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Waleed Aly issues dark warning about the future of Australian TV after the death of The Project in powerful essay he 'never wanted to write'

Waleed Aly issues dark warning about the future of Australian TV after the death of The Project in powerful essay he 'never wanted to write'

Daily Mail​20 hours ago

Waleed Aly has warned free-to-air television is 'staring into the abyss' after The Project, which he co-hosted for 14 of its 16 years, was suddenly axed.
In a column for The Age newspaper - that Aly insisted he never really wanted to write - the public intellectual and TV personality warned the Network Ten show's demise was a consequence of the growing power of the tech giants.
'As a general rule, I don't commentate on my own work. My editors urged me to reconsider, then left me to it,' he wrote.
'Improbably, then, here we are. But only because there are bigger things at stake than the fate of this or that television show.'
Aly noted that free-to-air TV was losing audience to streaming services but highlighted a bigger threat: that tech giants, such as Meta and Google, were collecting 'frankly unconscionable amounts of their users' personal data'.
Therefore, they could target audiences with better tailored ads than TV ever could.
'That will remain so for as long as television doesn't turn the camera on you and monitor your every move,' Aly wrote.
'What has inevitably followed is a flight, not so much of audiences, but of advertisers to these tech giants.
'This, I think, is a major problem. Not because free-to-air television is uniquely precious, but because that amount of data collection in the hands of a select few tech moguls simply shouldn't be allowed to exist.'
The Project co-host said the tech giants has been allowed to grow 'with no serious regulation' and governments were doing nothing to stop them.
Then he took aim at artificial intelligence and how it could follow the same path as the likes of Facebook and Google - with users' intimate data used to create an 'advertising product'.
Aly noted that ChatGPT's parent company OpenAI was considering incorporating advertising.
Aly ended his piece warning of the 'empires' that were being built in television's place 'and precisely what will have been plundered to erect them'.
Network Ten announced it will be replacing the Project with a news program, known as 10 News+, from 6pm.
The news program will be hosted by Denham Hitchcock and Amelia Brace - both formerly of the Seven Network - and is being helmed by executive producer Daniel Sutton, a veteran Ten reporter.
In an interview with Mediaweek, Mr Sutton said the new show would go deeper than the typical 6pm news fare of 'car crashes, house fires and state politics.'
'We'll go in depth on issues that affect Aussies, and get into the "why", not just the who, what and when.
'And when we break a big story, we'll have the time to explain it and dig into the detail.'
10 News+ will start Monday, June 30, on 10 and 10 Play.

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‘It's absolutely f---ed': Why Google's new £1bn London office is in crisis
‘It's absolutely f---ed': Why Google's new £1bn London office is in crisis

