Tag: Reviews

• In Praise of Shadows – Puma Blue

  April 12, 2021 5:38 pm Comments Off on In Praise of Shadows – Puma Blue

  It’s worth leaning into Jacob Allen’s (as Puma Blue) brand of trip-hop-inflected ambient pop. I don’t doubt that any critic could write off this music as being too gentle, too washed out, or too subdued, but if you believe it’s there, I think you’ll find that these songs have real character, succeeding in their subtlety.
  Generally speaking, the tracks you’ll find on ‘In Praise of Shadows’ opt for quiet atmospherics to shroud muted, murky guitars, beautifully sour notes, hip-hop drum patterns, quietly subterranean bass, and Allen’s unmistakably fragile voice. There’s very little diversion from this downtempo sonic world of his, save for the hurried jazzy breakbeat that establishes the straight OOZ-era Archy Marshall worship of ‘Oil Slick’. The beats here offer, by and large, tasteful minimalism, and give Allen ample space to add really lovely guitar embellishments low down in the mix on many tracks. 
  I would say that it’s a curious sort of formula he works with here – these tracks are so quiet and downcast (and occasionally vocally indecipherable) that they are quite reliant on strong melodic direction. ‘Sheets’ is a pretty clear-cut example of this – lacking a compelling melody, the song falters into boredom. For the most part though, Allen rises to the occasion musically.
  ‘Velvet Leaves’ is a pretty strong manifesto for the project as a whole, aided by some of the sharpest writing on the album, conveying some genuinely heartfelt emotion toward his sister. ‘Already Falling’ is fantastic rhythmically – the subtly funky drums, wandering bass, and Allen’s vocals interact so, so nicely. The aforementioned ‘Oil Slick’ is another highpoint; although somewhat derivative, it’s no less enthralling. ‘Silk Print’ is about as bare as the album gets sonically, with its lone sad guitar floating into the ether, but it’s undeniably devastating, particularly having first heard it immediately following a breakup of my own. ‘Opiate’ pairs a forlorn, almost ominous guitar line with classic trip-hop drums in a pleasing way. Strangely, ‘Sleeping’ incongruously sounds almost identical to PARTYNEXTDOOR’s ‘Come and See Me’, a brief foray into contemporary R&B. Closing the album, ‘Super Soft’ is well produced, offering a nice touch of acoustic guitar with pads and syncopated, skittering, programmed drums.
  I’ll note that ‘Snowflower’, despite possessing a really interestingly obtuse beat, is nearly completely derailed by the warped filters on Allen’s voice. They’re fascinating, sure, but all too distracting and off-pitch.
  I do really love the bulk of the instrumentals here, however I feel like I’m wanting for more lyrical intimacy and directness to punctuate the ambience. ‘Is It Because’, for example, is pleasant enough, but lacks focus and ends up just feeling a little overlong. ‘Bath House’, too, is a song I do actually quite enjoy although it suffers in a similar way. These tracks leave so much room for Allen to explore the bleak corners of his psyche, I just feel he’s a bit too vague at times.
  That said, I’m pleased with what’s here. At the right time, in the right melancholic state, I suspect that the music here would speak to any listener willing to engage with its downtempo atmosphere and sly idiosyncrasies.
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Sam Gollings

• Your Guide to Energy Efficient Renting

  March 17, 2021 6:48 pm Comments Off on Your Guide to Energy Efficient Renting

  Are you looking to rent? Then it may be worth your while finding a rental that’s cheap and easy to heat in winter and cool in summer. Sounds simple right? However, the cost of heating and cooling is often not foremost in renters’ minds, and it is often difficult to get useful information about the cost of heating and cooling from the agent. Fear not, this guide will clearly explain what to look out for in a rental so that makes it easy to heat and cool so you’re comfortable all year-round.
  How to find the cost of heating and cooling your rental
  Before you look for your rental, know that the cost of energy to heat and cool depends on:

      Energy Efficiency Rating (EER) of the property; 
      The floor area of the living space; 
      Cost of energy;
      The energy efficiency of appliances used for heating/ cooling.

  Here’s an explanation of each of these terms and what to consider when you choose your rental. 
   
  Energy Efficiency Rating (EER)
  The Energy Efficiency Rating (EER) reflects the energy efficiency of the property. It indicates the energy performance of the property on a scale between zero and 10. Zero represents poor performance and 10 represents excellent performance. A rating of zero  indicates a property that is very inefficient and requires a lot of extra heating/cooling to maintain a comfortable temperature, so energy costs will be higher. To minimise energy costs, find a property with an EER of at least six .
  Not all rentals will have an advertised EER. Better Renting (2018) analysed the energy performance of rentals in Canberra, they found that only a quarter (26%) of rentals had an advertised EER, and of those that did have an EER, two in five (43%) had the lowest EER of zero. 

