70-years-since-the-first-james-bond-book-spy-stories-are-still-blurring-fact-and-fiction-201373" target="_blank" rel="noopener">The Conversation</a>.

Books

The surprising stories of how these 10 words came to be

Ever hear or read a word and think, “where on earth did that come from?” Well, for the etymologists of the world, that’s exactly what they try to figure out. In a post on online forum <a href="https://www.reddit.com/r/AskReddit/comments/4tqrix/etymologists_of_reddit_what_is_your_favorite/" target="_blank" rel="noopener">Reddit</a>, user russellbeard asked, “Etymologists of Reddit, what is your favourite story of how a word came to be?” The community delivered, and some of what we learnt was very interesting indeed. Here are 10 of our favourites. <ol> <li>The Latin prefix “pen-” comes from the word “paene”, meaning “almost”. Therefore, a “peninsula” is almost an island and something that is “penultimate” is almost last.</li> <li>“Muscle” is derived from the Latin word “musculus”, which means “little mouse”. Physicians used the term after noticing the muscles in the biceps and calves look like little mice running under the skin.</li> <li>“Daisy” comes from the Old English term “day’s eye”, since the flower is open during the day and closes at night.</li> <li>The words “traitor” and “tradition” have the same root as they both denote something being handed over.</li> <li>“Eavesdropping” is named after people who used to spy on their enemies from rooves with wide eaves to listen to their conversations.</li> <li>“An apron” actually used be “a napron”.</li> <li>People often break “helicopter” into “heli-” and “-copter” to make new words like “helipad” and “newscopter”, but it really should be broken into “helico-”, which means “spiral” or “helix” and “-pter” which means “wing”. In fact, that’s why pterodactyl starts with a p.</li> <li>“Sinister” is actually the Latin word meaning “left”. It was given the connotation of “evil” because left-handed people were historically blamed for being demonic and villainous.</li> <li>The word “dunce” comes from the medieval philosopher Johannes Duns Scotus. His enemies disagreed so strongly with his theories that they turned his name into an insult 200 years after he had died. He was, in fact, an incredibly smart man and well known for his debating abilities.</li> <li>“Uppercase” and “lowercase” are named as such because in the days of hand printing, capital letters and lowercase letters were literally kept in different cases.</li> </ol> Images: Getty

Books

Couple with the same name share the story of their unique path to love

Married couple Nunzia and Nunzio Varricchio took sharing to the extreme on the day of their births. With matching Christian names, the pair were born with mere hours between them in the same Italian village, with the same midwife overseeing both occasions. As their daughter, Vicki Brunello, explained to 7 News, “[the midwife] happened to be Dad’s grandmother. She delivered my dad, hopped on her bike, and a few hours later she delivered my mum.” Apparently, that same grandmother had joked that she’d found her grandson a girlfriend. And although she hadn’t been (entirely) serious at the time, it turns out she’d been right on the money. Cut to 15 years later, when Nunzio decided that he’d ask his partner-in-name to be his girlfriend - just as his grandmother had predicted. Nunzio believed that it had been “love at first sight”, although it seems that Nunzia didn’t quite share his opinion. Although she did eventually fall for him, it took “a little bit of time” to get to the same point. As she put it, “I didn’t say yes straight away.” Nor did the couple make it official immediately. Nunzio and his family actually moved to Australia in the 1960s, far from the village where the two had grown up. He made the decision to farewell Nunzia before he joined his family overseas, and while he might have been hoping for a sweet moment for the subject of his affections, Nunzia - once again - had other ideas. He had hoped to give her a kiss, even going so far as to tell her as much, but as Nunzia explained, “I said ‘forget about it’.” And as she added, she’d even threatened to throw a bucket on his head, far from the heartfelt goodbye he’d envisioned. Nunzia was determined not to be forgotten, and Nunzio was in no position to do so. Writing to her regularly, he told her all about his new life in Australia, and although she took “a little longer” to respond to him, she still did, with the two remaining in constant - if not a little irregular - contact. But even Nunzia couldn’t play hard to get forever, and at just 21 years old, she packed her bags and moved to join Nunzio in Australia, with the couple marrying soon after. However, their shared history decided the time had come to cause a little chaos, with Australian authorities assuming they’d made a mistake on their paperwork while registering their marriage. The issue? The similarities in their applications - their matching names, birthdays, and places of births. It was one they unfortunately encountered again when trying to organise passports. As for problems with their life, neither had anything to report - nor did their three children and six grandchildren, who claimed they’d never so much as seen the 80-year-old Nunzio and Nunzia argue. Nunzio put their success in marriage down to their amicable conflict resolution strategy, and explained that after their wedding, his wife had informed him to “keep quiet” if she started arguing while upset. From there, he said, they simply “cool down and we don’t argue.” “Dad’s a big softie,” daughter Vicki added, “you know, and there’s a lot of love.” “We’re very happy,” Nunzia agreed. Images: 7 News

Relationships

Over 60

News

Shop

Catalogues

Travel

Health

Lifestyle

Finance

Entertainment

Property

Information

Keep up to date

Search

Filling the silences in family stories − how to think like a historian to uncover your family’s narrative

6 reasons why people enjoy horror movies

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

Young woman dies after horror cruise fall

Pilot identified after horror helicopter crash

Woman “bullied” on plane over budget seating trick

Man arrested over horror crash that left 11-year-old orphaned

Vale ‘sister suffragette’: how Glynis Johns became a pop-culture icon in the story of votes for women

Explore. Dream. Discover: An Over60 Reader's epic journey

“That flying baby” shares her story almost 30 years on

Why you should encourage your grandchildren to write stories

How to avoid mobile phone bill horror stories when travelling

A mother’s love story blossoms from a family reunion 40 years in the making

10 horror travel stories that will make you think twice about that destination

King's-eye-view: Story behind incredibly rare shot from palace balcony

New lessons about old wars: keeping the complex story of Anzac Day relevant in the 21st century

The Super Mario Bros. Movie: don’t watch it for the story but for how it successfully represents gameplay

"The wilderness of mirrors": 70 years since the first James Bond book, spy stories are still blurring fact and fiction

The surprising stories of how these 10 words came to be

Couple with the same name share the story of their unique path to love