Telegraph

time2 hours ago

  • Telegraph

‘It's absolutely f---ed': Why Google's new £1bn London office is in crisis

The crowning glory of Google's new, massive headquarters in London's King's Cross is its rooftop garden. More than 300m long, with hundreds of trees across four stories and a running track, star designer Thomas Heatherwick envisaged it as a haven for the tech giant's 7,000 staff, as well as bats, bees, birds and butterflies. At least, it is meant to be the crowning glory. However, delays to the project have meant that, while it is still under construction, the building and its garden have been invaded by foxes. The vulpine skulk has taken advantage of the building's lack of human occupants, digging burrows in the manicured grass and leaving their droppings around. 'Fox sightings at construction sites are pretty common, and our King's Cross development is no exception,' a Google spokesperson said after a report on the London Centric website. 'While foxes have been occasionally spotted at the site, their appearances have been brief and have had minimal impact on the ongoing construction.' The foxes, pests though they are, may be the least of Google's problems. Today, visitors to the construction site are met with the cacophonous sounds of drilling and hammering; the sights of scaffolding and cherry pickers obscuring the view; the constant bustle of workmen coming and going. The 11-storey building, the cost of which has never been confirmed but expected to be well north of £1 billion, still appears to be a long way from being completed. Building site sources tell The Telegraph that all manner of things have gone wrong, from shoddy workmanship that was, in effect, 'hidden' because of the vastness of the project to wooden floors that became so saturated with rainwater that they need complete repairs. Much of the ground floor, which is supposed to house shops and other public spaces, remains a shell. The date for its opening, which was meant to happen last year, has been repeatedly pushed back. 'If they get this job done by the end of 2026 it would be a f—ing miracle,' one worker tells me. 'I don't think the people building it know what they are doing.' An electrician says: 'They have unlimited money so they throw out ridiculous dates. It's going to be interesting, but very stressful and long hours.' (Both Google and Heatherwick Studio declined to comment on these claims.) There is a sense of gloom among those working on site. One worker simply says: 'It's absolutely f---ed, mate.' Another, who only started working on the project on Monday, describes it as 's--t'. Some might say that Google bosses should not be surprised that building its landmark has not gone entirely smoothly. Heatherwick, 55, has a habit of designing ingenious objects and places that are later found to be impractical, from a sculpture to commemorate Manchester hosting the 2002 Commonwealth Games to a New York visitor attraction later called a 'suicide machine' and London's Routemaster buses to Boris Johnson's abandoned Garden Bridge in the capital. The $2 trillion technology giant launched its quest for a London headquarters in 2013, when it commissioned a more typical office block from architects AHMM; by 2015, those plans had been binned as they were apparently 'too boring' for the tastes of co-founder Larry Page. Enter Heatherwick, who can be described as almost anything except 'boring'. He turned the concept of a giant office building (almost literally) on its head, and designed a long structure parallel to King's Cross railway platforms that is longer (330m/1,083ft) than The Shard is tall (310m/1,106ft). The finished building – dubbed a 'landscraper', as opposed to a skyscraper – will have nap pods for weary workers, as well as a 25m swimming pool and a basketball court. Plus, of course, the garden. The final design is a collaboration between Heatherwick's eponymous studio and that of Bjarke Ingels, the Danish architect. The team also worked on Google's (completed) California headquarters. Heatherwick was unlikely to design a run-of-the-mill office and always makes a point of doing things differently. He had a bohemian childhood as the son of a pianist father and jewellery-designer mother, and attended two private schools – Sevenoaks in Kent and the Rudolf Steiner School in Hertfordshire – before studying design at Manchester Polytechnic and London's Royal College of Art. It was at the latter institution that he met Terence Conran, the founder of Habitat and the Design Museum, whom Heatherwick impressed by building an 18ft-high gazebo out of laminated birch that sat in his garden. Conran became Heatherwick's mentor and famously described him as 'the Leonardo da Vinci of our times'. He has had his fair share of successes, most notably when he designed the Olympic cauldron for the 2012 London Games. It consisted of 204 copper cones, one for each participating nation, attached to long stems that wowed people the world over when they came together to create one larger vessel. Heatherwick, who was awarded a CBE in 2013, was also the driving force behind Coal Drops Yard, a stone's throw from Google's King's