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Melbourne based Australian actor Sigrid Thornton was last night inducted onto the Australian Film Walk of Fame, at a ceremony at the Ritz Cinema, in Randwick, Sydney, where the Walk of Fame is located. Similar to the Hollywood Walk of Fame, on Hollywood Boulevard, in California, Australian actors are likewise honoured by a star embossed emblem on the footpath outside the Ritz Cinema.

Thorton’s prolific acting career, in film, television, and stage, spans five decades. Her film credits include The Getting of Wisdom, Snapshot, The Man From Snowy River, Face To Face (which I wrote about here), and Slant, the 2022 debut feature of Australian filmmaker James Vinson.

Thornton joins other acclaimed Australian actors who have a star on the Walk, including Deborah Mailman, Leah Purcell, Gary Sweet, Roy Billing, and Claudia Karvan.

Nothing compares 2 U, her 1990 hit, a song written by the Prince, sums up, somewhat, the pathos.

Oliver Darcy, writing for Reliable Sources, a newsletter produced by CNN:

Twitter, the text-based social media platform that played an outsized role on society by serving as a digital town square, was killed by its unhinged owner Elon Musk on Sunday. It was 17 years old.

A zombie Twitter, known only as X, reluctantly endures. A warped and disfigured platform, X marches on like a White Walker, an ugly shell of its former self under the command of a loathsome leader.

Twitter is to be transformed, apparently, into a WeChat like app, allowing users to do all manner of things, from messaging to making payments. But that can’t be what all Twitters members signed up for. It’s like paying to see Barbie, and instead being herded into a screening of Oppenheimer. Musk could’ve bought Twitter, left it alone, and used the user base to leverage his everything app.

Perhaps Musk took inspiration from Meta’s ham-fisted efforts to “transform” Instagram into a TikTok clone. A move all the more perplexing in the wake of Meta’s relatively successful launch of Threads recently, a Twitter-like clone. If Meta wanted a TikTok clone, why not create a stand-alone app, and leverage their Facebook, Instagram, WhatsApp, etc., members, to light a fire under it. In the same way they did with Threads. And leave Instagram alone.

But who’s to understand what goes through the minds of the mega-billionaire owners of these tech companies.

Rotating Sandwiches, designed by Lauren Walker, has been named winner of the inaugural Tiny Awards, a prize celebrating “the idea of a small, playful and heartfelt web.” Rotating Sandwiches is exactly what it says on the tin — go see for yourself — but if you’re feeling a bit peckish it might be an idea to wait until you have food in front of you.

Sydney based author and Australian Tamil lawyer, Shankari Chandran, has been named winner of the 2023 Miles Franklin literary award, with her novel, Chai Time at Cinnamon Gardens, published by Ultimo Press in 2022.

Chai Time at Cinnamon Gardens is Chandran’s third work of fiction, and is set in a nursing home in a suburb of Sydney called Westgrove:

Cinnamon Gardens Nursing Home is nestled in the quiet suburb of Westgrove, Sydney – populated with residents with colourful histories, each with their own secrets, triumphs and failings. This is their safe place, an oasis of familiar delights — a beautiful garden, a busy kitchen and a bountiful recreation schedule.

But this ordinary neighbourhood is not without its prejudices. The serenity of Cinnamon Gardens is threatened by malignant forces more interested in what makes this refuge different rather than embracing the calm companionship that makes this place home to so many. As those who challenge the residents’ existence make their stand against the nursing home with devastating consequences, our characters are forced to reckon with a country divided.

To call the field in the 2023 Miles Franklin tight, would be an understatement, and Chai Time at Cinnamon Gardens was up against a number of acclaimed Australian novels, including Limberlost by Robbie Arnott, and Cold Enough for Snow by Jessica Au.

Still from Barbie, a film by Greta Gerwig.

But all of these box-office taking numbers are staggering:

One of the prime records Barbie is breaking this weekend is the best domestic start for a movie helmed by a female director, with $155M. That figure beats 2019’s Captain Marvel, which was co-helmed by Anna Boden and had a $153M start. Globally, at an estimated $337M, Barbie is the second-best start for a movie from a female after Captain Marvel, which did $456.7M. Big numbers: the entire global haul for Gerwig’s awards-blockbuster crossover 2019 title, Little Women, was $218.8M.

I can’t say I’m surprised, and I think Barbie-mania was as big a thing in Australia as it was the United States. There was no missing the groups of young women and girls especially, adorned in pink, who were on their way to, or from, seeing Barbie at the movies. And this in a small town a couple of hours drive north of Sydney, where we’ve been the last few days.

