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Inside meagre fortune Steve Irwin left to his children Robert & Bindi after spending most of his money helping animals

Inside meagre fortune Steve Irwin left to his children Robert & Bindi after spending most of his money helping animals

The Sun5 days ago
STEVE Irwin was only able to leave his children a meagre fortune in his will after spending most of his money helping animals.
The beloved crocodile hunter, 44, is still regarded as one of the world's most famous zookeepers with his legacy continuing to live on through his beloved family.
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His success made him a household name across the globe through bumper TV deals and roles in Hollywood blockbusters in the years before his tragic death in 2006.
Irwin was filming a documentary in the Great Barrier Reef when he was killed by a stingray whose barb pierced through his heart.
The Australian legend reportedly had a net worth of over £7.5million at the time of his death.
He left behind his wife Terri, now 61, and two children Robert, 21, and Bindi, 27.
Despite the dad-of-two's huge career earnings he surprisingly left them only a small inheritance.
He left Robert and Bindi - who were both aged just two and eight at the time - with a life insurance policy which sat at just $200,000 (£98,000), according to realestate.com.au.
The reason for this was because Irwin consistently reinvested in animals.
He ran the iconic Queensland conservation facility which included The Australia Zoo and and The Australia Zoo Wildlife Hospital.
These saw him help to rescue, rehabilitate and release animals back into the wild after they suffered injuries or attacks.
In order to keep the sprawling conservation park operating to the level Irwin wanted he constantly pumped money he had earned into it.
Steve Irwin's son Robert showing he's just like Dad
Steve's widow, Terri, revealed the unexpected will actually left the family in debt due to the lack of money being inherited.
She told Australian Financial Review in 2024: Everything was reinvested into conservation work.
"I was in debt... and Steve's life insurance, I think, was the sum total of $200,000, which didn't even cover half of one week's payroll."
But in the 16 years since the zookeeper's death, Terri, Robert and Bindi have managed to keep Steve's legacy alive and the zoo open.
Young Robert has gone on to keep the family name firmly in the mind of the public as he has lived a similar life to his dads.
He was first thrust into the public eye when at just one month old, Steve held him in his arm while feeding a saltwater crocodile.
Robert is now best known as an Australian conservationist, television presenter, zookeeper and wildlife photographer.
He has now even been named as the new face of the latest Tourism Australia campaign.
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The adverts will be showcased in the US to try and promote people to head down under - marking how famous Robert and the family remains.
Bindi has also helped to keep the conservation facility thriving as she continues to work in Queensland and campaign for animal welfare.
She was already a famous face on TV alongside her dad in the early 2000s and has continued to be an on screen personality in the years after.
She is also happily married to husband Chandler Powell, and they have a daughter called Grace who was born in 2021.
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Footy great's son steals the show with a VERY rude gesture to the crowd as his dad is farwelled by his team in emotional scenes
Footy great's son steals the show with a VERY rude gesture to the crowd as his dad is farwelled by his team in emotional scenes

Daily Mail​

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  • Daily Mail​

Footy great's son steals the show with a VERY rude gesture to the crowd as his dad is farwelled by his team in emotional scenes

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‘Invisibility is the new radical position': artist Rose Nolan on avoiding social media and slowing us down
‘Invisibility is the new radical position': artist Rose Nolan on avoiding social media and slowing us down

The Guardian

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  • The Guardian

‘Invisibility is the new radical position': artist Rose Nolan on avoiding social media and slowing us down