  Figure 1- A large proportion of rental properties in Canberra has a very low EER. (Better Renting, 2018)
  A couple of tips to find a good EER when rental hunting. A rental with a low EER may have gaps around the doors and windows which cause draughts, and the windows might only be single glazed, or there might be large windows facing south and west. By contrast, a property with a high EER may have tight-fitting doors and windows with no gaps, double glazed windows, and large windows facing north and east. The direction of windows is important because westerly windows will gain heat in the summer, southerly windows will lose heat in the winter, while north and east-facing windows will gain heat in winter, and lose heat in summer. As a rule of thumb, older houses have a lower EER, while newer houses tend to have a higher EER. 
  Floor Area 
  This is the living area that will be heated or cooled in the rental. As you can guess, a larger rental will cost more to heat and cool than a smaller property. If possible for your current situation, you can minimise the energy cost by choosing a rental with a small living area.
  Energy Cost 
  This is the cost of electricity or gas. It is worthwhile finding the best available plan for your needs by going to energymadeeasy.com and following the prompts. After you provide information on how you use energy, it will give you a list of quotes for energy plans. You can either switch to the cheapest energy plan or call your current energy provider and negotiate a cheaper plan using the cheaper quotes listed as a bargaining chip. 
  Energy Efficiency
  This is a measure of how effectively the property’s heater or air conditioner uses energy to heat and cool the rental property. Different appliances have varying degrees of cost-effectiveness. For heating, the most cost-effective appliance is the reverse cycle air conditioner, followed by the gas heater.he electric column heater is the most expensive heating method. The most cost-effective cooling method is the evaporative cooler/fan, and  the air conditioner is the most expensive. Try to choose a rental with a new and efficient air conditioner for heating, with an evaporative cooler for cooling.
  Also, white goods like fridges, washing machines, gas heaters and air conditioners have star ratings between one and six to indicate its energy efficiency. You can check the star rating of an existing system by searching on the energy rating calculator online. As a rule, older systems tend to be less energy efficient compared to newer systems. Try to choose a rental with a new and efficient air conditioning system. 
  How much can you save
  Your household can potentially save thousands of dollars simply by choosing a rental that is cheap and easy to heat and cool. Take two examples: 

  High-Cost Case

  Consider the annual heating and cooling cost of a large (200 m2) house, with a low EER (1) with a gas price of 3.31 c/MJ, and a moderately efficient gas heating system with a star rating of 4. Attempting to keep this home at a comfortable temperature could cost up to $6,500 per year! If the rent was $400 a week, energy cost would represent 23.8% of the cost of living in the rental property. If you lived in this house, it’s likely the cost of energy would be a huge drain on your student budget. 

  Low-Cost Case

  By contrast, consider a small (100 m2) apartment, with a high EER (7), with an electricity price of 20.78 c/kWh, and an efficient air conditioning system with a energy rating [QU4] of 4.2. The cost of heating and cooling could be up to $165 per year (figure 3). If rent were $400 a week, energy cost would represent 0.8% of the cost of living in the rental property. You could cover the cost of energy with your weekly loose change. 
  Why is there such a difference?! 
  You’d be right to think that paying six thousand dollars for energy is exorbitant. However, this indicates the maximum cost to keep this type of property at a comfortable temperature. Realistically, many people in large thermally inefficient properties would minimise their energy cost by reducing their living space or coping with uncomfortable temperatures. The important point is that you can potentially save thousands and be more comfortable by choosing a small, energy-efficient rental with air conditioning and evaporative cooling. 
  At your next rental inspection… 
  Rental properties have vastly different costs required to keep the living space at a comfortable temperature. When faced with the option, selecting a rental with a high EER, a small living area with air conditioning and evaporative cooling allows you to vastly reduce the cost of energy compared to a large rental with a low EER with gas heating. Until new tenancy laws arrive in the ACT to mandate a minimum standard of energy efficiency for rental properties, knowing these tips and tricks will help you select a comfortable and affordable place to rent. 
   
  References
  Better Renting (2018) The energy efficiency of rental properties in the ACT. Available at: https://www.betterrenting.org.au/energy_efficiency_report.
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Rowan Hearne

• Post Human: Survival Horror – An Album Review

  6:38 pm Comments Off on Post Human: Survival Horror – An Album Review

  My ‘rock’ roots were reignited after stumbling across Bring Me the Horizon’s (BMTH) newest album release Post Human: Survival Horror. Written during the isolating months between March and late October, their deathcore aggression and cyberpunk synth beats perfectly radiated pandemic paranoia.
  The album kicks off with high energy and fast drums. BMTH’s introductory song, Dear Diary,, encapsulates the initial uncertainty and panic of COVID. Effortlessly, Oli Skye documents the worldwide hysteria and incidence of panic-travelling and panic-buying; the speed-metal underscore and aggressive screamo draws on the anger and confusion of moving off campus and working from home without the comfort and proximity of friends.
  Whilst the rhythmic drum beats and strong bass riff confers  universal angst, they also inflate the dystopian concept of the band’s ‘post human’ series. Distinctively, the speed-metal tones echo a fictional post-apocalyptic fantasy:
  (Dear Diary)
  ‘I keep fading in and out
  I don’t know where I’ve been
  I feel so hungry
  What the hell is happening?
   
