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Denzel Washington's awkward encounter with King Charles

Denzel Washington and King Charles have had an awkward encounter at the Gladiator II premiere in London. The cast of the highly-anticipated film lined up to meet His Majesty, and as the King approached the legendary actor, Washington held out his arm to shake Charles' hand. As the moment took place, the actor told the King with a nervous grin, “I didn’t know if I was supposed to grab your hand or not”. Afterwards, the King asked him about his role in Gladiator II, where he plays the villainous Macrinus, to which Washington joked, “I’m, just an awful … I’m a lovely man you’ll see. I’m a lovely chap”. The King then told Washington, “You’ve been in so many films, it’s fantastic.” <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/reel/DCVGH0lowSg/?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/reel/DCVGH0lowSg/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by ITV News Royals (@itvnewsroyals)</a> </div> </blockquote> Denzel was joined at the premiere by his fellow co-stars Paul Mescal, Pedro Pascal, Joseph Quinn, and the film's director Ridley Scott. Gladiator II returns fans to Ancient Rome, but is set 20 years after the original Gladiator - released in 2000 and starring Russell Crowe - focusing on a now grown-up Lucius who is forced into slavery after a Roman invasion sees his home destroyed and his wife killed. Image credits: Eddie Mulholland/WPA Pool/Shutterstock Editorial

Movies

105-year-old shares the secret to longevity

A 105-year-old woman has celebrated her birthday by sharing her two secrets for a long, prosperous and stress-free life. Kathleen Hennings, who lives in a care home in Cheltenham, England, celebrated her 105th birthday with her family, friends and other residents, as she shared some valuable life advice. Kathleen was born in 1919 and had a successful career as an accountant, spending her free time watching operas and ballets at London’s Royal Opera House. Reflecting on her many happy years, Kathleen revealed the secret to living a long life as, “Drink Guinness and don’t marry!” The centenarian was first introduced to Guinness by her parents and her brother, and quickly fell in love with the dark Irish stout, drinking it religiously throughout her life. This is not the first time Kathleen has offered up this advice, and as a result, was treated to some gifts from Guinness as a birthday present. Kathleen was given a hamper by Guinness with pint glasses, a kitchen apron, slippers, chocolates, and, of course, plenty of the famous Irish drink. Commenting on her special birthday, Kathleen said: “It was so nice to see my lovely friends and neighbours. I’ve been spoiled. Thank you so much.” Image credits: Facebook

Retirement Life

No more Mr Nice Guy: Tom Hanks blows up at movie critics

Tom Hanks has taken aim at movie critics in a heated on Conan O'Brien's podcast, calling out the entire review section of the entertainment industry. The Hollywood actor launched into his tirade on the Conan O'Brien Needs a Friend podcast as he looked at how movie reviews and the general audience reception to films has changed over the years. “Now what happened is that time has become one of the metrics for how these things matter, right?” he said. “In the day it was just a fist fight. It was every movie you came out, are you going to make the playoffs or not? Guess what? No, kid, you’re 2 and 12 and you ain’t going nowhere. Or, you got a shot.” “It used to be you had these Rubicons that you crossed,” he continued. “First of all, do you love it or not? That’s the first thing. Yes, okay, you have crossed the Rubicon, right? The next Rubicon you cross is when the movie is completely done a year and a half later, and you see it for the first time, and you might like it. It doesn’t matter if it works or not, you look at it and say, ‘Hey, I think we acquitted ourselves pretty good.’ That’s Rubicon No. 2.” Hanks went on, “Then the critics weigh in, that’s Rubicon No. 3, and that’s always up down. ‘We hate it, we like it. This is the worst thing … Oh hey, oh hi Tom, I saw you in a movie. It was cute.’” “That’s when you ask the wife, ‘Hey, honey, could you take the revolver out of the glove box and hide it somewhere, because I think…,” Hanks joked. Podcast host O'Brien then brought up that Hanks was initially “disappointed” with his 1996 film That Thing You Do!, which marked his directorial debut, but the movie has since become a cult classic in pop culture. “Let me tell you something about these c***suckers who write about movies,” Hanks responded, before asking O’Brien and his co-hosts, “Can I say that?” “Somebody who wrote about it is, ‘Tom Hanks has to stop hanging around with veterans of TV, because this is just like the shot on TV and it’s not much of anything,’” Hanks recalled. “That same person then wrote about the cult classic That Thing You Do! Same exact person. They said, ‘All you need is 20 years between now and then, and it ends up speaking some words.’” Image credits: Shutterstock

Movies

What does a good death look like when you’re really old and ready to go?

<a href="https://theconversation.com/profiles/naomi-richards-182120">Naomi Richards</a>, <a href="https://theconversation.com/institutions/university-of-glasgow-1269">University of Glasgow</a> <a href="https://www.huffingtonpost.co.uk/entry/hawaii-legalizes-assisted-suicide_us_5ac6c6f5e4b0337ad1e621fb">Hawaii</a> recently joined the growing number of states and countries where doctor-assisted dying is legal. In these jurisdictions, help to die is rarely extended to those who don’t have a terminal illness. Yet, increasingly, very old people, without a terminal illness, who feel that they have lived too long, are arguing that they also have a right to such assistance. Media coverage of <a href="https://www.washingtonpost.com/news/to-your-health/wp/2018/05/09/this-104-year-old-plans-to-die-tomorrow-and-hopes-to-change-views-on-assisted-suicide/?utm_term=.b00a9036f9bc">David Goodall</a>, the 104-year-old Australian scientist who travelled to Switzerland for assisted dying, demonstrates the level of public interest in ethical dilemmas at the <a href="https://www.bmj.com/content/361/bmj.k1891.full">extremities of life</a>. Goodall wanted to die because he no longer enjoyed life. Shortly before his death, he told reporters that he spends most of his day just sitting. “What’s the use of that?” he asked. <a href="https://www.sciencedirect.com/science/article/pii/S0277953615002889?via%3Dihub">Research</a> shows that life can be a constant struggle for the very old, with social connections hard to sustain and health increasingly fragile. <a href="https://www.ncbi.nlm.nih.gov/pubmed/25982088">Studies</a> looking specifically at the motivation for assisted dying among the very old show that many feel a deep sense of loneliness, tiredness, an inability to express their individuality by taking part in activities that are important to them, and a hatred of dependency. Of the jurisdictions where assisted dying is legal, some make suffering the determinant (Canada, for example). Others require a prognosis of six months (California, for example). Mainly, though, the focus is on people who have a terminal illness because it is seen as less of an ethical problem to hasten the death of someone who is already dying than someone who is simply tired of life. <h2>Why give precedence to physical suffering?</h2> Assisted dying for people with psychological or existential reasons for wanting to end their life is unlikely to be supported by doctors because it is not objectively verifiable and also potentially remediable. In the Netherlands, despite the legal power to offer assistance where there is no life-limiting illness, doctors are <a href="https://www.ncbi.nlm.nih.gov/pubmed/25693947">seldom convinced</a> of the unbearable nature of non-physical suffering, and so will rarely administer a lethal dose in such cases. Although doctors may look to a physical diagnosis to give them confidence in their decision to hasten a patient’s death, physical symptoms are often not mentioned by the people they are assisting. Instead, the most common reason given by those who have received help to die is <a href="https://www.nejm.org/doi/full/10.1056/NEJMms1700606">loss of autonomy</a>. Other common reasons are to avoid burdening others and not being able to enjoy one’s life – the exact same reason given by Goodall. This suggests that requests from people with terminal illness, and from those who are just very old and ready to go, are not as different as both the law – and doctors’ interpretation of the law – claim them to be. <h2>Sympathetic coverage</h2> It seems that the general public does not draw a clear distinction either. Most of the media coverage of Goodall’s journey to Switzerland was sympathetic, to the dismay of <a href="http://www.carenotkilling.org.uk/press-releases/centenarians-assisted-suicide/">opponents</a> of assisted dying. Media reports about <a href="https://www.theguardian.com/tv-and-radio/2014/sep/02/mary-berry-great-british-bake-off-centenarian-assisted-dying">ageing celebrities</a> endorsing assisted dying in cases of both terminal illness and very old age, blur the distinction still further. One of the reasons for this categorical confusion is that, at root, this debate is about what a good death looks like, and this doesn’t rely on prognosis; it relies on <a href="https://www.tandfonline.com/doi/full/10.1080/01459740.2016.1255610">personality</a>. And, it’s worth remembering, the personalities of the very old are as diverse as those of the very young. Discussion of assisted suicide often focuses on concerns that some older people may be exposed to coercion by carers or family members. But older people also play another role in this debate. They make up the rank and file <a href="http://www.ep.liu.se/ej/ijal/2012/v7/i1/a01/ijal12v7i1a01.pdf">activists</a> of the global right-to-die movement. In this conflict of rights, protectionist impulses conflict with these older activists’ demands to die on their own terms and at a time of their own choosing. In light of the <a href="https://www.nih.gov/news-events/news-releases/worlds-older-population-grows-dramatically">unprecedented ageing</a> of the world’s population and increasing longevity, it is important to think about what a good death looks like in deep old age. In an era when more jurisdictions are passing laws to permit doctor-assisted dying, the choreographed death of a 104-year-old, who died listening to Ode to Joy after enjoying a last fish supper, starts to look like a socially approved good death.<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/96589/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/naomi-richards-182120">Naomi Richards</a>, Lecturer in Social Science (End of Life Studies), <a href="https://theconversation.com/institutions/university-of-glasgow-1269">University of Glasgow</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/what-does-a-good-death-look-like-when-youre-really-old-and-ready-to-go-96589">original article</a>.

