Entertainment – Page 110 – Michmutters
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Doctor Who’s David Tennant, Russell T. Davies And More Pay Tribute After Companion Bernard Cribbins’ Death

Sad news hit the world of Doctor Who this morning, as it was announced Bernard Cribbins, the actor who played popular companion Wilfred “Wilf” Mott, is dead at the age of 93. After the news broke, several prominent people associated with the series, including David Tennant and Russell T. Davies shared their fondest memories in tribute to the man’s career.

Working with Cribbins several times throughout his span as the 10th Doctor, David Tennant got to share the screen with the British entertainment legend from time to time. Most notably, Wilfred Mott was the featured companion in Tennant’s heartbreaking Doctor Who two part finale, “The End of Time.” In a short, but respectful statement, David Tennant was reported to have reacted on social media (via The Mirror) as follows:

Sad news that Bernard Cribbins has passed away.

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I thought I had gotten over the discrimination I faced in Australia’s newsrooms | Karishma Luthria

When I walked into the Sydney Theater Company’s Wharf 1 theater to see Michelle Law’s production Top Coat, I was expecting to watch an entertaining retelling of how dire the situation in Australia’s news and media is for people of colour. What I was not expecting, but perhaps should have been, was how personally affected I would be by it.

As a young woman of color in the media I have faced discrimination in Australian newsrooms and I thought I was resilient. But Top Coat left me with a lot of questions, mainly personal ones: how am I not healed from the prejudice I experienced in various jobs in Australia’s white, male-dominated media industry?

First, a bit about the show. Top Coat is Law’s STC debut and centers around two characters — Winnie (Kimie Tsukakoshi) and Kate (Amber McMahon). Winnie works at a nail salon that Kate visits between her very demanding schedule of her as a TV executive “girlboss” at a multicultural broadcaster. One evening, just before Winnie is closing shop for the day, Kate comes in asking her for her chipped nail to be fixed – Winnie begrudgingly obliges. The two complain about the barriers they face in work and life and utter the same sentence: “I wish I were in your shoes.” A Freaky Friday situation takes place and they swap bodies. Now Winnie has to go to Kate’s TV job and face her her boss her Barry and her entitled her boyfriend Jeremy (John Batchelor) while Kate has to tirelessly give out manicures and pedicures for hardly any money.

Since seeing the production, I’ve spent a lot of time mulling it over, as well as my own negative experiences in the media, ones that I thought I had gotten over. But seeing similar experiences play out on stage gave them a fresh sense of reality, and more affirmation that I didn’t just make up the prejudice I’d faced in my head.

I came to Australia to study journalism as an international student in 2016. A highly unorthodox career choice for someone like me – an Indian with parents who just wanted me to have a stable career in something like business or law. Even convincing them to let me study journalism was a hard task. There was a lot of arguing and a lot of, “yes, print may be dying but everything is moving online, Pappa!”. So I knew I had to make my time in Australia worth it – worth their investment, and worth my future.

I have worked in multiple newsrooms, first as an intern and freelancer, and eventually a full-time employee – a prized possession for anyone in the media industry, let alone for an international student.

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Each experience prepared me for the prejudice I would face in the next. From others who had connections and networks within the organization getting picked over me, preferred and trained for jobs I was highly qualified to do, to micro-aggressions over my curly hair, my accent, pronouncing my name or even discussing my skin tone.

Coming from a hierarchical Indian society where speaking up against those who are senior to you is disrespectful, I decided not to fight back. So I put my head down and did stories instead. Focusing on giving other people a voice and ignoring my own.

But the bottled-up emotions finally came out upon watching Law’s production.

I have always believed to be lucky in this industry. Lucky to get unpaid internships with broadcasters and news organisations. Lucky to get to certain stages of an interview process when many times I got an immediate rejection because of my visa. Lucky to be able to get a full-time job and be able to experience the stability and security that so many of my Australian citizen classmates at uni got to experience as soon as they graduated. Lucky to get a spot at the table, rather than to be seen as just another international student who has been unable to make it in the arts in Australia.

But at some point, you have to look beyond luck and look at reality – Australian newsrooms and media organizations have a problem with race. They use people of color for our connections to our communities, as Law’s play demonstrated with First Nations character Marcus (Matty Mills). They use us to get certain “sensitive” stories about our communities over the line. They also use us for their often celebrated diversity statistics. We are also often the newsroom’s reserve forces – casuals or part-timers who are called upon when the full-time white reporters and producers are burned out, on holiday in Europe, or taking annual leave.

Let me be clear – I don’t have a problem with my white colleagues. I have a problem with the predominantly white agenda-setters at the top who allow this problem to happen. People who think they are progressive because they hire a token diverse person or they fit certain categories that mean they have faced prejudice in their life. And while I empathize with the barriers they have faced, they will never know what it’s like to be overlooked because of the color of your skin, the texture of your hair, the accent you have and the nationality on your passport.

Australia’s media industry needs a radical racial overhaul. And it starts with executives at the top unlearning decades of prejudice – a message Law sends clearly in Top Coat.

Karishma Luthria is an audio producer at Guardian Australia

Top Coat is on at STC until 6 August

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Sailing down the Stuart Highway, Guts Touring revives the Blackfella/Whitefella spirit

It’s a scene from an Aussie fever dream.

Deep in the outback, you’ve just played one of the great pub shows on a cross-country tour.

And then you realize you’ve stuffed the logistics.