  The sky is falling
  It’s fucking boring
  I’m going braindead, isolated’
  But most importantly, the first introduction track to the album voices not only a sense of teenage boredom, but a sense of discomfort. Specifically,  dissatisfaction with authorial leadership. This sentiment is relayed throughout the album’s revived nu-metal style and frequent battlecry-like lyrics.  
  Another highlight of the album is Parasite Eve which differs from the deathcore style of the introduction song. In fact, the use of a choir vocal sample from the Bulgarian folk song, Le Mystère des Voix Bulgares, perfectly distils a sense of end-of-the-world imminency. 
   
  (Parasite Eve)
  ‘When we forget the infection
  Will we remember the lesson?
  If the suspense doesn’t kill you
  Something else will’
   
  BMTH is notorious for their reckless and bold approach to their discography. But what elevates their newest album isn’t merely their angsty relatability. In fact, their album has racked in ‘universal acclaim’, scoring an average of 82/100 on Metacritic. BMTH exhibits raw honesty in their lyrics whilst maintaining an integrity to their ‘melodic auteurism’, reminiscent of their iconic 2006 metalcore sound. 
  Indeed, their ‘high octane ferocity’ was welcomed by an audience who are likewise exasperated by the emotional and political instability of 2020. Skye’s juxtaposition of his forefront screamo, against a backdrop of personal and vulnerable lyrics, reveal the album’s heart-to-heart with all survivors of the lockdown and isolation. 
   
  (Teardrops)
  ‘We hurt ourselves for fun
  Force-feed our fear until our hearts go numb
  Addicted to a lonely kind of love
  What I wanna know
  Is how we got this stressed out, paranoid?
   
  Themes of tech addiction, media anxiety, moral responsibility, political disillusionment and mental health are all addressed by Skye throughout the track. The brilliance of Post Human: Survival Horror is how Skye was able to create a post-apocalyptic rock tune that was eerily recognisable given our global experiences of COVID. He avidly criticises the inadequacy of global leadership , expressing his own emotional disconnect and ‘suicidal, violent, tragic state of mind’ (Teardrops). 
  Post Human: Survival Horror remains brutal yet undeniably authentic. It relays a storyline of discomfort and unease by documenting an anecdotal truth of personal struggle and resilience.
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Sabrina Tse

• Quarantine Activities that almost Scored Us a 7.0 GPA Part I

  March 10, 2021 10:08 pm Comments Off on Quarantine Activities that almost Scored Us a 7.0 GPA Part I

  We present to you the first half of our two-part series reviewing items that have helped us stay resilient during the isolation period. This also includes events that have had to adapt to the changes in COVID regulations. Whilst we hope this list will in some form or another help you bust out four HDs this semester, we present to you an honest collaborative collection of trends, activities and media recommendations that have helped us to face each day with a sense of grit!
   

      Coffee drinkers who do it for the aesthetic

  Dalgona (달고나) coffee was one of the most iconic recipe trends to come out of Tik Tok in quarantine. Initially, the foamy bronze-beaten beverage struck a sense of awe and curiosity, satisfying cravings for any opportunity to replace Sunday brunch story highlights on Instagram. Unabashedly, I admit to partaking in both these trends early last year. Dalgona coffee was first popularised by J’adore’s ‘Quarantine Coffee Challenge’ which has now garnered over 12 million views on YouTube since March last year. Also known as ‘whipped coffee’, the process not only required patience, but also an unforeseen quota of arm strength (a worthy replacement for arm day at the gym!). Whilst this was definitely a fresh take on the usual frappe order, the labour intensity of the drink meant that I did not revisit this recipe too often. Overall, dalgona coffee became a cleansing part of my morning routine in March and is a drink with a legacy that will forever remain synonymous with the dawn of lockdown. 
   

      Your friends haven’t contacted you? Same?!

  Granted the reduced face-to-face opportunities last year, a lot of people turned to podcasts for their daily digest. I found podcasts to be an effective way to help me wind down in the afternoon and reflect on both my mental headspace and inner-circle relationships. Between Neens and Deens’ episode on toxic friendships provided a fresh perspective on friendship red flags, complacency and accountability. As opposed to viewing people themselves as toxic, Nina and Dejan explain how friendship compatibility is determined by the reciprocal needs of both individuals at a particular point in their lives. Whilst it has become commonplace to label friends as ‘toxic’ after a friendship fallout, this podcast was an essential reminder that people themselves are not toxic, but relationships can be if the dynamic between individuals is no longer spirited with the same enthusiasm. It’s not always about mending, but sometimes about letting go. Nevertheless, the podcast provided a positive outlook on when to commit to others and when commit to yourself.
   

      The pandemic movie pre-pandemic

  Whilst some people disassociated themselves completely from any media content regurgitating COVID-related information, I found that a source of my anxiety was stooped in my general lack of scientific knowledge regarding the virus’ functions and mutations. You may be familiar with the 2011 film ‘Contagion’, a striking on-screen parallel of the COVID-19 outbreak. The world is plagued by an infectious disease, at-home isolation is enforced, a vaccine is in its trail stages of development and the spread of misinformation is catalysed by internet personalities (sounding all too familiar, 2020?). Watching the fictional timeline of the movie’s MEV-1 virus and comparing it to our own pandemic provided an uncanny but illuminating insight into the tireless work of epidemiologists and infectious control units. If you have not yet viewed the movie, it provides a not-so-dystopian fact-based representation of the world vs. pandemic in the 21st Century.
   