The Melbourne-based artist Rose Nolan has worked exclusively in a palette of red and white since the 1990s, a decision she describes as 'liberating'. When she stopped thinking about colour, Nolan suddenly found she had more head space for her practice which, over 40 years, has spanned a remarkable range of mediums, from colossal public artworks to small architectural models, wall paintings, banners and flags, and self-published books and pamphlets. You might have traipsed across her terrazzo-emblazoned floor work All Alongside of Each Other on the concourse of Sydney's Central station. Or gazed upwards at the towering words Enough-Now/Even/More-so on the exterior of Melbourne's Munro Community Hub near Queen Victoria Market. 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Around us are relics of a life spent immersed in Melbourne's contemporary art scene; works by her friend Kathy Temin and her late mentor John Nixon punctuate hundreds of art books and ephemera. Her two cats, Dennis and Lillee (her partner is a cricket nut), meander between houseplants and climb on to the mid-century furniture. Nolan's house itself is an artwork: designed by OOF! Architecture, the Victorian-era cottage has been refashioned into a white rectangle that spells out HELLO on its brick facade. When I arrive there are gawkers taking photos of it. It's all over Instagram. 'This happens a bit,' she says. Nolan is not on any social media. When I ask why, she replies: 'I know myself well enough to know that I could go down a complete rabbit hole, and I haven't got the time. Invisibility is the new radical position – I feel like I'm in a parallel universe not being on it. 'My life is very analogue. As is my practice.' Nolan's way of working is not only analogue, it's exacting and, at times, exhausting. She has long worked with tactile and humble materials including hessian and cardboard, eschewing methods that might be considered time-saving in favour of cutting thousands of shapes by hand. This method has left her injured, she has even required surgery on her hands. But she believes that the labour embedded in the work transfers to viewers, making them slow down to take it all in. It's clear, from both her mien and her work, that what she's trying to invoke is a sense of presence and connection. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion Hence the title of her new exhibition, Breathing Helps, which is curated by Dr Victoria Lynn, and opens this week at TarraWarra Museum of Art in Healesville. It's an evocative title and a helpful prompt but also a tongue-in-cheek reminder to Nolan to take stock as she embarked on the monumental project. The exhibition is less a retrospective survey and more an immersive experience that will unfold through the capacious gallery space; viewers are invited to walk through the large-scale works, observe them overhead and even peer down on them from above. It marks the first time these towering works have been shown together, along with some new commissions. Nolan has invited the artist Shelley Lasica to create a series of dance performances that will be staged in the exhibition. The influence of Jenny Holzer and Barbara Kruger is visible in her works. Nolan made several trips to Russia in the 1980s and has a longstanding interest in Russian constructivism. She agrees that Kruger and Holzer are in there but says that, unlike their works, her words are not didactic. She plucks text from a dizzying array of sources – a snippet of conversation overheard at a cafe, a self-help book, some art theory. She looks for meandering, gently motivating phrases with a rhythm that might be transformed into an experience that can slow down time. 'The text and the time spent making becomes part of the latent energy within the work,' she says. 'And that becomes an elusive presence that gets extended to the viewer. You can't get in one grab. You have to take the time, you have to slow down.' Rose Nolan: Breathing Helps is at TarraWarra Museum of Art in Healesville, Victoria, until 9 November 2025

Future Council follows eight children fighting for the climate. But should kids be saddled with such a burden?
Future Council follows eight children fighting for the climate. But should kids be saddled with such a burden?

The Guardian

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  • The Guardian

Future Council follows eight children fighting for the climate. But should kids be saddled with such a burden?