An image from a past 'Up the Guts' tour.
Guts first toured in 2016 and travels about 7,000 kilometers across the country.(Supplied: Guts Touring)
An image from a past 'Up the Guts' tour.
When the tour played in Katherine.(Supplied: Guts Touring)

Now you’re driving through the night to make it to your next gig, an eye-watering 700 kilometers away, and ‘Tracy’, the bus you bought from a retirement home, is chugging fuel at what seems like an unsustainable rate.

It’s all part of the fun on a Guts tour, which first dissected the country from south to north along the Stuart Highway in 2016, drawing inspiration from Midnight Oil and Warumpi Band’s legendary 1986 Blackfella/Whitefella tour.

Midnight Oil and the Warumpi Band performing on the South Alligator River at Kakadu during the Blackfella/Whitefella Tour.
Midnight Oil and the Warumpi Band performing on the South Alligator River at Kakadu during the Blackfella/Whitefella tour.(ABC)

Guts will be back on the road for the first time since 2017 next month, playing 36 shows from the tropics to Tasmania with 19 bands, and putting on 20 music workshops in towns and communities across the outback.

The tour begins it’s 7,000km journey in the town of Jabiru, on Kakadu’s edge, on August 15 and includes artists like Bad//Dreems, Black Rock Band, Children Collide and Birdz.

‘Play some Chisel’

An image from a past 'Up the Guts' tour.
Jack Parsons says not enough live music gets out to regional and remote Australia.(Supplied: Guts Touring)

The idea for a tour that snatches up and drops mostly southern bands into some of Australia’s most remote locations, the tour’s creator Jack Parsons says, was a nod to a time when things were a little different in the Australian music scene.

“We wanted to tour regionally and with a real sense of adventure and go to some places off the beaten track, like bands used to tour, and that famed pub rock era of Australian music where it was really a plug-in-and-play ethos,” he said.

“And it didn’t matter if there were 10 people or 100 people or 1,000 people, you toured.”

An image from a past 'Up the Guts' tour.
Bad//Dreems and Black Rock Band will play the NT leg of the tour.(Supplied: Guts Touring)

So on a Guts tour, Parsons says, bands will gig wherever they are like their life depends on it

“There’s been some tough shows,” he recalls. “Coober Pedy springs to mind, you know, sort of eight people in the crowd, one of which was yelling out to these Melbourne bands to play some Chisel.”

An image from a past 'Up the Guts' tour.
The tour will roll out eight different line-ups in 2022.(Supplied: Guts Touring)

But in the bush, open-air desert shows can give way to special moments for bands and the host communities, which have little access to touring artists.

“The kids have a beaut time and the response is always fantastic,” Parsons says.

Kids dance at an outdoor gig during the evening.
“It’s a good opportunity [for kids] to refresh their mind,” Black Rock Band’s Richie Guymala says.(Supplied: Guts Touring)

“I do remember one showing, when we did pay in Barunga the kids were going absolutely bananas and they were sort of all over the stage and playing the drums.

Kids sing into microphones at a night-time gig.
The Guts tour in the Northern Territory community of Barunga.(Supplied: Guts Touring)

“The walls were down and it was pandemonium.

“There have been some very memorable shows, and we’re so lucky this year to have grown to a point where we can ask these great bands to be a part of it.”

An image from the past 'Up the Guts' tour.
“We’re really blessed … these communities welcome us with open arms,” ​​Parsons says.(Supplied: Guts Touring)

Shows, workshops and swags

Getting kids in communities excited when the bands are rocking out is one thing, but much of the tour’s energy is directed towards workshops, where band members share technical expertise and some music industry 101 with kids.

Kids stand around a box in a classroom.
A workshop in Barunga.(Supplied: Guts Touring)

The Northern Territory leg of the tour includes gigs and workshops in 10 remote communities.

“The workshops are a beautiful thing,” Parsons says.

“We get kids who have never played drums before and we put them on a drum kit, we show them a basic beat, and they can play and get the feeling of being in a band.”

An image from the past 'Up the Guts' tour.
A drum lesson in session in Santa Teresa, near Alice Springs.(Supplied: Guts Touring)

Richie Guymala, the lead vocalist of the Black Rock Band out of west Arnhem Land, says the workshops uplift spirits in communities, where there are already a lot of great young bands.

“There are a lot of issues around communities in the Northern Territory, but stuff like this, it helps,” he says.

Richie Guymala from the Arnhem Land-based Black Rock Band with arms crossed sitting in a pub.
“The [bands] come up from down south and they get to see a bit of Black Rock’s family, where we are connected from,” Richie Guymala says. (ABC News: Leigh Brammel)

“It’s a good opportunity [for kids] to refresh their mind and to say, you can do this for yourself — whatever it is… you can follow your dreams.”

The touring bands, Parsons says, are grateful for it too.

“We’re really blessed that the people we speak to in these communities welcome us with open arms, and we’re putting on shows and workshops, and we’re being looked after with accommodation and places to roll out the swags,” he says.

“It all comes back to that Oils and Warumpi Band tour, being able to take great music and great artists to these wonderful places that have great music in them.”

A sound engineer stands at a sound box at an outdoor gig in the evening.
This year’s shows kick off in Jabiru, where the Kakadu and Arnhem highways intersect.(Supplied: Guts Touring)

‘There’s good music out there’

Guymala and Black Rock Band will play through the whole Northern Territory leg of the tour, finishing at Kalkarindji Freedom Day Festival where they will share the stage with artists like Paul Kelly and Ripple Effect Band.

“I’m looking forward to getting back on the road again, sharing our music again with the community, and also just to run into other countrymen,” Guymala says.