Caring

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

30 years ago, Tarantino’s Pulp Fiction shook Hollywood and redefined ‘cool’ cinema

<a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> What might be the most seismic moment in American cinema? Film “speaking” for the first time in <a href="https://www.youtube.com/watch?v=8SzltpkGz0M">The Jazz Singer</a>? Dorothy <a href="https://www.youtube.com/watch?v=F4eQmTizTSo">entering</a> the Land of Oz? That <a href="https://www.youtube.com/watch?v=Yw_D3a2pZtk">menacing shark</a> that in 1975 invented the <a href="https://www.cbsnews.com/news/the-history-of-the-blockbuster-movie/">summer blockbuster</a>? Or how about that moment when two hitmen on their way to a job began talking about the intricacies of European fast food while listening to Kool & The Gang? <figure><iframe src="https://www.youtube.com/embed/2j_A6e-VESk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Directed by Quentin Tarantino, <a href="https://www.imdb.com/title/tt0110912/">Pulp Fiction</a> (1994) celebrates its 30th birthday this month. Watching it now, this story of a motley crew of mobsters, drug dealers and lowlifes in sunny Los Angeles still feels startlingly new. Widely regarded as Tarantino’s masterpiece, the director’s dazzling second film was considered era-defining for its memorable dialogue, innovative narrative structure and unique blend of humour and violence. It was nominated for seven Academy Awards, made stars of Samuel L. Jackson and Uma Thurman, and revitalised John Travolta’s career. Pulp Fiction is dark, often poignant, and very funny. It is, as one critic <a href="https://www.theguardian.com/film/2015/apr/13/my-favourite-cannes-winner-pulp-fiction">describes it</a>, an “intravenous jab of callous madness, black comedy and strange unwholesome euphoria”. <h2>A Möbius strip plot</h2> Famous for its non-linear narrative, Pulp Fiction weaves together <a href="https://thescriptlab.com/features/main/1457-structure-of-pulp-fiction-method-in-the-madness/">a trio of connected crime stories</a>. The three chapters – Vincent Vega and Marsellus Wallace’s Wife, The Gold Watch and The Bonnie Situation – loop, twist and intersect but, crucially, never confuse the viewer. Tarantino has often paid tribute to French filmmakers <a href="https://faroutmagazine.co.uk/jean-luc-godard-quentin-tarantino-ultimate-hero/">Jean-Luc Godard</a> and <a href="https://faroutmagazine.co.uk/director-deeply-inspired-quentin-tarantino/">Jean-Pierre Melville</a>, whose earlier films also presented their narratives out of chronological order and modified the rules of the crime genre. By inviting audiences to piece Pulp Fiction together like a puzzle, Tarantino laid the way for subsequent achronological films such as Memento (2000), Go (1999) and Lock, Stock and Two Smoking Barrels (1998). <h2>Pop culture meets postmodernism</h2> In his influential essay Postmodernism, or the Cultural Logic of Late Capitalism, first published in 1984, political theorist Frederic Jameson coined the term “<a href="https://literariness.org/2016/04/04/fredric-jamesons-concept-of-depthlessness/">new depthlessness</a>” to describe postmodern culture. Jameson perceived a shift away from the depth, meaning and authenticity that characterised earlier forms of culture, towards a focus on surface and style. Pulp Fiction <a href="http://moviemezzanine.com/the-eyes-behind-the-mask-pulp-fiction-and-postmodernity-20-years-later/">fits</a> Jameson’s definition of depthlessness. It is stuffed with homages to popular culture and a vivid array of character types drawn from other B-movies – hitmen, molls, mob bosses, double-crossing boxers, traumatised war veterans and tuxedo-wearing “fixers”. It is a film of surfaces and <a href="https://wiki.tarantino.info/index.php/Pulp_Fiction_Movie_References_Guide">allusions</a>. Jackson, Travolta and Thurman feature alongside established 1990s box-office stars including Bruce Willis and industry stalwarts Harvey Keitel and Christopher Walken, both of whom have brief but memorable cameos. The film’s most iconic scene takes place at the retro 1950s-themed Jack Rabbit Slim’s diner. Thurman’s twist contest with Travolta fondly echoes Travolta’s earlier dancing in Saturday Night Fever (1977) and pays homage to other dance scenes in films such as 8 ½ (1963) and Band of Outsiders (1964). <h2>Words and music</h2> Film critic Roger Ebert <a href="https://www.rogerebert.com/reviews/great-movie-pulp-fiction-1994">once noted</a> how Tarantino’s characters “often speak at right angles to the action”, giving long speeches before getting on with the job at hand. Pulp Fiction is full of witty and quotable monologues and dialogue, ranging from the philosophical to the mundane. Conversations about foot massages and blueberry pie bump up against Bible verses and reflections on fate and redemption. The film’s 1995 Oscar for Best Original Screenplay was a fitting achievement for Tarantino, who many regard as <a href="https://medium.com/word-garden/tarantinos-conversations-are-the-best-in-movie-history-this-is-why-52e06de4f773">the snappiest writer</a> in film history. Countless other filmmakers have looked to replicate Pulp Fiction’s mashup of cool and coarse. <figure><iframe src="https://www.youtube.com/embed/S6Vuj8tF-kk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Needle drops are <a href="https://medium.com/cuepoint/the-music-of-pulp-fiction-8a13a7cdb5a8">just as important</a> in establishing Pulp Fiction’s mood and tone. The film’s eclectic soundtrack pings between surf rock, soul and classic rock ‘n’ roll. The soundtrack peaked at No. 21 on the Billboard 200 in 1994 and stayed in the charts for <a href="https://www.grammy.com/news/how-pulp-fiction-reinvented-the-film-soundtrack-anniversary">more than a year</a>. <h2>Dividing the critics</h2> Though it was officially released in October 1994, Pulp Fiction had already made a stir earlier that by winning the prestigious Palme d’Or at the Cannes Film Festival. Many expected Krzysztof Kieślowski’s Three Colours: Red to take <a href="https://www.theguardian.com/film/2011/nov/09/three-colours-red-cannes">the top prize</a>. Tarantino himself seemed stunned, telling the <a href="https://www.youtube.com/watch?v=tnS5pXQQmR4&t=188s">Cannes audience</a>: “I don’t make the kind of movies that bring people together. I make movies that split people apart.” The film has divided critics ever since. Many adored Pulp Fiction for its intoxicating allure and sheer adrenaline-fuelled pleasure. To this day it maintains a 92% critic score on <a href="https://www.rottentomatoes.com/m/pulp_fiction">Rotten Tomatoes</a>. Film critic Todd McCarthy <a href="https://variety.com/1994/film/reviews/pulp-fiction-1200437049/">called it</a> a film “bulging with boldness, humour and diabolical invention”. But the backlash was equally robust. <a href="https://www.newstatesman.com/culture/2014/10/pulp-fiction-bad-film">Some</a> criticised the film for its excessive gore and irresponsible use of racial slurs. Screenwriting guru Syd Field <a href="https://sydfield.com/syd_resources/pulp-fiction/">felt</a> it was too shallow and too talky. Jean-Luc Godard, once one of Tarantino’s idol, apparently <a href="https://www.worldofreel.com/blog/2022/12/0eav5zg509ajlqjg9xc8em2m3xrorw">hated it</a>. Nonetheless, its financial success (a <a href="https://www.boxofficemojo.com/title/tt0110912/">box office return</a> of US$213 million from an $8 million budget) signalled the growing importance and cultural prestige of independent US films. Miramax, the studio that backed it, went on to <a href="https://www.google.com.au/books/edition/Down_and_Dirty_Pictures/aXn_CwAAQBAJ?hl=en&gbpv=1&dq=down+and+dirty+pictures,+biskind&printsec=frontcover">become</a> a major force in the industry. <h2>A lasting legacy</h2> Shortly after Pulp Fiction’s release, the word “Tarantinoesque” <a href="https://www.oed.com/dictionary/tarantinoesque_adj">appeared</a> in the Oxofrd English Dictionary. The entry reads: <blockquote> Resembling or imitative of the films of Quentin Tarantino; characteristic or reminiscent of these films Tarantino’s films are typically characterised by graphic and stylized violence, non-linear storylines, cineliterate references, satirical themes, and sharp dialogue. </blockquote> Pulp Fiction has since been parodied and knocked off countless times. Hollywood suddenly began <a href="http://www.tasteofcinema.com/2016/the-10-worst-copycat-films-of-pulp-fiction/">mass-producing low-budget crime thrillers</a> with witty, self-reflexive dialogue. Things to Do in Denver When You’re Dead (1995), 2 Days In The Valley (1996) and Very Bad Things (1998) are just some example. Graffiti artist Bansky even <a href="https://banksyexplained.com/pulp-fiction-2004/">stencilled</a> the likeness of Jules and Vincent all over London, with bananas in place of guns. The Simpsons <a href="https://www.youtube.com/watch?v=4u6wR_2S4xQ">got in on the act</a> too. <figure><iframe src="https://www.youtube.com/embed/4u6wR_2S4xQ?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Tarantino <a href="https://www.independent.co.uk/voices/profile-hollywood-s-hitman-quentin-tarantino-a-sadist-or-just-a-stylist-david-thomson-on-the-boywonder-director-of-pulp-fiction-1444551.html">once summed up</a> his working method as follows: <blockquote> Ultimately all I’m trying to do is merge sophisticated storytelling with lurid subject matter. I reckon that makes for an entertaining night at the movies. </blockquote> I’d say there’s no better way to describe Pulp Fiction.<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/236877/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, Associate Professor of French Studies, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> Image credits: Miramax 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/30-years-ago-tarantinos-pulp-fiction-shook-hollywood-and-redefined-cool-cinema-236877">original article</a>.