      “And you’re probably with that blonde girl”

  Now, a note on pop culture! Included amongst the most streamed songs written and released during quarantine is Olivia Rodrigo’s debut single driver’s license. Whilst it may be considered increasingly overplayed, it has impressed myself, friends and listeners worldwide by topping the number one spot on the Billboard Hot 100 Chart. Whilst I cannot remember my immediate reaction to the song, the soft piano notes reinvoked a sense of early-teenage nostalgia that I was so extremely grateful for. The Disney star’s breakup ballad was written in quarantine but released earlier this year. Her lyrics hint at the love triangle entanglement between her co-star on HSMTMTS and former Disney channel child star. Certainly, after seeing Rodrigo’s heartbreak love song also played on my friends’ Spotify activity list, it’s clear that driver’s license has asserted itself as a Gen Z staple. 
   

      The tennis during lockdown

  For regular viewers of the tennis, the sound of squeaky sneakers and ritual applause after rallies is a signal of a brand-new year. However, this year, the hotshot Australian Open (AO) has had to adapt and change to match the speed of COVID regulation changes. After Melbourne’s five-day snap lockdown, the usual packed-to-the-rim crowds were cleared out of all arenas overnight. Instead of a stadium of bright colours, the backdrop of players’ serves were lined with rows of empty blue chairs. I was reminded of the bright and youthful atmosphere of the AO in 2019 after receiving an off-handed reminder from Instagram’s memories. Only two years earlier I had seen the legend himself, Federer, in one of his early matches. But watching the tennis online along with everyone else, I think the most startling change was the lack of ambience. Precisely, the haunting silence that followed long rallies. Without the riled-up atmosphere of the crowds, the only sense of validity to each point was confirmed by the *occasional* clap from a players’ box. But this was (strangely) rectified by the addition of fake crowd cheers. Whilst it enhanced online viewers experience of the match, it was definitely uncanny to hear the same round of recorded clapping after two sets. But if there was one thing that telecasts can’t replace, it’s the kindred and fiery spirit of our crowds. Just like the crowd chants, real or recorded, our resilience has allowed us to thrive and adapt in any and all circumstances of change.
   
  With that, we end the first half of our list of recommendations. Stay tuned for the second part of our review list where my fellow reviews sub-editor Ashley will be sharing her collection to be released in the following weeks.
   

  Sabrina Tse

• The Parisian Dream: A Review of Emily in Paris

  November 7, 2020 8:27 pm Comments Off on The Parisian Dream: A Review of Emily in Paris

  Name a show that has received more backlash than Netflix’s new series, Emily in Paris. Some of the harsher criticisms have included: a ‘wikipedia version of French life’ and an insult to ‘anyone who has eaten a croissant’.
  Despite these critiques, millions of viewers have fallen in love with this new comedy-drama. Created by Darren Star, the man responsible for Sex and the City and Beverly Hills 90210, the show follows Emily Cooper as she upends her life in Chicago for the city of lights, love and fashion…Paris. The age-old story of an American who moves to Paris, falls in love with a beautiful French man and eats baguettes and croissants all day.
  It may be an understatement that the French did not enjoy this show. Parisians have railed against the America-in-Paris cliché that has been replayed in countless shows and movies from Midnight in Paris to Ratatouille. Emily strolls around in  Barbie outfits, using a translator to speak French and treating Paris as her amusement park. She is utterly clueless about French customs. She smiles too much, cares too much about work and stands out in her loud clothing. But within these clichés lie grains of truth. Smiling is less of a pleasantry in France, work culture is different, and yes, less is usually more when it comes to French fashion. While clichés may be considered lazy writing, the show plays the clichés on itself, exaggerating them for effect and turning them into a humorous critique of the divide between Parisian and American culture.
  Despite the endless bad reviews, Emily in Paris also provides a thoughtful insight into what it means to feel an outsider in a new culture. Emily’s struggle to fit in felt relatable. A comforting reminder that change is always going to be difficult. 
  The show also provided a much-needed respite from today’s world. With COVID-19, U.S. elections and countless other 2020 worries crowding our thoughts it felt comforting to watch a show where the main character lives in an ‘ordinary’ world. Emily’s biggest concern is being liked by her French boss Sylvie whilst navigating the French dating scene, notably, the steamy Parisian chef and next-door neighbour, Gabriel.
  I’ll take the snobbery, cringe and fashion clichés any day for the pure escapism of this series.  Forget the criticism, if you’re looking for a Parisian distraction, this show is for you.
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Tara Finlay

• The 10 Best Inner-North Pints

  October 25, 2020 5:33 pm Comments Off on The 10 Best Inner-North Pints

  It’s finally Spring, and as Canberra cautiously relaxes after its stressful year, it’s time for a well-deserved pint.
  I visited, and ranked, the inner-north’s ten biggest pubs. For your convenience and my pleasure.
   