“It’s also good because the [bands] come up from down south and they get to see a bit of Black Rock’s family, where we are connected from.”

A group of kids watch on as a man hits objects with drum sticks.
Communities get behind bands and look after them when they roll into town, Parsons says.(Supplied: Guts Touring)

Guymala says he’d love to welcome touring bands more often.

“I think it should happen more. I think it will be a good way to promote smaller bands from smaller communities,” he says.

“We’ve got that many bands in Arnhem Land, and there’s good music out there, and I think tours like this will open up opportunities for other bands that want to get their music heard.”

Coco Eke smiles at the camera in a pub.
Coco Eke says it can be tough for bands in community to get out and tour.(ABC News: Leigh Brammel)

Coco Eke, a board member of Music NT, says the rarity of regional tours through these parts of the country is what makes Guts exciting.

“It’s really difficult to tour regionally and especially remotely coming in, and for bands wanting to tour outside of their communities, it’s expensive,” she said.

“The roads are tough and it’s hot and to get a band from one community to Darwin takes tens of thousands of dollars sometimes.

“So this is a really exciting tour to see the bands and the rest of the crew that will be in the bus go through to the communities to really lift the spirits and bring music back.”

An image from the past 'Up the Guts' tour.
Bands “learned a thing or two about dancing” on a past trip to Santa Teresa.(Supplied: Guts Touring)
An image from a past 'Up the Guts' tour.
Barunga, 2017.(Supplied: Guts Touring)

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Chris Pratt Breaks Silence on MCU’s New Adam Warlock Actor

Guardians of the Galaxy Vol. 3 is scheduled to hit theaters on May 5, 2023. The threequel will serve as the second movie of Phase 5 behind Ant-Man and the Wasp: Quantimania and director James Gunn has even teased that the film will be an emotional one as it is “the last time people will see this team of Guardians.”

While it may mark the end for some characters, it will also be the beginning for others. Most notably, it has been confirmed that guards 3 will introduce Adam Warlock into the MCU, a character that actor Will Poulter will portray.

The movie recently wrapped up filming, officially putting an end to the Guardians of the Galaxy trilogy. While not much is known about what will take place in the film, fans who attended San Diego Comic-Con were given an exclusive look at some footage that reportedly included the first look at Poulter’s character. Following the convention, Poulter was able to share some details of what it is like getting into the character of Adam Warlock, and then his fellow star, Chris Pratt, could n’t stop praising him.

Will Poulter and Chris Pratt on Adam Warlock

Guardians of the Galaxy 3 Will Poulter
Marvel

In an interview with fandango following San Diego Comic-Con, Star-Lord actor Chris Pratt was eager to praise his co-star, Will Poulter, for his work on Guardians of the Galaxy Vol. 3 as Adam Warlock.

Speaking for the first time about Poulter’s performance as Adam, Pratt made sure to mention that he is “so proud of him,” and even complimented Poulter’s “charisma” and dedication to the role. Pratt even went so far as to compare his own experience of him to Poulter’s, mentioning the “transformation” and “discipline” that they both put into their respective characters:

“That guy has got such charisma. I’m so proud of him. He did a great job. He’s an awesome Adam Warlock. He looks incredible. He, as an actor, Will, completely so dedicated, worked his ass off. He reminded me sort of like when I got cast as Star-Lord. This sort of transformation that was expected, the discipline around it, the eagerness to do it, and his willingness to go… And look at him. He just did such a great job.”

The actor went on to talk about his relationship with Poulter, saying he “feel(s) like a big brother.” Pratt is confident that fans “are going to love his character,” and reiterated that Poulter is “just so good:”

“I feel like a big brother or something. I’m so proud of my little brother, watching him… I’m just watching him on set and I’m like, ‘Dude, I know what you’re going through and you’re killing it.’ And then the part of me in the back of my mind is like, ‘This is going to be so great for the movie.’ “So he’s just so good. He’s so good. He’s so funny, so natural, and he’s a physical specimen. So he’s, yeah, we’re so good. People are going to love his character from him.”

Poulter shared his own thoughts about getting into character for Guardians of the Galaxy Vol. 3. I have talked about the “preparations” that he had to go through and that he was able to control “his mental health:”

“A lot of the work was done for me in terms of how James (Gunn) crafted this character on the page and with the suit and whatnot. And, yeah, we discussed that, the character’s kind of physicality and that was an element of the preparations which I enjoyed and I was also able to kind of do while also sort of maintaining my mental health and not putting that at risk, which was really important.”

High Praises for Will Poulter

It would be difficult to find an interview where an actor praised their co-star more than Chris Pratt did Will Poulter. He clearly has gotten to know him extremely well over the course of filming and it seems the two have formed a strong relationship with one another. It is always a good sign when two actors get along with each other and have some sort of bond because it often translates to their on-screen performances. If actors have chemistry with one another behind the scenes, they will likely be the same way when they are in character.

Since the film is not out yet, it is obviously impossible to know whether Star-Lord and Adam Warlock will be a treat to see together or not, and that is a completely subjective matter, but it is clear that this movie has brought the actors together. However, unfortunately for Pratt, since it seems he has grown to really love working with Poulter, director James Gunn has teased that this will be the last ride for this specific Guardians group.

Seeing as how Pratt has appeared in seven total MCU projects, his time with the franchise may actually be coming to an end, at least for now. The actor did recently talk about how the Multiverse could be a way for his character to come back if he were to be killed in Guardians of the Galaxy Vol. 3so if he truly does wish to work with Poulter some more, he may get the chance to at some point down the line.