Movies

Readers response: What movie have you rewatched the most?

We all have our favourite movies. The ones that make us feel comforted and happy each time we rewatch them. We asked our readers what movies they have rewatched the most, and the response was overwhelming. Here's what they said. Heather Fuchs - Pretty Woman, The Shawshank Redemption and The Green Mile. Nola Schmidt - Gone with the Wind, Sound of Music and Breakfast at Tiffanys. Isabel Pritchard - Love Actually, watched it every Christmas since it was released. Angela Chapman - The Notebook, Back to the Future trilogy, The Sound of Music, Grease, Sleepless in Seattle, and Sweet Home Alabama. Margie Grass - Grease! Was watched over and over and over, would finish watching and go "oh let’s do it again". My kids knew the words by heart and did a running commentary when they replayed it again. Naomi Thacker - The Rise of Skywalker, Star Wars. I must have seen it 10 or more times. Terri Cameron - The Lion King with my eldest grandson who was very young then and is 30 now. Neither of us seemed to tire of it. It was just a wonderful film. Beverley Hoffman - LOTR, Harry Potter, The Ten Commandments. Christine Thompson - Sound of Music, Sleepless in Seattle, Pretty Woman. Anything that you would class as a “chick flick” really. Maggie Geeves - Steel Magnolias. Rhonda Woods - The Castle. Image credits: Shutterstock

Movies

200-year-old message in a bottle unearthed

In a discovery that has the archaeology world buzzing (and possibly rolling its ancient eyes), a team of student volunteers in northern France has unearthed something rather unexpected during their dig at a Gaulish village. While they were hoping for the usual – ancient pottery shards, perhaps a coin or two – they instead stumbled upon what can only be described as the 19th-century equivalent of a DM in a bottle. The scene played out like a low-budget historical drama: volunteers painstakingly sifting through centuries-old dirt on the cliff-tops near Dieppe when, voilà! They found an earthenware pot containing a small glass vial, like something you might see in a vintage pharmacy, but with fewer essential oils and more existential surprises. Guillaume Blondel, the team leader and head of the archaeological service for the nearby town of Eu, was immediately intrigued. “It was the kind of vial that women used to wear around their necks containing smelling salts,” he explained, before casually dropping the bombshell: inside the vial was a note. Cue dramatic music. After what we can only assume was a long, suspenseful pause, Blondel and his team opened the note, which turned out to be written by none other than P.J. Féret, a 19th-century intellectual who clearly had a flair for both excavation and theatrics. The note, written with all the panache of a man who had just unearthed Caesar’s salad fork, read: "P.J. Féret, a native of Dieppe, member of various intellectual societies, carried out excavations here in January 1825. He continues his investigations in this vast area known as the Cité de Limes or Caesar’s Camp." Naturally, Blondel was floored. “It was an absolutely magic moment,” he said, no doubt imagining Féret winking at him from the beyond. “We knew there had been excavations here in the past, but to find this message from 200 years ago? It was a total surprise.” Local records confirm that P.J. Féret was indeed the real deal. He wasn’t just a dabbler in dirt – he was a notable dabbler in dirt who had conducted an earlier dig at the site in 1825. In a stroke of irony not lost on Blondel, he mused, “Most archaeologists prefer to think that there won’t be anyone coming after them because they’ve done all the work.” Féret, however, clearly believed in leaving a trail of breadcrumbs – or, in this case, a literal note in a bottle, just to remind future archaeologists that he got there first. Féret: 1, Modern Archaeology: 0. Of course, this whole affair raises some important questions: Did Féret expect someone to find this? Did he laugh to himself as he buried it, imagining Blondel’s reaction? Did Féret know how cliff erosion would eventually turn his humble Gaulish village into a treasure trove for future archaeologists? Or was he simply trolling them from the past? Whatever the case, Féret’s note may not have contained ancient secrets, but it certainly delivered some 19th-century sass. And if we’ve learned anything from this dig, it’s this: archaeology isn’t just about discovering the past – it’s also about being occasionally roasted by it. As Blondel and his team continue their emergency dig (which was ordered due to cliff erosion eating away at the site like a bad buffet), they’ve already uncovered a number of artefacts, mostly pottery, from around 2,000 years ago. But will any of them have the audacity to leave a note for the archaeologists of 2225? We’ll have to wait and see. In the meantime, Féret is probably laughing somewhere in the afterlife, shaking his head and muttering, “Amateurs”. Images: Guillaume Blondel / Facebook

