in a corner of the dark he paces lickety-split arms stiff to his sides hands flat out fidgeting it is definitely not ballet he spins a few circles then claims he needs to pee I pull him close
Artists and the arts sector need to take a hard look at the kind of social license we are granting the fossil fuel industry and weigh that up with the contract we have with the audiences and communities we serve.
Modelling has shown that over 25,000 Australian citizens will most likely die from COVID and COVID-related illnesses if the government proceeds with opening the country once 80 per cent of the Australian population has been vaccinated. It might therefore sound crazy for a group of people most statistically likely to die due to their ‘underlying health conditions’ to refuse a free, potentially life-saving, and scientifically well-grounded medication promising to protect them from the worst of its risks.
The argument to save festivals at all costs is a powerful one. Festivals are vital to our societal cohesion. When successful, festivals reinvigorate a sense of communality. Their multi-dimensional programming activates our sense of curiosity about what’s next, lead us to consider questions fundamental to the human condition, and offer provocations.
In The White Lotus, the pursuit of absolution becomes a form of self-actualisation. Shame affirms these characters—both in how they respond to it, and how they attempt to elicit it in others. But this is an ability reserved to them precisely because of their circumstances. Privilege, we learn by the show’s end, offers a limitless supply of tools through which to both invoke shame and resolve it.