Guardians of the Galaxy Vol. 3 will be released in theaters on May 5, 2023.

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Blind Date: HR adviser Kate and rent service officer Ethan parted until the early hours of the morning

Kate and Ethan are going to Blind Date’s longest date, clocking in at 10 hours.

Ethan, 27, says:

I got there first but I only beat her by about a minute. She was right behind me. We started off at a table and it was really close to the band, so couldn’t really hear each other and then one of the staff brought us around the corner and that was way better. We started off with, “What do you do for work? How do you like it? Is there any foods you don’t like, and foods you do like?

It was nerve-racking at the start. It was the unknown that was the scariest part about it.

But a few minutes into the date, it was fine. She made me feel super comfortable, just with her smile from her, and she would speak and then the conversation would just continue.

Pulled an all-nighter: Ethan.
Camera IconPulled an all-nighter: Ethan. Credit: John Koh/The West Australian

She’s just so easy to get along with. Ella’s personality is very bubbly and she’s a very funny girl.

She works in HR. I think she’s studying to get a promotion or something within that field. She does not like seafood, which is the same as me.

We ordered a lot of food. But we were talking so much, so we didn’t eat it all.

We exchanged Instagrams. And then we exchanged numbers as well. We’re actually still messaging now. I hope we go out again.

We actually stayed out until four o’clock in the morning. We met up with some of her friends of her after The Globe closed.

We went to a couple of bars and it got to about four o’clock and I was, like, ready to die because I went to work at four o’clock that morning as well, so I’d been up for 24 hours straight .

She was like, “Are you OK if we go home now?”. And I was like, “I’m so ready for that”. I’m glad neither of us had worked the next day because I felt rotten.

I got a bit nervous about meeting her friends but she introduced me to all of them. And then she made sure I was very comfortable and she was always involving me in the conversation rather than leaving me alone.

The whole thing was good. No awkward silences. Nothing but laughter. And just good conversation all around.

Verdict: 8.5/10

Kate, 24, says:

We had a lot of fun. It was a really good time.

Straight away, we both kind of bonded over how nervous we were at the start. And then we were just chatting about our interests, our work.

We had some common interests in terms of where we want to travel. We both are keen to go to Japan. I really want to go skiing there one day.

We were sitting at a high table to begin with. It was a little bit noisy. So then the staff asked us if we wanted to move to a different spot.

Almost in tears laughing: Kate.
Camera IconAlmost in tears laughing: Kate. Credit: John Koh/The West Australian

He was so friendly. He was just really easy to get along with and I felt pretty comfortable with him. The conversation flowed really well and was super easy. And I felt like neither of us was sitting there waiting for the other person to say something.

We always had something to talk about. Not that I really struggle with that, personally.

I can’t remember what it was. But there was one thing that we were laughing about and the banter was going back and forth. And I was almost in tears laughing; it was so funny but I actually can’t remember what it was.

After we left The Globe, we ended up meeting my housemate. She was already out in the city. I was messaging her beforehand and I was like, “So if this is shocking, I’m going to message you. And I’m going to come meet you out”.

And then she’s like, “If it’s really good and you like him and he gets on with you, invite him out afterwards”. So I did.

I didn’t know the other people, so it was kind of an extension of date. So I was chatting to Ethan and most of the night anyway. My housemate thought he was lovely. She thought he was really friendly and everything and she was like, “It seemed like you can just have an easy conversation with him.”

Ethan and I have been messaging since the date. Probably we’ll catch up again. Whether it’s more of a friendship, I’m not 100 per cent sure. But we’ll see what happens.

Verdict: 7.5/10

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Big Brother’s Reggie Bird makes surprise X-rated admission

Reggie Bird has made a surprise X-rated admission after making history by winning Big Brother Australia for a second time earlier this month.

In an interview with daily mail australiathe 48-year-old mother-of-two, who is legally blind, shared how her partner of four years Phillip Jade, 41, is her biggest fan and her sex life “has never been better.”

Big Brother's Reggie Bird

Big Brother’s Reggie Bird has surprised after sharing an X-rated admission about her FIFO boyfriend in the bedroom. Photo: Seven

Being a FIFO worker means they often have to go weeks at a time without seeing each other, which was especially hard during Covid lockdowns.

“He goes away for work, gosh we didn’t see each other for so long during Covid with him working in Western Australia,” she said. “They couldn’t fly in and fly back so he was stuck, but it’s been great.

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“I am very happy in the bedroom, I’ve never been happier with that side of things.”

She added that Phillip is an “amazing dad” and loves her children Mia, 15, and Lucas, 12, who has cystic fibrosis.

Reggie also has a degenerative eye condition called retinitis pigmentosa, which has left her legally blind.

Reggie Bird and partner Phillip Jade

Reggie says her partner of four years Phillip Jade, 41, is her biggest fan and her sex life “has never been better”. Photo: Instagram/Phillipruha01

Australians watched in awe as Reggie battled through every challenge on the show, with the reality star telling Yahoo Lifestyle she was honored to be asked back despite her disability.

“I was so proud of myself, and even for Big Brother… Bringing me back regardless of my eyesight, and it was good to be able to get in there and show people that you can do this. You can do anything,” she says.

The star says she was so thankful to have the chance to play Big Brother again, and wouldn’t hesitate to do another season.

Reggie even said before Big Brother Royalty vs New Blood was announced, she had been campaigning for years to do a Big Brother All Stars.