International Travel

Twelve-year-old boy falls to his death on cruise

A 12-year-old boy has fallen to his death onboard the Royal Caribbean Harmony of the Seas, as guests watched on in horror. The cruise was nearing the end of its itinerary on Sunday and was heading back to Texas after its seven-day cruise around the Western Caribbean when the incident occurred. Witnesses recalled that the boy was playing with a group of friends he had made on the ship before he tumbled over a 13-storey balcony, falling into the internal Central Park area of the ship, a plaza filled with bars, pubs and restaurants. Royal Caribbean staff attempted to resuscitate the youngster, but he died before the ship docked in Texas. The cruise company shared a statement that a death had occurred onboard but refused to share any more information as investigations into the incident began. Witnesses took to a Facebook page for passengers to share their condolences to the boy's grieving family, and share their version of event. "My daughter was friends with him and said he was upset today," posted passenger Sara Tullas. "She is so upset. I wish I would have known he was struggling today." The boy had taken part in the cruise's teen-club, and many passengers said their children had got to know the boy before his death. "The conversations I have had to have with my son really tripped me up," wrote Shannon Elizabeth on the Facebook page. "My son and him actually got really close on the cruise, and he saw too much of what happened." "My family and I saw the incident unfold right before us as we were looking down into Central Park from the pool deck," wrote Christa Schoolfield. "We did not see whether he jumped or was playing around." Another passenger wrote, "I looked over the railing after the emergency alert and wish I didn’t." "All I ask is to please hug your children tight and tell your family members you love them. Life can change in an instant. Today I was hiding ducks in Central Park and one second later a child's life was gone in front of me." Friends said the boy was on board with his family, including two sisters, for a birthday celebration. Image credits: Shutterstock

Travel Trouble

The Adventures of Priscilla, Queen of the Desert at 30: more important, enjoyable and vital than ever

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/stephen-gaunson-265553">Stephen Gaunson</a>, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> The lavender painted bus named “Priscilla” continues to pick up new fans while never going out of favour with its legion of original devotees, 30 years after its release. The Adventures of Priscilla, Queen of the Desert was shot on location in and around Sydney, Broken Hill, Coober Pedy, Kings Canyon and Alice Springs over six weeks in 1993. Directed by Stephan Elliott, the film screened in the Un Certain Regard section of the May 1994 Cannes Film Festival, winning <a href="https://nla.gov.au/nla.obj-885750952/view?sectionId=nla.obj-888737519&searchTerm=priscilla+queen+of+the+desert&partId=nla.obj-885806856#page/n13/mode/1up">critical and popular acclaim</a> for its positive portrayal of LGBTQI+ characters. Awards came, most notably for costume designers Tim Chappel and Lizzy Gardiner who won the Academy Award for Best Costume Design for their sparkly, sequin-filled costumes. The film’s cultural brilliance lies in juxtaposing the extreme flamboyance of the costumes and props against the equally extreme rural natural desert landscape. The unexpected revelation for audiences was how perfectly these contrasting elements harmonised. <figure><iframe src="https://www.youtube.com/embed/wGWWeourHUg?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>A smash hit</h2> Less than 12 months since its release, the Film Finance Corporation (FFC) of Australia had the rare success of <a href="https://if.com.au/why-the-adventures-of-priscilla-queen-of-the-desert-turned-the-government-a-profit-in-just-12-months/">fully recouping</a> its A$1.67 million investment. Initially hesitant due to Elliott’s disappointing box office return on his debut feature, Frauds (1993), the FFC was convinced after the screenplay gained attention at Cannes. The film exceeded predictions, grossing more than $16 million in Australia. The film was socially and critically embraced as an instant classic. Ask cinema employees from this time and they will all share similar memories of lines of people outside the cinema doors eager to watch and rewatch (and rewatch again) the musical road movie about a pair of drag queens (Hugo Weaving and Guy Pearce) and a transgender woman (Terence Stamp) as they set out from Sydney on a bus journey across the Australian outback. <figure><iframe src="https://www.youtube.com/embed/tex3dw3RjGk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The casting today seems like more of a sure bet than it did in 1994. Stamp was a British actor of <a href="https://www.theguardian.com/film/2015/mar/12/terence-stamp-i-was-in-my-prime-but-when-the-60s-ended-i-ended-with-it">legendary status</a>, having gained critical accolades in the 1960s in films such as Billy Budd, The Collector and Far from the Madding Crowd. However Stamp was equally a <a href="https://www.dailymail.co.uk/home/event/article-4869258/Terence-Stamp-79-bids-farewell-active-sex-life.html">regular tabloid subject</a> for his high-profile romances with film star Julie Christie and supermodel Jean Shrimpton. Would audiences be willing to go with the idea of this playboy as the trandsgender woman, Bernadette? It is now impossible to consider any actor better able to deliver Terrance Stamps’s deadpan sardonic lines so perfectly: “Don’t ‘Darling’, me, Darling. Look at you. You’ve got a face like a cat’s arse.” Pearce and Weaving also were a risk. Neither were box office marquee stars at the time. Pearce was known as a lovable Mike from the popular television soap opera, Neighbours. Weaving was a critically respected actor known more for his quirky small parts than as a star in his own right. Both were perfect casting, launching them onto Hollywood careers. Pearce as Adam was a remarkable revelation. <figure><iframe src="https://www.youtube.com/embed/p2QiCFAQ-qQ?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> The chemistry and connection between the three lead actors makes the film truly succeed. Never do their performances seem showboating or forced. Each has their own arc, personality and journey. And when they climb Kings Canyon in full drag regalia at the film’s end there is something moving about what they have been able to accomplish together. A film that begins to be a slight and joyful comedy about drag performers becomes a deeper essay on the importance of lived experience and friendship (or, dare I say, mateship). <h2>More vital than ever</h2> Drag has a <a href="https://www.remindmagazine.com/article/3894/drag-through-decades-film-tv/">long history</a> in mainstream cinema with its own codes and references. The Adventures of Priscilla, Queen of the Desert is crucially different by it not being about “straight” men masquerading as women to mask their actual identity. Instead, Elliot’s film rather positively celebrates these characters in drag as their true and authentic selves. This film stood with others as a wave of Australian cinema in the 1990s unashamedly wanting to celebrate an Australia juxtaposing the blokey masculine stereotype. Ocker characters (men and women) appear in this film, but ultimately they are publicly humiliated for their homophobia. Bernadette kneeing in the groin the vicious and vulgar Frank (Kenneth Radley) often receives a big cheer from cinema audiences: “Stop flexing your muscles, you big pile of budgie turd,” Bernadette scorns. <figure><iframe src="https://www.youtube.com/embed/9nc12yOA4jM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Perhaps the true star of the film were not the actors as much as the iconic 1976 Japanese model Hino Freighter Priscilla bus that became the set for several scenes in the film. Because the bus interior was such a small set, there was no room for the crew with many actually in shot, hiding under clothes and other props. The bus, long thought to be lost, was <a href="https://www.abc.net.au/news/2024-04-12/bid-to-restore-priscilla-queen-of-the-desert-bus/103699136">rediscovered</a> on a farm in New South Wales in 2019. The bus is currently being restored, with an aim to have it on display at the National Motor Museum in Birdwood, Adelaide Hills, in 2026. Perhaps it will be good timing for shooting the recently announced <a href="https://deadline.com/2024/04/priscilla-queen-of-the-desert-movie-sequel-original-cast-1235890358/">potential sequel</a>. 30 years after its original release The Adventures of Priscilla, Queen of the Desert seems more important, enjoyable and vital than ever. All aboard, Priscilla. Long may she run. <hr /> RMIT Capitol will be hosting a <a href="https://www.rmit.edu.au/thecapitol/events/2024/september/the-adventures-of-priscilla-queen-of-the-desert">screening and introductory panel discussion</a> on September 11 with the film’s costume designer Tim Chappel, executive producer Rebel Penfold-Russell, Melbourne Queer Film Festival program director Cerise Howard, historian Kristy Kokegei and Stephen Gaunson.<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/235424/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-gaunson-265553">Stephen Gaunson</a>, Associate Professor in Cinema Studies, <a href="https://theconversation.com/institutions/rmit-university-1063">RMIT University</a> Image credits: Metro Goldwyn Mayer 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/the-adventures-of-priscilla-queen-of-the-desert-at-30-more-important-enjoyable-and-vital-than-ever-235424">original article</a>. </div>

