Admit it, big predictions are rarely a good idea
The best antidote to our prediction addiction is to start holding wayward pundits to account. Perhaps it’s time we all started keeping score.
The best antidote to our prediction addiction is to start holding wayward pundits to account. Perhaps it’s time we all started keeping score.
Ralph Fiennes is tipped for an Oscar for his doubt-stricken cardinal in Conclave. He talks to Jonathan Dean about power, the problem with religion and why he’s never done a TV show.
The seven Pigram brothers have been performing together since they were teenagers.
Dale Chihuly’s glassworks represent an artistic marriage between the work of a single artist and the entire fabric of a single garden.
Striking works by artists who took part in the Australian Antarctic Division’s residency program between 1987 and 2009
In the early years of his music career, John Farnham’s life was dominated by a manipulative, egomaniacal manager whose control over the young star was so absolute that he was secretly plying him with drugs: amphetamines to keep him working all night, followed by sleeping pills in his morning coffee to knock him out cold.
Brian Reed revisits the series that launched him into podcast superstardom in an attempt to assess if journalism is still fit for purpose in a deeply divided society.
American jazz singer and songwriter, Jazzmeia Horn, 33, on what she looks for in every country, growing up in Dallas and her biggest inspiration.
Dear Evan Hansen’s pop-rock score is full of attractive songs. The best are sung gorgeously by endearing and optimistic star Beau Woodbridge, despite being pitched treacherously high.
It would have been easy to go the ‘Sopranos’ route, but this series is infused with music nous at every turn.
Jerome Kaplan’s chic costumes and sets in Coco Chanel: the Life of a Fashion Icon keep with the fashion icon’s strict, less-is-more ethos.
HBO’s The Penguin delivers a gritty Gotham tale, sans the DC nonsense, while NFL star Travis Kelce makes his acting debut in Ryan Murphy’s new gorefest.
Original URL: https://www.theaustralian.com.au/arts/review/page/6