“Chuck me in the Big Brother UK when it comes on, I’d love to do more TV,” she says, adding that she ‘absolutely loves big brother‘.

Reggie is also open to appearing on any reality shows, and rattles off a list that she’s thought about doing.

“I’d love to do Travel Guidesor goggle boxor MasterChef! I love cooking,” she tells us.

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Or if you have a story idea, email us at [email protected].

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‘Ice-cream’s a disaster!’: behind-the-scenes secrets of Australia’s reality cooking shows | Australian food and drinks

Yot’s battle time on Netflix’s cooking competition Iron Chef: Quest for an Iron Legend, and celebrity chef Curtis Stone is facing challenger Mason Hereford. Their task? To cook five courses in 60 minutes with the surprise ingredient (lamb). Each dish must be inspired by street food and cooked by fire.

“Allez cuisine!” shouts the host. Stone throws a whole lamb over his shoulder and runs with it to the workbench. He saws at the lamb neck, pounds furiously at spices and puffs into a charcoal blower. After a frantic hour, both chefs have miraculously created five gorgeous courses.

Drama, fire and closeup shots of the most mouth-watering dishes are just some of the reasons why we love reality cooking shows. But how do they do it? How can you seamlessly conjure up photogenic phos and telegenic tartines? Legend has it that eyeliner makes great grill marks on steak, glue looks just like ice-cold milk and that car oil gives meat a lovely sheen. So, how much behind-the-scenes “magic” is involved?

Stone preparing lamb
‘There’s no ‘glam squad’ touching up your makeup in the middle of a battle,’ Curtis Stone says of Iron Chef. Photograph: Adam Rose/Netflix

Very little, says Kate Nichols, a former chef who has worked as a food producer on many major shows, most recently SBS’s the Cook Up with Adam Liaw.

“Our audiences are smart,” she says. “You can’t get away with fake food with high-definition cameras, and once you start touching it up, you lose the essence of the dish.”

Because the show is about “real, home-cooked food,” Nichols says the approach is “Adam [Liaw] puts his recipe in the oven and takes it out of the oven.”

“We don’t touch up or replate dishes unless the sauce has set. If it’s a starchy food like risotto, then we might spritz it with water and olive oil, but that’s it.”

Stone (who, incidentally, triumphed in the lamb battle) affirms that on Iron Chef, what you see is what you get.

Adam Liaw with a frying pan over a stovetop
‘adam [Liaw] puts his recipe in the oven and takes it out of the oven’ on the Cook Up. Photograph: SBS

“People always ask me if it’s real. Are the time pressures real? It’s legit – the craziness, not knowing what you’re using beforehand, the running around the kitchen … On Iron Chef they like the gritty bits and don’t care if you get messy. There’s no ‘glam squad’ touching up your makeup in the middle of a battle.”

In episode one, Stone presented the judges with a lamb arepa served under a glass dome filled with smoke. “I was clearly a little nervous as I was carrying it up. You can hear the cloches shaking in my hand! You’ve got to hold the plates perfectly still, walk across the room and describe something without huffing and puffing.”

Time pressure is also an issue for the people behind the cameras. Producer and director Lin Jie Kong traveled around Australia with comedian Jennifer Wong, visiting regional Chinese restaurants for ABC’s Chopsticks or Fork?

“Our show was different from those where everything is beautifully stylized and they’re in a controlled environment with a crew of 20. We had a crew of three, so it was incredibly low budget.”

The Kitchen at the Gawler Palace, South Australia
The Kitchen at the Gawler Palace, South Australia, featured on ABC’s Chopsticks or Fork? Photograph: ABC/Teresa Tan

Kong had just two days to shoot each restaurant, typically filming between lunch and dinner.

To ensure that the chefs didn’t need to make dishes twice, she shot the preparation in the kitchen while the other crew members set up in the dining room, ready to get the “hero shot” as the dish emerged.

“We are rolling as soon as the dish hits the lazy Susan. You only have minutes to get the shot where you see steam rising or the broth glistening and before sauces start congealing.”

Small and awkward kitchens also present a physical challenge. “I’m not that tall and a lot of the workstations are high and the woks are deep. To film inside the woks, I’d have to raise the camera really high above my head, which is quite difficult, especially if they’re stir frying for five minutes and I’m trying to get that slow-motion stir-fry shot .”

Iron Chef is big budget and plentifully resourced, with, Stone reports, an art department that makes everything “big and beautiful.” There’s a culinary team, too. “If you ask for a rotisserie with a live fire bed, they just roll one in. Or you say: ‘I need an inversion circulator’ and they hand you one.”

But while a big budget expands creative possibilities on both sides of the camera, it can’t do a thing about the ticking clock. “Iron Chef is similar to a restaurant where your guests arrive, they sit down and order and you have 15 minutes to get them an appetizer before they get restless.”

Sweet and Sour Barramundi at Happy Garden in Darwin, on ABC's Chopsticks or Forks
Kong found stir-fries – a staple of Chinese cooking – were not naturally photogenic, because ‘they’re saucy and flat’. Sweet and Sour Barramundi at Happy Garden in Darwin, on ABC’s Chopsticks or Forks. Photograph: ABC/Teresa Tan

Keeping calm on set is essential. “It’s a mental game. You are constantly creating dishes in your mind while making sure that it’s all coming together on the plate,” Stone says. “There’s cameras everywhere, producers asking you questions, you’re worried about what the other team is doing, you have sous chefs to keep an eye on … That 60 minutes flashes by, then you think, ‘Oh my God, what did I serve?’”