Movies

Six old-school strategies to cope with disruptive airport tech

<a href="https://theconversation.com/profiles/christopher-schaberg-1451119">Christopher Schaberg</a>, <a href="https://theconversation.com/institutions/arts-and-sciences-at-washington-university-in-st-louis-5659">Arts & Sciences at Washington University in St. Louis</a> Ten years ago I wrote a book titled “<a href="https://www.bloomsbury.com/us/end-of-airports-9781501305498/">The End of Airports</a>” about how digital technologies and commercial air travel were on a collision course. Earlier this summer, I was proved right. In July, <a href="https://theconversation.com/massive-it-outage-spotlights-major-vulnerabilities-in-the-global-information-ecosystem-235155">a cybersecurity software outage</a> snarled airports around the world. Airlines took weeks to get back to normal. Delta was particularly <a href="https://www.cnn.com/2024/08/07/business/delta-passengers-sue-crowdstrike-meltdown/index.html">hard hit</a>, with some <a href="https://apnews.com/article/crowdstrike-technology-outage-fallout-delta-c287aaded657a1092724b222435c3d16">7,000 flights canceled</a> and delays lasting well into August. As an expert on air travel who contemplates flight from <a href="https://www.bloomsbury.com/us/textual-life-of-airports-9781441189684/">a humanistic and cultural studies perspective</a>, I think the new technologies woven into air-travel management are a double-edged sword. While they enhance elements of safety and efficiency, they can also make the entire system <a href="https://www.theatlantic.com/ideas/archive/2024/07/crowdstrike-failure-warning-solutions/679174/">more fragile and vulnerable</a>. <h2>The downsides of digital technology</h2> To be fair, aviation depends on technology. Humans would never have gotten off the ground without it. But new technology can create new problems even as it solves old ones. The latest digital tech offers necessarily imperfect ways to manage a vast, intricate network of places, machines and people. And as the computer systems get more fine-tuned and integrated, they also can result in catastrophic failures, precisely because of the connective nature of tech. And let’s not even talk about <a href="https://theconversation.com/how-hot-weather-and-climate-change-affect-airline-flights-80795">the weather</a>. The past summer’s <a href="https://www.cbsnews.com/news/crowdstrike-outage-bug-bad-data-falcon-update-microsoft/">software glitch event</a> won’t be the last time some unforeseen variable brings air travel to a halt. Fortunately, travelers don’t have to depend solely on airport technology systems or our own smart devices for seamless travel. Here are six analog strategies that travelers can use to cope with air travel debacles: <h2>Old-school flying suggestions</h2> <ol> <li> Pack smart for potential delays. Make sure you have a carry-on that includes whatever you’d need for an unplanned overnight stay at a hotel – or worse, on an airport floor. Take <a href="https://www.tsa.gov/travel/security-screening/liquids-rule">Transportation Security Administration-approved toiletries</a> and enough clothes so you can deal with a layover somewhere you didn’t expect. And wear comfortable shoes. </li> <li> Be kind to airline employees and airport staff, who can’t control delays or cancellations. Remember that no one airline employee can automatically fix the problem when a software malfunction happens or a freak storm grounds planes. But if you are kind and patient, an airline employee may just comp you a hotel room or give you a more generous rebooking arrangement. Also: It’s just the humane thing to do. </li> <li> Purchase your tickets directly from airlines. It’s not worth saving $20 or $50 on a ticket deal from a third-party vendor. When delays and cancellations happen, if you have such a ticket, the airline will have less interest in aiding you. Buying tickets directly from the airline will help you get back in the air quicker. </li> <li> Have a plan B. In the event that your connecting flight is canceled mid-trip, have you contacted someone you know in that city? Or have you researched hotels easily accessible from the airport? What would it take to get a comfortable spot for a night? A little homework can go a long way if you end up stranded. </li> <li> Bring healthy snacks and other supplies. It’s smart to pack vitamins, zinc, hydration packets, a reusable water bottle, medications, hand sanitizer, or whatever helps bolster your health during a travel stint. If you get waylaid for a few hours or overnight, preplanning some self-care items can help you avoid contagious illnesses and general fatigue. </li> <li> Enjoy the airport. It’s a fascinating place where so many people converge. If you’re <a href="https://stuckattheairport.com">stuck at the airport</a> for several hours, use that time to find interesting things in the concourses. You might discover art shows, a great bookstore, a yoga room or a movie theater. It can be tempting to just stand around the gate area and seethe. But it’s more fun to move around the airport and explore what’s there.<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/237372/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </li> </ol> <a href="https://theconversation.com/profiles/christopher-schaberg-1451119">Christopher Schaberg</a>, Director of Public Scholarship, <a href="https://theconversation.com/institutions/arts-and-sciences-at-washington-university-in-st-louis-5659">Arts & Sciences at Washington University in St. Louis</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/if-new-technologies-snarl-your-airline-experience-here-are-old-school-strategies-to-cope-237372">original article</a>.