  King O’Malley’s (Civic)

  Quality: 2.5           Atmosphere: 3           Price: 3           Overall: 2.83/5
  Taking the tenth spot on this list is one of Civic’s two Irish pubs.
  Earlier this year, on St Patrick’s Day, the vibe at this pub was great. Mostly, however, there is not a lot about King O’Malley’s which is particularly remarkable. While this pub delivers the Irish staples (Guinness and Kilkenny on tap) and classic pub meals, its beer range is limited and its food is on the dearer end. By way of example, a beef burger costs $25— more than Grease Monkey’s most expensive burger.
  This is a place to consider if the occasion calls for it.
   

  Civic Pub (Braddon)

  Quality: 3.5           Atmosphere: 2.5           Price: 3.5           Overall: 3.16/5
  The Civic Pub sports a pretty standard range of tap beers, though that range notably includes Balter XPA, a decent alcoholic ginger beer, and a tapped espresso martini.
  Although its price bracket is pretty standard, sadly this pub does not offer a Happy Hour. What is most confusing about it, however, is the atmosphere. On a sunny day, the pub feels unusually dark and gloomy. Walls lined with books and a ‘yak’ (actually a buffalo) from Fat Yak apparently strive for a refined atmosphere. However, Civic Pub feels like it’s occupying an uncomfortable middle space between classy and conventional.
   

  Brew Nation (Civic)

  Quality: 5           Atmosphere: 3           Price: 2.5           Overall: 3.5/5
  With an incredible range of canned beers (which can also be taken home) and a great range of beers on tap, beer snobs – and those wanting to learn a bit more about their drink – will love Brew Nation. As a reasonably minimalist, one-room pub, the atmosphere at this place is not particularly special. However, good background music, a volume at which to talk comfortably, and notably friendly staff all add to this space’s value.
  One gets higher-end brews here, and it’s reflected in the prices.
   

  Badger & Co. (Acton)

  Quality: 3           Atmosphere: 3.5           Price: 4           Overall: 3.5/5
  The ANU’s primary bar/pub does its job reasonably well. Its beer range is not enormous, but it pleases a wide crowd, including brewery-fresh Carlton and a couple of Canberra brews in its range. The atmosphere can be good, but – to flog a dead horse – it does not hold a torch to the late ANU Bar. Arguably the best thing about this establishment (after its location) is its daily deals, whether it’s $10 schnitzels or $5 Happy Hour.
  Not a bad place for a pint.
   

  Braddon Brews (Braddon)

  Quality: 4           Atmosphere: 3.5           Price: 3.5           Overall: 3.6/5
  Being a daytime café / coffee roaster and a night-time beer bar, Braddon Brews wins some points for uniqueness.
  What’s more, for an establishment that is only sometimes a beer bar, this space offers ten pretty diverse and delicious range of tap beers. The atmosphere is good if you don’t mind drinking in an alleyway. The prices are in the middle-to-upper range.
   

  The Duxton (O’Connor)

  Quality: 3.5           Atmosphere: 3.5            Price: 4           Overall: 3.66/5
  The Duxton is a good middle-upper pub, plain and simple. Happy Hour is here from 3-5pm on weekdays, during which they offer $5 selected tap beers and $5 house wine. Outside these hours, prices are reasonably standard. They also host trivia every Wednesday.
  This pub is in O’Connor, so it’s a little bit of a trip from the ANU area.
   

  PJ O’Reilly’s (Civic)

  Quality: 3.5           Atmosphere: 4           Price: 3.5           Overall: 3.66
  This is a good Irish pub, although it suffers from the opposite fate of its counterpart in King O’Malley’s: a good range of craft beers, but an absence of the staples (Guinness and Kilkenny) needed in any self-respecting Irish pub.
  Significantly, the prices here are better than at King O’Malley’s. There’s also a decent spread of events at PJ’s, including trivia every Monday night and regular live music. This is also the stomping-ground of the Canberra Democrats Abroad. Having been here to watch the 2016 Presidential election, I’d recommend popping in for a pint over the upcoming 2020 election. 
   

  The RUC (Turner)

  Quality: 3           Atmosphere: 3.5           Price: 5           Overall: 3.83/5
  The Canberra North Bowling and ACT Rugby Union Club, or RUC, knows what it is. 
  Although the Club only offers big-name commercial beers on tap, the range of these is broader than usual, and probably sufficient for every beer-drinker. The RUC’s atmosphere is good, with live music every Friday and relaxed vibes always. Above all, the RUC’s prices stand out. In addition to cheap meal deals from Monday to Wednesday (including $12 rump steak on Mondays), the Club boasts $5 select wines, basic spirits and standard draughts during Happy Hour; $4 Coopers Pale Ale schooners on Fridays; and $3.90 basic spirits from 8-9pm every week.
  This is the place to go if you like your beers cheap and simple.
   

  Bentspoke (Braddon)

  Quality: 5           Atmosphere: 4           Price: 3           Overall: 4/5
  With a range of about 30 tapped beers and ciders, Bentspoke is – beyond all question – Canberra’s tap beer leader. If you’re willing to shell out a bit of money, you can even take some of its delicious brews home.
  Adding to Bentspoke’s aesthetic is its Lonsdale Street location, as well as its back wall of large metal kegs. In fact, all that can be detracted from this venue is its higher-price range (especially granted its new $40 minimum spend due to COVID-19). Bentspoke also lacks live music / events.
  Nevertheless, the fact remains: Bentspoke offers Canberra’s best home-made beers.
   