For non-competitive shows, organization minimizes the risk of on-set disasters. Nichols describes the Cook Up as “a military operation.”

“All the refrigeration, storage and cleaning is kept like a commercial kitchen. On set, it’s all about being prepared for any last-minute problems and having a sense of how to cook food and knowing how it will react.

“Anything that melts, solidifies or is structurally unsound is challenging!”

There are other constraints too. “The studio lighting is quite harsh, so you have to think about pastry under hot lamps or the food props at the back of set that sit out all day,” Nicholas says. “When you work with cream, you put the bowls in the fridge before you whip it so that it can last longer. With ice-cream – ice-cream’s a disaster! – you need dry ice, freezers and extra scoops on hand.”

While working on Chopsticks or Fork, Kong found that stir-fries – a staple of Chinese cooking – were not naturally photogenic, because “they’re saucy and flat”. She worked hard to find their beauty.

Salt and pepper squid at New Bo Wa in Moree, NSW
Salt and pepper squid at New Bo Wa in Moree, NSW which Kong says ‘looked gorgeous’ in the afternoon light. Photograph: ABC/Teresa Tan

“If you get something like Mongolian lamb, it usually comes on a sizzling hot plate and you get the extra texture and steam off the top.

“There was a salt and pepper squid dish we shot which I think looked gorgeous. There was height in the dish, garnishes and a beautiful afternoon light coming through the window.”

So the magic ingredients for making food look beautiful aren’t magic at all – just preparation, hard work, food knowledge, passion and staying cool under pressure.

Kong also cites another influence on what audiences see.

“We can talk about how to plan the shots, but there’s more to it than that,” she says, reflecting on the people she met throughout filming the series. “How we tell a story and what you see on screen is influenced by all of our individual backgrounds. Food is such a vehicle for love and emotion… I hope that we were able to capture that connection in how we shot the food.”

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Mike Bartlett’s play stuns at the Seymour Center

ALBION
Reginald Theatre, July 29

Until August 13

This is the real deal: the magic that makes us keep returning to the theater. Here’s so much truth, beauty, humanity, comedy, drama and even tragedy that it fills stage and overflows into the hearts of the audience. Here are unabashedly big ideas and bigger characters, molded by a master playwright who relishes their egocentricity, lies and bitterness as much as their humour, compassion and capacity for love.

Rhiann Marquez, Charles Mayer, Joanna Briant and Deborah Jones are part of a cast of unrivaled quality.

Rhiann Marquez, Charles Mayer, Joanna Briant and Deborah Jones are part of a cast of unrivaled quality.Credit:Clare Hawley

Mike Bartlett’s Albion, which premiered in London in 2017, is one of the great plays of our time, and not only is it done full justice by this outstanding co-production between Secret House, New Ghosts and Seymour Centre, its cast of 11 has seldom been matched for quality in this town. Lucy Clements’ direction is more than assured, it is inspired, so three hours fly by with only lapses of projection from the actors and a growing discomfort in one’s posterior to mark the time.

Albion tells of Audrey (brilliantly played by Joanna Briant), a self-made businesswoman who turns her back on her shops to chase a wildly idealized vision of the past in the form of a country manor and its once-revered formal gardens. She clings to this quintessential vision of England – as variously evoked by Blake and Elgar – because it might offer some sliver of justification for the death of her son de ella fighting in the British Army in Afghanistan.

But dreams can only come true when they lie in the future, not when they attempt to recreate an ephemeral past, and so Audrey finds herself thwarted at every turn, even as she negatively impacts the lives of almost all around her.

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The play would not work were Briant not a potent force on the stage, occupying every inch of Audrey’s drive, wilfulness, blindness, optimism, desperation and skewed good intentions as the world spins about her. Audrey could be seen as the very embodiment of conservatism, although that would idly politicize a play in which the waters run infinitely deeper than mere ideologies, and Briant ensures we see all her many facets of her.

She ensures we like some and are fascinated by others, and therefore follow her mad crusade as she shreds the lives of family, friends, neighbors and those she likes to call “staff”: a classist perspective on maids and gardeners she can rationalize as everyone knowing their place and purpose.

Charles Mayer offers a winning performance as Paul, her cushion-like husband, who is so infinitely obliging as to be able to say (without a trace of irony), “My life has had no purpose, and I’ve been unbelievably happy. ” He is also fully alert to the fact that trying to stop Audrey is like “trying to stop the weather”.

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Prince Harry and Meghan Markle’s unprecedented pressure after 12 hellish days

The very best thing about being Harry and Meghan, Duke and Duchess of Sussex, right now, as far as I can tell, is that no one is going to make them go to Birmingham. On Friday, the Commonwealth Games opened in the Midlands city and in the coming days, various members of the royal family will be sent forth to do their flag-waving best.

Never mind that much of Europe is busy slathering on the SPF 50 or that the Queen has begun her usual summer hols or that the beaches of Mustique are calling. To be a working member of the British monarchy this week requires that all available HRHs front up while looking jolly pleased to have to wear a Team GB polo shirt and watch badminton.

Having absconded more than two and a half years ago for sunnier climes and fatter bank accounts, this sort of tedious duty is no longer part of the Sussexes’ lives.

Small mercies, huh?

However, aside from the fact that the couple won’t have to contend with so much polyester and so many hours of archery anytime soon, things are not exactly looking that rosy over Montecito way, with the couple having taken hit after hit over the last 12 days or so.