Travel Trouble

Can a 10-year-old be responsible for a crime? Here’s what brain science tells us

<a href="https://theconversation.com/profiles/susan-m-sawyer-109573">Susan M. Sawyer</a>, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> and <a href="https://theconversation.com/profiles/nandi-vijayakumar-1644262">Nandi Vijayakumar</a>, <a href="https://theconversation.com/institutions/deakin-university-757">Deakin University</a> The age a child can be arrested, charged and jailed in Australia is back in the spotlight. Last year, the Northern Territory became the first jurisdiction to raise the age of criminal responsibility from ten to 12. Now its new, tough-on-crime government has pledged to <a href="https://www.sbs.com.au/nitv/article/incoming-chief-minister-says-age-of-criminal-responsibility-to-be-lowered-to-10-years-old/a1xm9jy9c">return it to ten</a>. It comes after Victoria <a href="https://www.abc.net.au/news/2024-08-13/victoria-youth-justice-reform-criminal-age/104217160">walked back</a> its earlier commitment to raise the age to 14, settling instead on 12. But the United Nations Committee on the Rights of the Child says 14 should be the absolute <a href="https://www.ohchr.org/en/documents/general-comments-and-recommendations/general-comment-no-24-2019-childrens-rights-child">minimum</a>. It raised this age from its earlier recommendation (in 2007) of 12, citing a decade of new research into child and adolescent development. So what does the science say? What happens to the brain between ten and 14? And how much can those under 14 understand the consequences of their actions? <h2>Who is an adolescent?</h2> Our research shows adolescence is a <a href="https://pubmed.ncbi.nlm.nih.gov/30169257/">critical period</a> for development. It’s the time children’s experiences and explorations shape how they develop cognitive skills (including critical thinking and decision making), as well as social and emotional skills (including moral reasoning). Adolescence also lasts longer than we tend to think. Important brain development begins during late childhood, around eight to nine years. Intense changes then follow during early adolescence (ages ten to 14). But these changes continue well into the twenties, and full cognitive and emotional maturity is not usually reached until around age 24. However, everyone’s brain matures at a different rate. That means there is no definitive age we can say humans reach “adult” levels of cognitive maturity. What we do know is the period of early adolescence is critical. <h2>What does puberty do to the brain?</h2> Puberty is a defining feature of early adolescence. Most of us are familiar with the changes that occur to the body and reproductive systems. But the increase in puberty hormones, such as testosterone and oestrogen, also trigger changes to the brain. These hormones <a href="https://www.sciencedirect.com/science/article/abs/pii/S0306453017313252?via%3Dihub">increase most sharply</a> between ten and 15 years of age, although gradual changes continue into the early twenties. Puberty hormones change the structures in the brain which process emotions, including the amygdala (which encodes fear and stress) and ventral striatum (involved in reward and motivation). This makes adolescents particularly reactive to emotional rewards and threats. <a href="https://doi.org/10.1016/j.cortex.2019.04.024">Our research</a> has shown the brain’s sensitivity to emotions increases throughout early adolescence until around 14 or 15 years old. At the same time, changes in puberty have <a href="http://dx.doi.org/10.1037/pspp0000172">been linked</a> to increased sensation seeking and impulsive behaviours during early adolescence. This context is crucial when we discuss the behaviour of children in the ten to 14 age range. The way their brains change during this period makes them more sensitive and responsive to emotions, and more likely to be seeking experiences that are new and intense. <h2>How do adolescents make decisions?</h2> The emotional context of puberty influences how younger adolescents make decisions and understand their consequences. Decision making relies on several basic cognitive functions, including the brain’s flexibility, memory and ability to control impulses. These cognitive abilities – which together help us consider the consequences of our actions – undergo some of the <a href="https://doi.org/10.1523/JNEUROSCI.1741-13.2013">steepest development</a> between ages ten and 14. By age 15, the ability to make complex decisions has usually <a href="https://doi.org/10.1037/lhb0000315">reached adult maturity</a>. But adolescents at this age remain highly susceptible to emotions. So while their brain may be equipped to make a complex decision, their ability to think through the consequences, weighing up costs and benefits, can be clouded by emotional situations. For example, <a href="https://doi.org/10.1111/cdev.12085">research has shown</a> 13-14 year-olds were more distracted from completing a task and less able to control their behaviour when they viewed images that made them feel negative emotions. The social world of teenagers also has a significant impact on how they make decisions – especially in early adolescence. One study found that while older adolescents (aged 15-18) are more influenced by what adults think when weighing up risk, adolescents aged 12-14 <a href="https://journals.sagepub.com/doi/full/10.1177/0956797615569578">look to other teenagers</a>. Experiments <a href="https://doi.org/10.1177/0272431616648453">have also shown</a> adolescents aged 12-15 make riskier decisions when they are with peers than by themselves. Their brain responses also suggest they experience a greater sense of reward in taking those risks <a href="https://doi.org/10.1093/scan/nsy071">with peers</a>. <h2>How do teens understand the consequences of their actions?</h2> The concept of <a href="https://www.aph.gov.au/About_Parliament/Parliamentary_Departments/Parliamentary_Library/pubs/rp/rp2122/Quick_Guides/MinimumAgeCriminalResponsibility">criminal responsibility</a> is based on whether a person is able to understand their action and know whether it is wrong. Moral reasoning – how people think about right and wrong – depends on the ability to understand another person’s mental state and adopt their perspective. These skills are in development <a href="https://doi.org/10.1016/j.biopsych.2020.09.012">across adolescence</a>. Research suggests it may take more effort for adolescent brains to process <a href="https://doi.org/10.1162/jocn.2009.21121">“social” emotions</a> such as guilt and embarrassment, compared to adults. This is similar when they make <a href="https://doi.org/10.1080/17470919.2014.933714">moral judgements</a>. This evidence suggests teenage brains may have to work harder when considering other people’s intentions and desires. Young adolescents have the cognitive ability to appreciate they made a bad decision, but it is more mentally demanding. And social rewards, emotions and the chance to experience something new all have a strong bearing on their decisions and actions in the moment — possibly more than whether it is right or wrong. <h2>Early adolescence is critical for the brain</h2> There are also a number of reasons adolescent brains may develop differently. This includes various forms of neurodisability such as acquired brain injury, fetal alcohol spectrum disorder, attention-deficit hyperactivity disorder (ADHD) and intellectual disability, as well as exposure to trauma. Teenagers with neurodevelopmental disorders will likely cope differently with decision making, social pressure, impulse control and risk assessment, and face <a href="https://www.mcri.edu.au/images/research/strategic-collaborations/Flagships/Neurodevelopment/Neurodevelopment_Flagship_Brochure.pdf">extra difficulties</a>. Across the world, they are <a href="https://www.thelancet.com/journals/lanpub/article/PIIS2468-2667(19)30217-8/fulltext">disproportionately incarcerated</a>. In Australia, Indigenous children and adolescents are incarcerated <a href="https://www.indigenoushpf.gov.au/measures/2-11-contact-with-the-criminal-justice-system#:%7E:text=On%20an%20average%20day%20in%202021%E2%80%9322%2C%20there%20were%3A,AIHW%202023d%3A%20Table%20S76a">in greater numbers</a> than their non-Indigenous peers. Each child matures differently, and some face extra challenges. But for every person, the period between ten and 14 is critical for developing the cognitive, social and emotional skills they’ll carry through the rest of their life.<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/237552/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/susan-m-sawyer-109573">Susan M. Sawyer</a>, Professor of Adolescent Health The University of Melbourne; Director, Royal Children's Hospital Centre for Adolescent Health, <a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a> and <a href="https://theconversation.com/profiles/nandi-vijayakumar-1644262">Nandi Vijayakumar</a>, Research Fellow, School of Psychology, <a href="https://theconversation.com/institutions/deakin-university-757">Deakin 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/can-a-10-year-old-be-responsible-for-a-crime-heres-what-brain-science-tells-us-237552">original article</a>.