Ruby Rodgers didn't expect to cry. The 14-year-old singer-songwriter and granddaughter of Australian rock great Jimmy Barnes had promised herself she'd be strong. But when she found herself surrounded by other young people voicing their fears about the climate crisis, she let the tears fall. 'I was really worried people were going to see that and think I was overly sensitive,' she says. 'But I was a child. I am a child. And I realised how important it was for other kids to see that it's OK to feel deeply.' Rodgers is one of eight children from around the world who are featured in Future Council, a new documentary from Damon Gameau, the Australian director of crusading documentaries That Sugar Film and 2040. The film follows Gameau and the group of young climate activists on a road trip across Europe in a yellow school bus, on a mission to voice their concerns about the planet's great environmental challenges in the boardrooms of some of the world's largest and most powerful corporations. They ask to be heard as a council of children, speaking for their future. It's a bold premise, and one that invites scrutiny. Can a group of children really influence multinational corporations – or a well-meaning but ultimately futile symbolic gesture? Gameau is aware of the tension. 'They're not here to save the world or understand the complexities of geopolitics,' he says of his young subjects. 'But they bring a refreshing creativity and moral clarity that makes adults think differently.' Future Council's most compelling scenes are not the boardroom showdowns – 'You're not a powerful leader, you're a disgrace,' 12-year-old Skye tells one multinational executive – but the quieter, more vulnerable moments. One takes place by Lake Geneva, where the children, overwhelmed after a visit to the Nestlé corporation headquarters, are given a moment to sit and off-load some big feelings and fears about the future of the planet. A few are in tears. One child walks off, unable to continue filming. It's uncomfortable viewing. Are these kids being exploited? Is this just there to tug at the viewer's heartstrings? Gameau is acutely aware of the responsibility he had, and has, to the children. 'We didn't know what was going to happen,' he says of that day by the lake. 'It wasn't about making them cry. It was about creating space for real conversations.' After having watched it with audiences, he believes this scene is 'incredibly potent because I think the children actually give permission for adults to let go and have a big cry around this stuff. I feel like so many of us are holding this overwhelm at bay.' When the cameras stopped rolling, Gameau jumped into the lake, fully clothed, to break the ice and relieve the tension. One by one, the children and their parents followed. 'We were carrying so much,' he says. 'That moment shifted everything.' The production team took duty of care seriously. Each child travelled with a parent or guardian. A coach full of parents and crew and luggage followed the yellow bus. Daily wellbeing check-ins were held. The children and adults stayed in shared houses, cooked meals together, and played outside to unwind, and formed what Gameau calls 'a beautiful travelling circus'. Since filming wrapped, the support has continued. Parents received guidance on social media exposure and the children remain in close contact. The group travelled to the United Nations General Assembly to screen the film and conduct a global press conference; now they're in Australia together for the release (only two of the children are Australian). Future Council has inspired a growing youth-led movement, with more than 150 children around the world forming their own councils to collaborate on environmental solutions and advise businesses on sustainable practices. Ten more children joined up at a preview screening on the Gold Coast last week. Council members have already started working with Officeworks to co-design eco-friendly school supplies, with profits going to Future Council regeneration projects where the children vote on how the money is allocated – an arrangement the Future Council hopes to set up with companies around the world in the coming years. The council's manifesto is clear-eyed. 'We will not be used for media stunts, marketing spin or greenwashing,' it reads. 'We won't be adult-washed and we don't accept money unless there's honesty and a visible commitment to change.' Still, the question lingers: does Future Council give children a false sense of agency – an illusion of hope? Rodgers doesn't think so. 'We were completely us,' she says. 'And I think that's what made the corporate leaders listen. They went from being a brick wall to becoming more human. We got through to them on an emotional level.' One of the film's most talked-about scenes takes place at ING, where the children challenge bank executives on their environmental policies. Gameau recalls the shift in the room – from corporate detachment to genuine engagement. 'To their credit, ING leaned in,' he says. 'They've offered to support the Council and introduce [the film] to 40,000 of their clients. Of course, there are limits to what they can do. But they saw that these kids have something to offer.' Rodgers, who is now 15, has since signed a record deal with Universal, released a single inspired by her experience and given a TEDx Talk on the film and the movement it has inspired. Her cover of Coldplay's Fix You features in the film's trailer. It's a haunting, hopeful anthem for a generation grappling with uncertainty. She's optimistic, but not naive. 'It can be scary, especially when people aren't listening,' she says. 'But being in these communities where people truly hear each other, that's where change begins. I don't think we're pretending we have all the power. But we're not powerless either.' Future Council is in Australian cinemas now.

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