Rewind to July 18 and Harry and Meghan were jetting into New York where they had an appointment at the UN, with the duke having been asked to give the address to mark Nelson Mandela Day. In the couple strode to the famed building’s foyer, a masterful demonstration of what has become a hallmark of their post-royal careers – purposefully marching into the important buildings for supposedly important meetings and events after which … nothing much would seem to happen.

Anyway, they were back! Back at doing their quasi-royal darnedest! Harry had a speech, Meghan had a Jackie O-esque black dress – what could possibly go wrong?

Well, for one thing, not that many people turned up. As the Duke of Sussex gave his address to him, talking about climate change (conveniently forgetting that the family uses private jets on the reg), disinformation and abortion rights (all the good stars on these fronts) the vast majority of the seats were visibly empty.

For whatever reason, the bulk of the great and good of the international body would seem to have decided to be elsewhere and not watch the sixth in line to the throne have a crack at international statesmanship. (Maybe the UN cafeteria was serving waffles?)

If Harry looked grim when the couple was caught by the paparazzi leaving Italian restaurant Locanda Verde, he had every reason to look sour. That week saw the publication of biographer Tom Bower’s Revenge: Meghan, Harry and the War Between the Windsors.

Bower’s book is a largely unrelenting, highly unflattering take on the Sussexes, casting them as fueled by ego and some misguided notion that Meghan was going to be Diana mark two, aside from the fact that, in the biographer’s telling, she seemed to have no interest in the monarchy, no willingness to learn its fusty ropes and little enthusiasm for the boring parts of HRH-dom.

As the week progressed, Bower did the press rounds, offering a series of caustic takes including that he thought “they pose a real threat to the royal family” and labeling the duchess “a very scheming” person.

What is surprising has been the reaction from Montecito, with the Sussexes having so far not commented. While in the past, the duo have filed multiple court cases against various media outlets and sent out legal letters during the storm over their daughter Lilibet’s name, however in this instance they have remained staunchly silent.

Then came the development playing out in a court in Florida when lawyers for the duchess got into the “subjective” nature of truth. Earlier this year, the former actress was sued by her estranged half-sister Samantha Markle for allegedly telling “false and malicious lies” during her bombshell Oprah Winfrey interview last year.

This week, the Duchess of Sussex’s lawyers moved to dismiss the case, with legal papers filed by their side arguing that Meghan’s description of growing up “as an only child” during the interview was “obviously not meant to be a statement of objective fact” and was “a textbook example of a subjective statement about how a person feels about her childhood.”

While it’s an argument that has more than a tinge of Philosophy 101 (what is truth?) this strategy then raises an obvious question: If Meghan’s characterization about her upbringing was “subjective” then were any of the other devastating claims she made during the two -hour tell-all “subjective” too?

One bright spot on the horizon for the duo during all this was Harry’s successful appeal to the High Court for a judicial review over the Home Office’s decision to no longer automatically grant him full-time bodyguards when he is in the UK.

Except, even this was not exactly a slam dunk; just because the review was granted does not mean it will automatically be successful.

Then there is the cost of the whole legal imbroglio. the Sun has reported that the UK government has spent $156,000 on the case from September last year to May 2020. If Harry’s costs are similar then that would mean he has also spent well into the six figures to argue the case over his security arrangements which only pertain to the handful of days per year he has spent, on average, in the UK since quitting.

That bill could only go up if he ultimately loses the case, with the Home Office having previously said it will look to recover costs if they win.

While August is a traditionally quiet month on the Planet Royal, the rest of the year is shaping up to be a barnstormer of a doozy.

Harry is looking down the barrel of some of the most monumental months of his life since the sonic boom of Megxit, with news his memoir will be published before Christmas and with Page Six having reported that Netflix wants the couple’s “at home” docu series (shush you in the back there yelling “reality show”!) to hit screens this year too.

This book and show will very likely prove to be huge commercial successes for the couple, much needed professional wins after having released exactly no content up until this point for the streaming giant, since 2020 – but at what cost?

If either or both of these projects are focused on little more than the Sussexes launching a fresh volley of complaints about their treatment by the royal family, interspersed with some vignettes of them doing some caring, then they could be playing with fire.

If this scenario came to pass, they would run the risk of looking dangerously like little more than perpetual whingers who are clinging to the self-appointed victim status inside their $20 million mansion at a time when war, fire, floods and monkeypox are blighting the world.

Then there is what toll these two releases could take for his tattered relationship with House of Windsor, a bond that is reportedly hanging by a thread.

as the Sun’s former royal editor Duncan Lacrombe recently told the Daily Beast: “Once the book is out, William will have to make a decision about what he is going to do about Harry, but he is not going to do a thing until he knows what is on.” every page of that book. The reality is that if, as a senior member of the royal family, you have written a tell-all book, you have broken rule No. 1 of the royal family.”

If Harry’s book and/or their Netflix series sees them paint big fresh targets on the monarchy’s backs then will Queen & co. sit idly by and suffer through a fresh hellish round of monarchical character assassinations?

Thus far the Sussexes’ repeated media provocations have been met with a certain imperiousness and contrived dismissiveness from London but should the duke and duchess continue to bait the royal family but we might soon discover that The Firm has some very sharp teeth.

For example, the duo do still, of course, use their gifted Sussex titles from the Queen, day in and day out. While only parliament could officially revoke those titles, that is not to say the weight of the Crown and Harry’s father and brother could not be brought to bear pressure on them to no longer use them.

Would Prince Harry and Meghan Mountbatten-Windsor (or Prince Harry and Princess Henry of Wales) as they could only then call themselves be quite so marketable for Hollywood?