Mind

Popular names Generation Alpha believe are “for old people”

Today's youth have a very different idea of what constitutes an "old person" name, and one mum was left flabbergasted after a conversation she had with her six-year-old daughter about her classmates’ names. “You know what I find wild? I have an eight-year-old and a six-year-old, and the names of their friends, I can’t even pronounce some of them,” Australian entrepreneur and mum-of-two Steph Pase said in a now viral TikTok. “I asked her, so do you have anyone in your year called Sarah, Alex, Jack or Daniel? “She laughed and said ‘they’re old people names!’.” She then probed her daughter with a few other common names saying: “I asked, what about Steph … Michelle … she’s like no,” she laughed. “It just makes me realise, that we are that generation … our parents’ generation. Names like Helen, Karen or Joanna … now we’re that generation. “We have the old people names.” She captioned her video with the text "Millennial names are officially old" and many of her followers agreed with the upsetting revelation. “In my classes we have Vision, Stoney, Diesel, Hennesy, Blaze, Cruze, Kingdom, Ace, Boss, Oasis, Mercedes, Destiny,” one shared. “Luna, Harper & Arlo are the new Ashley, Jessica & Stephanie,” another said. “The names in my kids classes are Lamb, Honey, Hazard, Blu, Bambi,” another added. “My six year old has a girl in his class named ‘Summah’ and another called ‘Phox’ because Fox was too mainstream,” a fourth wrote. “My daughter has a Moses, Twayla, Lorde it’s wild …” a fifth commented. Baby name expert and CEO of Fifth Dimension Consulting Lyndall Spooner told news.com.au that there are a few reasons why there's been a shift in children's names over the years, including popularity, less pressure to follow traditional family names, and a trend towards more gender-neutral names. “Parents want their children to be unique and so they use nouns or verbs as names, or character names from books, TV shows, movies, shopping chains or cars," she said. And while the "millennial names" are not as common, "they are not extinct". “We will continue to see changes in baby names and the ‘recycling’ of older names that become popular again,” she told the publication. Images: TikTok

Family & Pets

Boy accidentally smashes 3500-year old artefact

A 3500-year old jar has been smashed to pieces after a four-year-old boy accidentally knocked it over during a trip to a museum in Israel. The Hecht Museum in Haifa told the BBC that the artefact dates back to the Bronze Age between 2200 and 1500BC - and was considered a rare find because it was so intact. It had been on display near the entrance of the museum without any protective glass around it, as the museum believes there is a “special charm” in showcasing archaeological finds “without obstructions”. The boy's father, Alex, told the publication that his son had only "pulled the jar slightly" because he was "curious about what was inside", causing it to fall. He also said that he was "in shock" to see his son next to the ruined artefact and initially thought "it wasn't my child that did it". After calming his child down, he spoke to a security guard who confirmed what happened. The museum stated they would not be charging the family and they've even invited the child back to the exhibition for an organised tour after the incident occurred a few days ago. “There are instances where display items are intentionally damaged, and such cases are treated with great severity, including involving the police,” Lihi Laszlo from The Hecht Museum told the BBC. “In this case, however, this was not the situation. The jar was accidentally damaged by a young child visiting the museum, and the response will be accordingly.” A conservation specialist has also been brought on board to restore the jar, which will be returned to the museum "in a short time". The boy's father said they will feel "relieved" to see the jar restored but added they are "sorry" because "it will no longer be the same item". “Despite the rare incident” the museum told the publication that they intend to continue displaying items without barriers or glass walls, where possible. The ancient jar was likely originally used to carry local supplies like wine and olive oil and predates the time of the Biblical King David and King Solomon and is distinctive of the Canaan region on the eastern Mediterranean coast. Images: Hecht Museum

Travel Trouble

99-year-old woman declared accessory to over 10,000 murders

A court in Germany has upheld the conviction of a 99-year-old woman who, during the Second World War, was the secretary to the SS commander at a Nazi concentration camp. The Federal Justice Court on Tuesday rejected the appeal of Irmgard Furchner, who was convicted of being an accessory to more than 10,000 murders and was given a two-year suspended sentence in December 2022. Furchner was accused of being a key part of the apparatus that helped the camp near Danzig, now the Polish city of Gdansk, function, and was subsequently convicted of being an accessory to murder in 10,505 cases and an accessory to attempted murder in five cases. At a federal court hearing in Leipzig in July, Furchner's lawyers cast doubt on whether she really was an accessory to crimes committed by the commander and other senior camp officials between 1943 and 1945, and on whether she had truly been aware of what was going on at Stutthof. The court said that judges were convinced that Furchner “knew and, through her work as a stenographer in the commandant’s office of the Stutthof concentration camp from June 1st 1943, to April 1st 1945, deliberately supported the fact that 10,505 prisoners were cruelly killed by gassings, by hostile conditions in the camp,” by transportation to the Auschwitz death camp and by being sent on death marches at the end of the war. Germany's main Jewish leader welcomed the ruling. “For Holocaust survivors, it is enormously important for a late form of justice to be attempted,” Josef Schuster, the head of the Central Council of Jews, said in statement. “The legal system sent an important message today: even nearly 80 years after the Holocaust, no line can be drawn under Nazi crimes,” he added. During the original court proceedings, prosecutors said that Furchner’s trial may be the last of its kind, however, a special federal prosecutors’ office in Ludwigsburg tasked with investigating Nazi-era war crimes says three more cases are pending with prosecutors or courts in various parts of Germany. With any suspects now at a very advanced age, questions increasingly arise over suspects’ fitness to stand trial. Image credits: Sky News

Legal

It’s hard to reach out to old friends, but doing so may help alleviate loneliness

<a href="https://theconversation.com/profiles/lara-b-aknin-1365501">Lara B Aknin</a>, <a href="https://theconversation.com/institutions/simon-fraser-university-1282">Simon Fraser University</a>; <a href="https://theconversation.com/profiles/gillian-sandstrom-1283157">Gillian Sandstrom</a>, <a href="https://theconversation.com/institutions/university-of-sussex-1218">University of Sussex</a>, and <a href="https://theconversation.com/profiles/kristina-castaneto-1548733">Kristina Castaneto</a>, <a href="https://theconversation.com/institutions/simon-fraser-university-1282">Simon Fraser University</a> Millions of <a href="https://www150.statcan.gc.ca/t1/tbl1/en/tv.action?pid=4510004801">Canadians are lonely</a>. This is worrisome because loneliness, defined by the World Health Organization as “<a href="https://www.who.int/news/item/15-11-2023-who-launches-commission-to-foster-social-connection">the social pain of not feeling connected</a>,” predicts both lower mental and physical health. Research shows that lacking a sense of social connection can pose an <a href="https://doi.org/10.1177/1745691614568352">equivalent health risk to smoking 15 cigarettes per day</a>. To combat loneliness, people are commonly advised to seek out social connection. For many, this guidance brings to mind spending time with loved ones, such as close friends, family and romantic partners. But are there other people we can reach out to? In our research, recently published in Communications Psychology, we examined whether people have “old friends” — individuals that they care about but with whom they have lost touch — and <a href="https://doi.org/10.1038/s44271-024-00075-8">how easily these relationships can be rekindled</a>. We found that certain strategies can help people reconnect — and, in new research, we are getting a sense that certain values and personality traits may make it easier for people to stay in touch far into the future. <h2>Reconnecting with old friends</h2> Across a series of seven studies, we found the majority of people reported having an old friend. Yet, when we asked over 400 participants how willing they would be to reach out to an old friend right now, most said they were neutral or unwilling. In fact, in one study, people reported being no more willing to reach out to an old friend than they were to talk to a stranger or pick up trash. This reluctance was observable in behaviour too. We conducted two experiments in which more than 1,000 people were given several minutes to draft and send a message to an old friend. Only 30 per cent sent the message to their old friend. Given that reaching out to an old friend could boost <a href="https://www.forbes.com/sites/nextavenue/2018/08/19/the-power-and-joy-of-reconnecting-with-old-friends/">feelings of social connection and happiness</a>, we tried designing interventions to encourage reaching out. For instance, we reminded participants that reaching out to an old friend was an act of kindness and that the recipient would appreciate it more than they realize. We also tried telling participants not to overthink it — to just send their message. Unfortunately, neither prompt was effective at encouraging more people to reach out. <h2>Reluctance to reconnect</h2> Why are people reluctant to reach out to old friends? There may be a number of reasons, including the possibility that old friends feel like strangers after time has passed. In one study with over 500 participants we asked people to list between three to five old friends, and tell us how close each one felt to them right now. The more unfamiliar an old friend felt, the less willing people were to reach out. Research has found that when people <a href="https://doi.org/10.1016/j.jesp.2022.104356">practise talking to strangers for a week</a>, they become less anxious about it. If old friends can feel like strangers, might a similar strategy encourage people to reach out to old friends? To find out, we conducted an experiment in which we randomly assigned some people to complete a three-minute warm-up activity in which they messaged current family or friends. Other participants were randomly assigned to a control condition in which they simply browsed social media for three minutes instead. Afterward, all participants were given an opportunity to write and send a message to an old friend. While only 30 per cent of participants sent their message in the control condition, over 50 per cent did so after warming-up, suggesting that practising the behaviour that underlies reaching out may make this act easier. <h2>Personality traits</h2> We are extending this research in a number of new directions. For instance, in some newly conducted and unpublished research, we are examining whether people with certain personality traits or beliefs are more likely to send a message to an old friend. Responses from over 300 people suggest that people who are open to new experiences — <a href="https://www.psychologytoday.com/ca/basics/big-5-personality-traits">one of the five key personality traits studied by psychologists</a> — say they are willing to reach out to an old friend. Despite this inclination, our research found that highly open people do not necessarily communicate with old friends when given the chance. On the other hand, people’s values and beliefs may be important determinants of whether they stay in touch. Our preliminary work shows that people who see friendship as a bond that does not easily break may be more likely to reach out than others. We hope this work helps normalize the fact that friendships can fade and be hard to rekindle. That said, with some practice, people can overcome this reluctance and hit “send” to potentially open a path to connection and less loneliness.<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/234895/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/lara-b-aknin-1365501">Lara B Aknin</a>, Distinguished Professor of Social Psychology, <a href="https://theconversation.com/institutions/simon-fraser-university-1282">Simon Fraser University</a>; <a href="https://theconversation.com/profiles/gillian-sandstrom-1283157">Gillian Sandstrom</a>, Senior Lecturer, School of Psychology, <a href="https://theconversation.com/institutions/university-of-sussex-1218">University of Sussex</a>, and <a href="https://theconversation.com/profiles/kristina-castaneto-1548733">Kristina Castaneto</a>, Master's Student, Psychology, <a href="https://theconversation.com/institutions/simon-fraser-university-1282">Simon Fraser 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/its-hard-to-reach-out-to-old-friends-but-doing-so-may-help-alleviate-loneliness-234895">original article</a>.