Cross building, that is a thriving hub of shops and restaurants after decades as a derelict wasteland. But for every Heatherwick triumph, there has been a misstep. His sculpture for the Commonwealth Games – named B of the Bang – was a cluster of metal spikes coming from the top of a column to imitate an explosion, but it was completed late and over budget. More concerningly, a tip of one of the spikes fell off shortly before it was unveiled and, when others threatened to do the same, it was dismantled in 2009. Manchester City Council sued Heatherwick and his contractors; the case was settled out of court. Other notable misses include Heatherwick's Routemaster buses, which were commissioned by Johnson when he was Mayor of London, which were much more expensive than other models and had a tendency to overheat in summer months, and the aborted plan for a Garden Bridge across the River Thames, which ultimately cost taxpayers £43 million without anything to show for it. Most destructive was the Vessel, a visitor attraction in New York's Hudson Yards. The copper-coloured network of 154 staircases and 80 landings was supposed to be New York's answer to the Eiffel Tower, but it was closed down in 2021 (after less than two years) after four people had killed themselves by jumping from it. Carla Fine, a local who is an expert on the matter, told The Telegraph at the time that it was a 'suicide machine'. It only reopened last October after netting was installed. 'The project met all the safety standards, and actually it went above them. It was just an extremely tragic, sad use that the project got put to,' Heatherwick told the Financial Times in 2023. 'Nobody predicted Covid and what that would do for people's mental health.' His current projects include transforming the Kensington Olympia in West London and turning the capital's BT Tower into a high-end hotel. Not a trained architect himself (but the employer of large numbers of them at his studio), Heatherwick has said that we are in the grip of an 'epidemic of boringness', with soulless glass-and-steel buildings populating cities all over the world. Heatherwick's eccentricity, which has been a characteristic for decades, is almost designed to attract opprobrium or eye-rolls from others in the field. As he finished his postgraduate studies, rather than make a business card Heatherwick made ice lollies that had his phone number on the stick; on various occasions he has shipped a snowball to China so that somebody there could experience British snow, and taken a kebab to Italy for someone else. 'I'm not a fan, because I think he doesn't know the difference between a building and a CD rack,' says Ellis Woodman, an architect and the director of the Architecture Foundation. 'There's no sense of scale, no sense of an urban idea that the buildings are contributing to. They disregard architectural history or the character of the spaces in which they stand. [The Google building] is not a building that's interested in making relationships with things around it. The work is always the most important building on its site, whatever he's doing. There's never a sense that the role of a building might be to contribute to the definition of a space with other buildings.' Heatherwick has become a big brand in the building world, in the way that Norman Foster and Zaha Hadid did before him. Woodman says that, with the quasi-utopian ideals he set out in his 2023 treatise Humanise, Heatherwick is 'carrying on that 'architecture-as-a-marketing tool' tendency'. 'He's not seriously engaged with the problems of housing or sustainability,' Woodman adds. 'It's a succession of projects like the Vessel, which one might ask if the world ever really needed.' Others in the design world reckon that Heatherwick's regular criticism by architects stems from a resentment that an interloper could gatecrash their industry without having to go through the same formal training. 'I'm very 'pro' him. He's a very creative and inventive figure, but he's divisive because he was trained in industrial design in Manchester, not in architecture,' says Charles Saumarez Smith, the former director of the National Gallery and National Portrait Gallery who is a distinguished historian of art and design. 'Architects view themselves in a professional way, and so obviously have not been so enthusiastic about him being globally successful as he has been as an architect. I think that is at the root of it.' Saumarez Smith tells me that he thinks Heatherwick's Google building is 'mind-boggling' and 'vast, but in a way it manages to disguise its scale. I'm looking forward to seeing it in more detail when it's finished'. How long before the Google building is finished, and what it will be like when it is, is anyone's guess. 'You can't fully know whether something's going to work until it's finished,' Heatherwick told The Telegraph in a 2018 interview. 'Anyone who says otherwise is lying. 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Who is Nick Kyrgios' ex-girlfriend? Meet the French Open tennis star's ex Costeen Hatzi
Who is Nick Kyrgios' ex-girlfriend? Meet the French Open tennis star's ex Costeen Hatzi