There is so much on the line for them in the coming month – their image, reputations, careers and potentially even a large chunk of money. But, there is always a sliver lining: At least no one is going to be making them sit through a table tennis match any time soon.

Daniela Elser is a royal expert and a writer with more than 15 years’ experience working with a number of Australia’s leading media titles.

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Breaking Bad statues shine light on actors, US city of Albuquerque

Bryan Cranston, left, and Aaron Paul, right, stand next to statues of their meth-cooker characters during the Breaking Bad unveiling in downtown Albuquerque, New Mexico.

Chancey Bush/AP

Bryan Cranston, left, and Aaron Paul, right, stand next to statues of their meth-cooker characters during the Breaking Bad unveiling in downtown Albuquerque, New Mexico.

Bronze statues of mythical methamphetamine cookers Walter White and Jesse Pinkman were installed at a convention center in Albuquerque to celebrate the Breaking Bad TV series and its entertainment legacy, winning applause in a US city that played its own gritty supporting role.

Local politicians including Albuquerque Mayor Tim Keller mixed with Breaking Bad stars Bryan Cranston, Aaron Paul and director Vince Gilligan to help unveil the artwork, donated by Gilligan and Sony Pictures.

The 2008-2013 show and its ongoing prequel Better Call Saul helped fuel a renaissance in filmmaking across New Mexico, while also cutting close to Albuquerque’s real-life struggles with drug addiction and crime.

Aaron Paul greets his fans during the Breaking Bad statue unveiling.

Chancey Bush/AP

Aaron Paul greets his fans during the Breaking Bad statue unveiling.

Gilligan said he recognized that the statues of “two fictional, infamous meth dealers” won’t be universally cherished in New Mexico.

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* Better call Saul’s parks excitement in New Mexico

“In all seriousness, no doubt some folks are going to say, ‘Wow, just what our city needed.’ And I get that,” Gillian said. “I see two of the finest actors America has ever produced. I see them, in character, as two larger-than-life tragic figures, cautionary tales.”

Sydney Morning Herald

The cast and crew of Breaking Bad join their fans inside the Hollywood Cemetery in Los Angeles for the screening of the show’s final episode.

Still a fixture on Netflix, Breaking Bad follows the fictional underworld trajectory of a high-school science teacher, played by Cranston, and a former student, played by Paul, as they team up to produce and distribute meth amid violent, cliffhanger plot twists.

The show and its iconic lead characters already are lionized on T-shirts and airport merchandise, while tour guides in Albuquerque shepherd fans to former film locations in a replica of the RV from the show that doubled as a meth lab.

New Mexico has long struggled against the toll of addiction, with more than 43,000 deaths linked to alcohol and drug overdoses in the last three decades. Albuquerque also currently contends with a record-setting spate of homicides.

Aaron Paul, left, and Bryan Cranston with their statues.  Tour guides in Albuquerque shepherd Breaking Bad fans to former film locations in a replica of the RV from the show that doubled as a meth lab.

Chancey Bush/AP

Aaron Paul, left, and Bryan Cranston with their statues. Tour guides in Albuquerque shepherd Breaking Bad fans to former film locations in a replica of the RV from the show that doubled as a meth lab.

Surging overdose deaths from meth and fentanyl surpassed heroin and prescription opioids as the leading causes of drug overdose deaths across the state in 2020.

Keller heralded the positive economic impact of Breaking Bad and Better Call Saul on Albuquerque, acknowledging the dollars and delight it brings to a city he jokingly called “Tamale-wood”.

“While the stories might be fictional, jobs are real every single day,” Keller said. “The city is also a character. We see ourselves in so many ways, good and bad.”

Bryan Cranston, left, takes a photo with a fan, Jackson Day, who is dressed as Heisenberg.

Chancey Bush/AP

Bryan Cranston, left, takes a photo with a fan, Jackson Day, who is dressed as Heisenberg.

Republican state Representative Rod Montoya of Farmington said he admires Cranston as an actor but the statues bring the wrong kind of attention.

“I’m glad New Mexico got the business, but really?” Montoya said. “We’re going down the road of literally glorifying meth makers?”

He also questioned the logic of the tribute after Albuquerque in June 2020 removed a statue of Spanish conqueror Juan de Oñate.

Demonstrators tried to topple that bronze artwork in denunciation of Oñate’s brutal treatment of Native Americans roughly 500 years ago. A fight that broke out at the protest resulted in a gunfire that injured one man.

Walter White and Jesse Pinkman.  New Mexico offers a rebate of between 25% and 35% of in-state spending for video production that helps filmmakers large and small underwrite their work.

Chancey Bush/AP

Walter White and Jesse Pinkman. New Mexico offers a rebate of between 25% and 35% of in-state spending for video production that helps filmmakers large and small underwrite their work.

New Mexico politicians, including Governor Michelle Lujan Grisham, have pinned their hopes on the film industry to increase economic opportunity in a state with the highest unemployment rate in the nation.

New Mexico’s film and TV industry recently hit a new production peak, with record-setting in-state spending of US$855 million (NZ$1,379m) for the fiscal year ending in June. Recent video projects drawn to the state include the Netflix series Stranger Things.

Breaking Bad fans are pictured during the statue unveiling in the New Mexico city.

Chancey Bush/AP

Breaking Bad fans are pictured during the statue unveiling in the New Mexico city.

New Mexico offers a rebate of between 25% and 35% of in-state spending for video production that helps filmmakers large and small underwrite their work. Incentive payments peaked at US$148 million in 2019.