3,081 tacks
‘You can be made a laughing stock to millions’: can gen Z escape the fear of being cringe?
The fear of being perceived as “cringe” as a significant source of anxiety for Gen Z, this fear can prevent young people from expressing themselves freely and exploring their interests. The article suggests that embracing cringe can be liberating, allowing individuals to be themselves without fear of judgment
5 Ways To Shoot Night Exteriors
In Depth Cine looks at some of the most common approaches by cinematographers to shooting moonlit night exteriors, and one less common but innovative solution used at the highest levels of production.
Tired of streaming? Film and music enthusiasts turn to physical media
The resurgence of physical media—particularly DVDs and vinyl—among young people highlights the appeal of owning physical media, including the ability to curate a collection and experience a more immersive viewing experience.
How to actually reduce your screen time: 12 simple, realistic tips to stop doomscrolling
Experts offer practical tips to reduce screen time and combat phone addiction. These include tracking phone usage, scheduling screen-free time, changing lockscreens, and cutting notifications. Other strategies involve making screens less engaging, keeping phones out of reach, and using apps designed to discourage excessive use
Tech companies invoke possibility of Trump’s wrath in fight against Labor’s media laws
Tech companies, including Meta, are opposing Australia’s proposed news media bargaining incentive, claiming it violates the US-Australia free trade agreement and could lead to retaliation from the Trump administration. They argue the incentive is a discriminatory tax that unfairly targets foreign companies and could hinder digital platform growth. However, Australian media companies and the government defend the proposal, emphasising the need for tech companies to pay for the news content they profit from.
Our tech overlords are planning for conscious AI to conquer the cosmos. What could go wrong? | Eduardo Porter
Tech elites, driven by a belief in transcending humanity through AI, are pursuing a “transhuman” future. This vision, fuelled by a desire for immortality and cosmic power, involves merging human consciousness with AI and potentially uploading it to digital substrates. While seemingly fantastical, this belief system, rooted in effective altruism and longtermism, justifies prioritising AI development over present-day human needs.
Quiz: Can you identify Aussie TV shows from a single frame?
Think you're top of the box when it comes to Australian TV shows? Prove it! We're going to give you a single frame from an Australian TV show, plus a small hint, because we're very nice. All you have to do is correctly identify which TV show the frame is from.
Screentime swaps: how to quit doomscrolling without quitting your phone
Hannah Coates argues that digital wellbeing depends less on screen time itself than on purpose and control. Compulsive doomscrolling can leave users disengaged and dissatisfied, while intentional activities may support wellbeing. Drawing on expert advice, Coates recommends replacing passive scrolling with active screen use, such as gaming for pleasure, word puzzles, meaningful social connection, digital creativity and structured learning. The key distinction is whether technology helps users play, connect, create and learn, or simply consumes their attention.
AI ‘art’ is boring, soulless theft – and when I see it as an artist I see red | Jess Harwood
Artist Jess Harwood argues that generative AI cannot create meaningful art because it lacks human experience, intention and struggle. Inspired by a Split Enz concert, she contrasts the emotional power of human-made music with AI-generated images, writing and songs, which she views as derivative and environmentally damaging. For Harwood, art is inseparable from the artist’s process and humanity’s need to express lived experience: evidence that we existed, felt deeply and made meaning.
Why this photo has been terrifying the internet for years
The Backrooms began as an unsettling image of an empty, yellow, fluorescent-lit room posted online in 2019, inspiring collaborative horror fiction, games and videos. Its appeal lies in its ambiguity: familiar spaces made frighteningly unfamiliar. YouTube filmmaker Kane Parsons expanded the concept through popular found-footage shorts and now directs A24’s feature adaptation. Rather than relying on obvious monsters, the film preserves the Backrooms’ psychological dread, mystery and open-ended possibilities.
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