The numbers for Barbie’s opening rival, the Christopher Nolan made Oppenheimer, are still impressive though. I wonder if the J. Robert Oppenheimer bio-pic will pick up on the long tail what it might have missed on the opening weekend.

Update: here are the Australian box office numbers for last weekend, the period Thursday 20 July through to Sunday 23 July 2023. Movies typically open on Thursdays in Australia (because, who wants to go to the movies on a Friday), hence the four day reporting period. Whatever, you can see Barbie well out in front of Oppenheimer.

Twitter owner, Elon Musk, says the present blue bird logo of the micro-blogging service will be changed to an X styled emblem, and that an interim logo could be unveiled sometime today. The new branding follows the recent name change, from Twitter to X Corp last April.

The changes are part of a bigger plan that will see Twitter/X transform into something similar to WeChat, an instant messaging, social media, and mobile payment app, that is popular in China.

Exciting times, no?

Still from Napoleon, a film by Ridley Scott.

British filmmaker Ridley Scott takes on the life of French military leader, and former emperor of the French Empire, Napoleon Bonaparte, in his new bio-pic feature, Napoleon. American actor Joaquin Phoenix stars in the lead role, along with Vanessa Kirby as Josephine, Napoleon’s wife, and Catherine Walker portraying the doomed Marie-Antoinette.

Although the majority of characters in Napoleon are French, the cast speaks in English, or at least they do in the film’s trailer. One detail though that has rankled some film commentators, is Phoenix’s seemingly unabashed American accent, a stark contrast to the predominantly British accents employed by the rest of the cast.

I can’t say I detected Phoenix’s American accent, or any particular accent for that matter, when I watched the trailer. I was more focussed on trying to comprehend what Phoenix’s Napoleon was saying, full stop, something Allegra Frank, writing for The Daily Beast, also picked up on:

It takes until the 35-second mark for us to hear Napoleon speak at all, with the trailer mostly cutting to him slightly parting his lips and staring ahead. But then we hear Phoenix mumble quietly for the first time, while facing down a rival army: “I promise you a billion successes.” At least, I think he says “billion;” his take on Napoleon is terrible at enunciating.

Napoleon opens in Australian cinemas on Thursday 23 November 2023, according to Flicks Australia.

In 2021, Simon Cooper, a University of Sydney worker, rediscovered a first edition copy of The Voyage Out, the 1915 debut novel of British author Virginia Woolf, lurking amongst a collection of science books, where it had been misfiled years ago.

What makes the find so remarkable are the notations throughout the book, written in hand by Woolf herself, when she was considering revising the novel. A veritable boon for anyone interested in studying Woolf’s work. The book has since been digitised, and can be viewed online.

Special relatively and cosmic consciousnesses may one day possibly, maybe, precipitate interactions (of who knows what sort) with deceased family and friends. But that day, if it ever arrives, will be in the far, far, distant future. The idea though of making contact with the dead is fantastical, but nonetheless one which has probably preoccupied people since the dawn of time.

And seeking comfort, following the death of someone close, may be why some people give the idea thought. Perhaps a deceased near and dear could somehow alleviate the grief of those left behind, if only there were a way to reach them. And possibly some people have found a way to make this happen, by way of LLM chat bots such as ChatGPT, says Aimee Pearcy, writing for The Guardian:

At the peak of the early buzz surrounding ChatGPT in March, [Sunshine] Henle, who works in the artificial intelligence industry, made a spur-of-the-moment decision to feed some of the last phone text messages and Facebook chat messages she had exchanged with her mother into the platform. She asked it to reply in Linda’s voice. It had been a few months since her mother had died, and while Henle had previously connected with a local therapist to help her cope with her grief, she found it disappointing. “It felt very cold and there was no empathy,” she says.

Indeed some people have found solace in their AI interactions with deceased family members, but for others the experience has been anything but comforting. It’s a concept though that gives rise to numerous ethical and legal problems. Can we go ahead and create AI avatars of the dead without the permission of the person in question? But what of the potential for misuse of the technology, and possible misrepresentation of the thoughts of the deceased?

Last year, the Israeli AI company AI21 Labs created a model of the late Ruth Bader Ginsburg, a former associate justice of the supreme court. The Washington Post reported that her clerk, Paul Schiff Berman, said that the chatbot had misrepresented her views on a legal issue when he tried asking it a question and that it did a poor job of replicating her unique speaking and writing style.