  The Old Canberra Inn (Lyneham)

  Quality: 4           Atmosphere: 5           Price: 3.5           Overall: 4.16/5
  Claiming the top spot on this list is a pub which barely makes it into our ‘inner-north’ scope. However, if one is prepared to venture out to this Lyneham location, good times surely await.
  The Old Canberra Inn sports an excellent range of rotating beers, as well as a huge range of packaged beers. Its prices are at the upper-middle end, though these are made better by a 4-6pm Happy Hour every weekday.
  What makes this pub truly special, however, is its atmosphere. In addition to hosting regular events, the Inn is one of very few pubs in the ACT which can truthfully boast of providing an authentic, European-style pub vibe. In the winter, roaring fires in its main room keep patrons warm. In the spring and summer, its beer garden delights. The pub’s largest room imitates German beer halls.
  If one is looking for an excellent inner-north pint, whatever the weather, then look no further.
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Nick Mezo

• The Uniting Force of ‘Normal People’: A Review

  October 15, 2020 11:35 am Comments Off on The Uniting Force of ‘Normal People’: A Review

  In a speech given at the Oxford Union in 1995, film director Krzysztof Kieślowski made the following remarks. “It comes from a deep-rooted conviction that if there is anything worthwhile doing for the sake of culture, then it is touching on subject matters and situations which link people, and not those that divide people. There are too many things in the world which divide people, such as religion, politics, history, and nationalism. If culture is capable of anything, then it is finding that which unites us all.” This year’s BBC/Hulu adaptation of Sally Rooney’s Normal People could not have better captured the essence of Kieślowski’s words. 
  Never has a programme been as popular on the BBC’s streaming service iPlayer. Having garnered over 16 million views on the platform in its debut week alone, it went on to enjoy similar success in the US. All around the world, people have united in sinking themselves into the heart-wrench that accompanies the on-screen duo of Marianne and Connell. Not uncommon among viewers is a yearning for the story to end hastily — the suffocating pain often edges towards the unbearable. Yet, unflinchingly, we are entirely consumed, resistant to rise above the surface.
  Set in Ireland, Normal People follows the lives of two young students as they progress through the confusions of their tumultuous relationship from young adulthood, to high school, and to the halls of Trinity College Dublin. It tends beautifully to the matter of what it means to be loved, unloved, in love, out of love, beyond and between. Vividly painted is a picture of the ecstasy that first love produces. Haunting is the rendition of the agony that follows from it’s capitulation. These themes, ubiquitous in their appeal are helped along masterfully by careful direction from Lenny Abrahamson and Hettie Macdonald.
  Each time we are confronted with the most private moments of our two main protagonists, nothing appears rushed. There is always a lingering feeling of pleasure or melancholy to be found, and conversation is paced lethargically so that Marianne and Connell sound and feel real. The authenticity of this pacing is deeply affecting. It may very well be us in that room. How could we not care for them so?  
  When it comes to the sex scenes between Marianne and Connell, there is no doubt that they are a resounding breakthrough. Every inch of every frame seems to have been cautiously crafted as not to trivialise their sex lives. Contrary to current TV trends of expedient intimacy, there are no lustful cuts to their sex and instead the buildup is always purposeful. The nudity finds itself more to be a matter of sincerity than to be cheaply erotic. These delicate, sensitive scenes are then deliberately contrasted with the cold cut-away passages of Marianne’s more abusive sexual relationships in what really does become exceedingly heart-breaking. Full kudos must be given to the intimacy coordinator Ita O’Brien who demonstrates quite compellingly that setting boundaries and allowing actors to feel comfortable while filming sex scenes makes for an enormous impact on the overall quality of their performance. 
  Perhaps the most touching element of the series is how courageously honest it endeavours to be. Marianne and Connnell are smart people who make stupid mistakes. Though it may be tempting to criticise them for their lack of communication, which admittedly could have prevented a great deal of otherwise unnecessary suffering, it eventually becomes clear to us that there is more often than not a difference between what should be true and what is true of any given situation. Where most of our lives are not perfect and escapism might be the natural antidote, Normal People offers us none whatsoever. It rejects the lifestyle porn that so often monopolises the small screen and instead seeks to challenge us by hitting where it hurts.  
  If the success of Normal People had to be attributed primarily to one particular factor, it would not be the lockdowns that have swept across the globe and forced us indoors, nor the popularity of the novel on which it was based. Normal People stands on its own right through the universality of its themes and the honesty of their depiction. As Kieślowski would go on to say. “And there are so many things which unite people. It doesn’t matter who you are or who I am, if your tooth aches or mine, it’s still the same pain. Feelings are what link people together, that’s why I tell about these things, because in all other things I immediately find division.” 
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

   