Relationships

Cause of death revealed after eight-year-old dies mid-flight

The cause of death of an eight-year-old girl who died suddenly mid-flight has been revealed. Sydney Weston was travelling with her family from their home state of Missouri to Chicago on June 13th when she suddenly fell ill on the flight and died. Now, according to Peoria County Coroner Jamie Harwood, Sydney was suffering from at least five different illnesses at the time of her death. The eight-year-old reportedly died from complications of chronic primary adrenalitis coupled with several infections, including enterovirus and strep, as well as inflammation of the small intestines known as duodenitis and the thyroid gland inflammation commonly known as thyroiditis. Harwood found that the long list of conditions suggests Sydney may have suffered from an autoimmune disorder which left her body attacking its own healthy cells and harming organ operation. Sydney suffered a medical emergency onboard the flight, causing the plane to divert to Peoria, Illinois, for an emergency landing, but Sydney died after being rushed to a nearby hospital. Results from a previously released preliminary autopsy were inconclusive but found that her body showed no signs of abuse, neglect or foul play. At the time of her sudden and tragic death, Sydney was just a week away from celebrating her ninth birthday. “She will forever be remembered for the happiness she brought to every single person she encountered. Our hearts are heavy. She was our baby girl and we celebrate her beautiful life,” her obituary read. Image credits: Instagram

Caring

65-year-old woman transforms life after divorce

Harrah Brown was left “alone, devastated and scared for the first time in my life” at age 60, and had spend her days crying and wishing that her ex would come back. It took her one nasty fall while walking her dog to turn her life around. "I heard a tiny voice tell me to ‘get your life together and stop wasting away’” she said on social media. The now 65-year-old fitness fanatic said that she feels better than ever after she began weight training in her sixties, in the midst of the heartbreak. “Once I accepted I was on my own at age 60, I picked myself up and rebuilt my life from the inside out,” she said in one video. The mother-of-four began her fitness journey in 2019. “In August 2019, I borrowed 5k to move into my one bedroom apartment. I had nothing more than my clothes, my Great Dane, and a few personal belongings,” she wrote on Instagram. “I had my bed, a borrowed chair and desk and ate at my desk for well over a year. “It was the hardest time of my life. I honestly wasn’t sure how or if I would survive.” After her nasty fall, she began her transformation journey and started "listening to great motivational speakers on mindset and I read inspiring books on transformation, and I journaled." “Day by day, my mindset became stronger. The will to turn my setback into my comeback became a powerful force within me. “In September 2020 at age 61 I started lifting weights in my apartment gym, where I still workout today.” And the rest is history. Brown has amassed over 192k followers on Instagram and TikTok, sharing an array of positive messages and clips of her working doing workouts that others her age may consider almost impossible, including heavy barbell squats and pull ups. “Lifting weights renewed my strength, my spirit, and my confidence,” she said in one video. Her followers have praised her for being an inspiration. “You go girl!!! The 60s are a great place to be,” one said. “You make me excited to age!! You’re radiant and so inspiring, keep shining babe,” shared another. “Weight training made me feel like a badass, it’s amazing for mood boosting too," a third added. Since embarking on her new lifestyle, Brown has become an "empowerment coach", where she helps others “be healthy, fit and beautiful at any age”. Images: Instagram

Beauty & Style

Six-year-old denied passport over trademarked name

A mother from the UK has been left "absolutely devastated" after her six-year-old daughter's passport application was denied because she is named after a famous character in the fantasy series Game of Thrones. Lucy, a 39-year-old mum from South West England, told the <a href="https://www.bbc.com/news/articles/c4ng1xd06xwo" target="_blank" rel="noopener">BBC</a> that things went downhill when she started planning their “dream” trip to Disneyland Paris as a family and needed to get her daughter a passport. She said that the initial application to get her daughter, Khaleesi, 6, was unable to be processed, with officials telling her she needed approval from Warner Brothers because they own the name’s trademark. “I was absolutely devastated, we were so looking forward to our first holiday together,” Lucy said. “I had a letter come through from the Passport Office, saying her name is trademarked by Warner Brothers,” she said. “It was the first I’ve heard of such a thing — I was astonished.” After receiving legal advice, the mum learned her daughter was legally allowed to use that name, and forwarded that information along to the Passport Office. “I didn’t understand and felt frustrated. If she could get a birth certificate, would something not have been flagged up then?” she said. “I never thought you could trademark a name,” she added. The Passport Office reportedly later called Lucy to apologise for the error and said they would continue with the process of little Khaleesi's passport. Lucy said she believes the problem was only solved because she complained on social media. “If I hadn’t posted this on social media, nothing would have been done. I would have been stuck, not knowing what to do,” she said, adding that others had reached out saying they’d experienced something similar. Lucy now said she is waiting until her daughter’s passport arrives before booking a new trip to Disneyland Paris. “I am hoping the passport will be issued soon and was promised that they would call back in a few days to see if it had progressed,” she told the BBC. She also hopes her story may help others stuck in a similar situation, saying, “I think there might be other people in this situation, that they may have had their passports declined recently because of something like this. Hopefully, they now know it can be resolved." Image credits: HBO / BBC / Family Handout

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