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Who is Nick Kyrgios' ex-girlfriend? Meet the French Open tennis star's ex Costeen Hatzi

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Stephen Page: ‘Am I old? Am I not old? Can I still create?'
Stephen Page: ‘Am I old? Am I not old? Can I still create?'

The Guardian

time4 hours ago

  • The Guardian

Stephen Page: ‘Am I old? Am I not old? Can I still create?'

Stephen Page stands wrapped in scarf and beanie against the morning winter chill at Sydney's Marrinawi (big canoe) cove, at the northern end of Barangaroo reserve. 'This mouth of water, one of the biggest in the world, it's an operatic landscape and it was so inspirational,' he says. As he looks past the sculpted sandstone across the harbour, the acclaimed choreographer recollects the Eora nation stories that prompted some of his best-known dance works during his 31 years as artistic director of the Sydney-based Bangarra Dance Theatre. There was, for instance, Patyegarang, in 2014, about the Cammeraygal teenager who taught the English astronomer William Dawes her language; and Bennelong, in 2017, about the Wangal man who developed a close bond with the New South Wales governor Arthur Phillip but died addicted to alcohol. Set to turn 60 this December, Page is relaxed these days, and makes an excellent walking companion as we stroll past the Sydney red gums and coastal banksias. Having offered a hearty hug upon our meeting, he leans in along this waterside walk named Wulugul (kingfish), laughing often. By contrast, in his final years before departing Bangarra in 2022, he drove himself hard. Leaving Bangarra was 'bittersweet', he recalls, 'because I was dealing with the grieving of stepping down from that'. But while he was saying goodbye to the company he had devoted most of his adult life to, he was also pushing through grief after the sudden death in 2016 of his older brother David Page, Bangarra's longtime music director and composer. Three Page brothers had each been a key part of the company: Stephen, David and Russell, a charismatic dancer who died by suicide in 2002, aged 34. By the time Stephen stepped away, he was the last of the brothers left at Bangarra, even as he built a clan of dancers around him. It magnified his sense of loss. 'David and Russell would always be quite vivid images and visions in my memory. David's music is always in our mind.' Page talks readily about David, with an awe. It all comes back to when they were kids, the solidarity of growing up with little money in a family of 12 children who loved pop culture and musicals, putting on concerts in their back yard in the working-class Brisbane suburb of Mount Gravatt. The enigmatic David, who had a brief career as the child pop star Little Davey Page, would turn the rotary clothesline into a merry-go-round, and film them all with a Super8 camera. The children would dress up as the Jackson Five and perform to neighbours on their laundry roof. It was their playground, and their training ground. Page recalls that the family bond was deeper and stronger than any material absence: 'When there was struggling, when there was no food, when they couldn't pay bills, it was about telling stories and humour and performance. David and I and Russell, we digested that creative instinct to carry it through into our professional lives.' Page laughs at the memory of some of the play the three brothers had in rehearsing together over the years. They had found a creative haven together, he says. 'We would talk about the spirit of story constantly, and it was always about the emotional [aspects] and the psychology for us.' It took Page more than a year after leaving Bangarra to feel like his old self. 'I had time to think. I had to see my good old therapist, because I was like, 'What's going on?' They're like, 'Stephen, you're grieving, you're leaving something after 31 years'.' Page is far from retired, 'creating better than I ever have', he reflects, as we pass hard-hatted workers drilling at the Cutaway, the large below-ground sandstone venue being turned into a gallery and events hall (but not an Indigenous cultural centre as earlier mooted). Page says David's 'spirit and energy has inspired' his newest works. He feels 'cleansed' through these latest stories. His first major post-Bangarra work is Baleen Moondjan, a story of grief, love and kinship, which opened the 2024 Adelaide festival on Glenelg beach, and will now be adapted for performance on a barge for the Brisbane festival this September. Page says his late mother, Doreen, would have loved this story being staged close to where she raised her family. The song and dance cycle will feature giant replica whale bones, a totem figure for Doreen's Nunukul/Ngugi saltwater maternal line from Minjerribah (Stradbroke Island). His mother had been forbidden by her English/Irish father from acknowledging her Aboriginality: he told her instead to say she was Indian. The whale story is based on cultural knowledge passed on by Doreen's older sister, Auntie Joyce, after their own mother died. 'I wanted to use the metaphor of the whale as a sense of empowerment and strength that sits within my mother's matriarchal kinship system,' Page says. 'It's about continuing the spirit of stories. I thought, 'Mum, I'm going to give you a gift, and David, your spirit is going to help me create Baleen Moondjan'.' It follows Page's final work for Bangarra, Wudjang: Not the Past, in 2022, an ode to his late father, Roy, a Munaldjali bushman from the Yugambeh nation, who during his childhood was forbidden from speaking his language. Page's parents nonetheless both became great storytellers who instilled a respect for Country in their large brood. Roy died in 2010 and Doreen in 2018. Both productions honouring their parents essentially began with David's legacy: a three-minute recording uncovered in the late composer's office based on a song Roy had given him in his own Yugambeh language, which he spoke on his deathbed, as well as notations written in Jandai, the traditional language of their mother. Page in the past has spoken of the challenge of living in two worlds, of being denied a traditional language because he has come from 'a forbidden generation, an assimilated generation'. Page once recalled Roy using the term 'whispering language' because Stephen's grandmother could only whisper their language to Roy at night. Loss is profound throughout the family, thus dance and what Page calls his 'blackfella operas' became a medicine, a means of reconnection. 'Mum's last years, she didn't have quality of life, she didn't speak,' Page recalls. 'She was at Georgina Hostel, a First Nations old age home. She had dementia, Alzheimer's. 'The night before David passed, late at night, she was wailing, making these noises, and the nurses told my sister the next day. They were like, 'We haven't heard her talk or make a sound for 18 months'. I think she knew [David was passing away], and that always stayed with me.' Page's renewal and cleansing has been aided by his son, actor and writer Hunter Page-Lochard, 32, who founded the production company Djali House, for which father and son are billed as co-directors, although Page insists Hunter is his 'boss'. One gets the impression he enjoys working with his son so much because it reminds him of the creative energy of working with David and Russell: wherever the urban mob is, that's his creative home. The pair have four development projects on their slate, including an imminent adaptation of David's one-man autobiographical play, Page 8, into a narrative feature film with the working title of Songman. 'It's been really beautiful to work with Hunter, and also to see the first [full-length feature] story that we birth through Djali House is our story, through the lens of David's life,' says Page. The generations continue to unfold. Page, who also has a stepdaughter, Tanika, glows when asked about Page-Lochard's two daughters, Mila, 6, and Evara, 3. 'It just makes this crazy world and life worth living for,' he says of becoming a grandfather. 'The combination of that, going through and reflecting the Bangarra chapter of my life, and then finding a sacred stability, of feeling recharged and reawakened for the next chapter. 'You go, am I old? Am I not old? Can I still create? But the reason Hunter started Djali House is we have imagination, we have creativity, we have vision. We love stories. Walking with Page, there's a sense he is seizing the moment, surveying the Country and water before us for the next story, plugging into youthful energy. But that was how it always was with the big Page mob. 'I've always started with a blank canvas for my work. David would jump on, and with our creative clan we'd just paint the story and bring it to life.' Baleen Moondjan is at Queen's Wharf, Brisbane festival, September 18-21

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