Features

New Netflix viewing data shows how we stream TV

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News & Commentary, Screen, TV |

Although subscription streaming services have smashed traditional broadcast TV schedules, newly released viewing data from Netflix suggests we’ve formed our own kind of schedule. Netflix is famously cagey with its viewership figures — there’s no need to release ratings, after all — but has released a smidgen of information gathered from 77 million Netflix accounts over the course

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Exclusive: Sydney reveals world’s first ‘breathable’ theatre

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When Stephen Found, the owner of the 2010 seat Sydney Lyric Theatre, is in New York checking out shows, he has to be careful to not accidentally roll onto his phone when he’s asleep. If he does, he might set off the app he designed that within a few seconds turns the vast Lyric from 2010 seats to a 1350 seat venue mid-performance

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Walkley Awards to finally recognise arts journalism

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News & Commentary |

For many years the arts industry has complained that there is no devoted category for arts journalism in the Walkley Awards. Just two weeks ago, Editor of The Australian’s Review magazine Tim Douglas argued that the Walkleys should recognise arts and culture journalism. Well, it seems that those wishes have been heard, with the Walkley Foundation introducing

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Reviews

War Machine movie review – long live the middle picture

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Film, Reviews, Screen, TV |
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Will Netflix single-handedly revive the mid-budget movie? These are the sorts of productions veteran filmmakers such as David Lynch, Francis Ford Coppola and John Waters say they can no longer make. Studios nowadays tend to choose between two options: cheap-as-chips flicks that cost a few million dollars, or nine-digit blockbusters usually involving marquee franchises with

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The Ham Funeral review (Griffin Theatre, Sydney)

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Reviews, Stage, Theatre |
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The Ham Funeral is one of the richest and most significant plays in the Australian canon. Written by Patrick White in 1947, when he was still a relatively young man and an almost completely inexperienced playwright, the play remains a fiendishly difficult prospect for directors and actors alike. The surreal world of White’s play is unlike any other

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Mr Burns, A Post-Electric Play (Belvoir, Sydney)

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Reviews, Stage, Theatre |
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The highest stakes on a Sydney stage this year may well show up in the first act of American playwright Anne Washburn’s brilliant and brutal Mr Burns, A Post-Electric Play. Those sky-high stakes aren’t because the ongoing existence of humanity is under threat (although it is), nor are they because the safety of the characters on stage is under

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