  Elvin Zhang

• Time to Log Off

  October 14, 2020 1:29 pm Comments Off on Time to Log Off

  I decided it was time to delete Instagram. I always knew the app was addictive, but I finally understood the grip it had on my life. Instagram had become my social pacifier. If I ever felt uncomfortable in a social situation, I would look to the app. I was dependent on the never-ending scrolling that felt so comforting. Each image tailored just for me. What exactly inspired me to take such decisive action? 
  The answer lies in the recent raved-about Netflix documentary — The Social Dilemma. 
  Created by Jeff Orlowski, the documentary ties together interviews of an impressive line-up of experts in the field of social media. They include ex-employees of tech companies who left for ethical reasons, authors, university professors and big-name investors. All have come together to voice their concerns and fears over unregulated social networking platforms. 
  One of the most interesting takeaways of the documentary is how these tech companies manipulate human psychology for profit. Have you ever wondered why you feel compelled to check your phone when it pings or look at an image you have been tagged in? Human nature. This isn’t a fluke in these apps; this is what they were designed to do. Once they have our attention, they tailor what we see based on the data they have collected to keep us constantly engaged and infinitely scrolling. And they collect everything. From what images we look at, how long we look at them. The data tells companies if we are happy or sad, depressed or anxious, introverted or extroverted. All this data is used not just to predict our behaviour but to influence it. They are turning us all into the pawns of advertisers. “If you’re not paying for the product, then you are the product,” says former Google employee Tristan Harris. 
  The documentary also explores the impact of social media on children. There are strict restrictions over what children can see on television. For example, junk food advertisements cannot be directed at children, and there are limits on the level of violence and sexual content that can be shown. But social media is not subject to this regulatory control. YouTube for Kids is not held to the same standards as Saturday morning cartoons. And this can have severe consequences on children’s mental health. The documentary also explores the real-world impact of social media on democracy, from the complicit role of Facebook in the Myanmar Rohingya genocide in 2016/17, as well as influencing the 2016 US election. Anyone with money can pay to post adverts that target specific users. The ads play on simple psychological traits to best influence our behaviour without us even knowing it. With 2.7 billion active Facebook users, it’s clear that such adverts can have a real impact on the outcome of elections. 
  What makes The Social Dilemma so poignant is the intertwining of a fictional story of a suburban family in America. There is a young daughter who suffers from self-esteem issues worsened by exposure to Instagram at a young age. There is a teenage boy who falls victim to a far-right group on YouTube. While the storyline aids in making the documentary more entertaining, it also demonstrates the impact of the Machiavellian tactics of social media companies. They are playing on our human nature to influence and manipulate our behaviour.
  However, there is hope after all. All the interviewees are optimistic that if society comes together and demands regulation, positive change can be forced upon the tech industry. The Social Dilemma is ultimately a call to arms, encouraging users to fight back and put humanity back into social media. If you want to be thoroughly creeped out but also enlightened about the apps you use every day, I would give this documentary a watch.
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Tara Finlay

• The Art of the Confusing: A Review of ‘Tenet’

  September 22, 2020 9:28 pm Comments Off on The Art of the Confusing: A Review of ‘Tenet’

  What makes a great film, great?
  It depends on the film – and who you might ask. To a Tarantino fan, the answer may lie in gripping action, memorable dialogue, and the cinematic technique of an evident cinephile. To a George Lucas fan, world-building and adventure are key.
  And then there are fans of Christopher Nolan. Right now, cinemas are screening the British-American filmmaker’s eleventh feature film: the US $200 million-budget Tenet. Even by Nolan’s standards, the work is a wild ride – and frequently incomprehensible. Thus, the creator of such mind-benders as Memento and Inception has once again affirmed his own interpretation of cinematic greatness: complexity.
  But does Tenet offer greatness?
  Unlike Nolan’s amnesia-centred Memento and his consciousness-themed Inception, Tenet’s subject is time itself. The film’s content is not confined to time ‘travel’, either: from the viewer’s perspective, the action in Tenet quite literally flows forwards and backwards at various points. The stakes are high: characters are fighting to save not only the world, but everything that has ever happened.
  That makes for some dazzling cinematography. There is something thrilling about seeing gunfire and hand-to-hand combat in reverse, not to mention reverse car chases and explosions. The enormous amount of money poured into this film is continuously evident.
  Yet, if Tenet’s storyline seems daunting to follow, that is because it is. Nolan quite patently believes in the philosophy that, in film, ‘showing is better than telling’. Dialogue is seldom used to explain what is happening. When characters do talk, they do not waste a word. That frequently leaves a lot to be desired.
  This 150-minute film, therefore, unashamedly demands every second of the viewer’s attention. Those wishing to use the bathroom at the cinema and understand the plot will find themselves unable to do both. If asked to summarise the film for others, viewers may struggle.  
  It is true that some of that confusion is wrapped up intermittently, particularly at the film’s conclusion. Yet, moviegoers may find themselves grappling with Nolan’s Art of the Confusing for large stretches of viewing. That will be more satisfying for some onlookers than others.
  For those considering this film, it would be unjust to solely comment on its complex plot. Tenet has more than its storyline adding to, and detracting from, its favour.
  I’ll start with its merits. Notably, Tenet features outstanding acting from its entire cast. What is more, Tenet is the rare type of story that encourages viewers to consider complex themes – like time, war, and loss – from different perspectives. Nolan grappled with Tenet’s central ideas for more than a decade. Depending on their mental preparedness, viewers may reap the rewards.
  Keener eyes have accused the film of further shortcomings. Brian Loyd of Entertainment.ie stated that poor sound mixing “often” rendered dialogue inaudible, though I did not perceive that issue. With cause, many reviewers perceive the film’s Russian villain as a ‘Bond-esque’ trope. In a scathing review, Mike McCahill of IndieWire labelled the film “humourless”. Evidently, humour is not a goal for which Nolan set out in this World-War-Three flick. Yet granted the film’s mental and emotional strain, I must agree that occasional relief would have added to his product.
  All in all, I find myself recalling the words offered by Rotten Tomatoes for the  Netflix series Midnight Gospel I also recently reviewed. Like that series, this “strange brew won’t be for all tastes, but those willing to drink deep will find a wealth of vibrant visuals and illuminating insights.” (That is, if they’re lucky.)
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Nick Mezo

• ‘The Vanishing Half’ Dives Deep into Issues of Racial Passing and Colourism

  September 17, 2020 11:17 am Comments Off on ‘The Vanishing Half’ Dives Deep into Issues of Racial Passing and Colourism

   
  ‘White passing’, a term used to describe the ability of a light-skinned person of colour to pass as white, is not new to literature. Books such as Nella Larsen’s Passing published in 1929 explore the complicated history of racial passing. From the antebellum period to the end of Jim Crow, a lot of black Americans crossed the colour line to pass as white. The purpose was often to gain freedom from slavery, escape from racial violence, or to enjoy the freedom that whiteness provided. 
  But in her new novel, The Vanishing Half, Brit Bennett takes a more in-depth exploration into the performance of race and white-passing. Bennett exposes the fluidity of racial categories where nobody can honestly know anyone’s race. And if we can’t know people’s race, then we are just making assumptions. Such assumptions have real social, political and economic implications. And it is these implications that transform the trajectory of Bennett’s character’s lives, shaping who they marry, their education, ambitions and their identities. Bennett asks some provocative questions: How do social categories shape our identity? What does it mean to perform whiteness? And does white-passing reinforce race or destabilise it? 
  The story is set in the fictional town of Mallard established by the great-great-grandfather of twins Stella and Desiree Vignes. A small southern town established by light-skinned black Americans. Intermarriage in the residents of Mallard has ensured their children become whiter with each generation. Yet, Stella and Desiree still experience the reach of racism as they witness the brutal lynching of their father at the hands of white men. Their mother is an underpaid cleaner for a white family. Stella is quiet, studious and content with her life in Mallard. In contrast, Desiree is wild and dreams of leaving Mallard for a bigger city. Desiree convinces Stella to leave Mallard at the age of sixteen for New Orleans. But after only a few months in New Orleans the twins split. “Stella became white, and Desiree married the darkest man she could find.”
  The story begins in 1968 with Desiree returning to Mallard, bruised and battered and with a daughter in hand after fleeing her abusive husband.The arrival of “blue-black” child Jude shocks the town that has prided itself for generations on its whiteness. Jude is relentlessly bullied and ostracized by the town.
  Jude meets Stella years later while at university in California. Stella is now a white woman. She is married to a rich man and with a blonde, aspiring actress daughter named Kennedy. Jude forms a relationship with Kennedy, who is wholly unaware of her connection with Jude and her mother’s past. 
  Bennett’s book spans 20 years, delving into the characters of Desiree and Stella as well as their daughters Jude and Kennedy. The book is fast-paced. Bennett intertwines the stories of the protagonists, not spending too long on each character’s development. This feels important to the book. Bennett emphasises the contrast between Stella’s life as a white woman and Desiree’s back in Mallard as well as their children. Jude is alienated for the colour of her skin at school, while Kennedy grows up as functionally white, experiencing all the privileges that this entails. The book does a brilliant job of showing through contrast how social categories such as race, sexuality and gender influence people’s lives in concrete ways. Bennett places limits on Desiree’s and Jude’s lives whilst handing Stella and Kennedy great freedoms. 
  There are some drawbacks to the book’s pace. It covers a lot of ground, characters and time in a remarkably short period. The rapid storytelling means that feelings and identities are not fully explored in a depth that would do them justice. Kennedy and Jude often felt two dimensional. Kennedy as a blonde, ditsy actress and Jude as a victim of bullying with low self-esteem. 
  The Vanishing Half is still a beautiful and worthwhile book about the complexity of identity. But most importantly, about the history of black performance and identity in America. Bennett does a fantastic job at capturing the fluidity of race, identity and sexuality but also showcasing its tangible effects on people’s lives. The book didn’t leave me with answers, but more with questions about the complexity of identity and the danger of making assumptions. The Vanishing Half is an important book that has gained even more fame since the Black Lives Matter movement, a fascinating read into the history of colourism and racial passing in America.
   
   
   
  Think your name would look good in print? Woroni is always open for submissions. Email write@woroni.com.au with a pitch or draft. You can find more info on submitting here.

  Tara Finlay