A superstar cameo, David Fincher and America: Is Squid Game really over?
SPOILER ALERT: This article contains significant plot details from the season 3 finale
Squid Game 's finale was packed with twists, but perhaps the greatest of them was the cameo by a certain Oscar-winning Australian actor in its final moments.
As the Front Man (Lee Byung-hun) drove through Los Angeles in a black limo, he noticed a familiar sight playing out in a back alley: a recruiter for the game challenging some desperate schmuck to ddakji, in which players take it in turns to try to flip a folded paper tile by throwing another tile onto it with great force.
In the Squid Game version, the loser is rewarded with a stinging slap to the face. And in this instance, the person doing the slapping is Cate Blanchett.
That could mean nothing more than that the two-time Oscar winner is a fan of the series or had a day free in her busy schedule and so agreed to film the uncredited cameo. Or it could mean something far more substantial: that the long-rumoured American spin-off, with David Fincher reportedly directing, is about to become reality.
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Series creator Hwang Dong-hyuk has insisted that this third season would be the last. 'I am thrilled to see the seed that was planted in creating a new Squid Game grow and bear fruit through the end of this story,' he said in a letter to fans a year ago, as season two was about to launch.
The streamer's blog site, Tudum, has this week reiterated that the director had 'created Squid Game 's goodbye season to give fans the resounding closure they deserve'.
But with the show having grown far beyond the self-contained single season Hwang had originally planned, to become one of Netflix's most significant pieces of original intellectual property (with a reality show, chat shows and making-of specials to pad out the library), you'd be mad to bet against a spin-off or two.
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The Advertiser
an hour ago
- The Advertiser
Aussie coach's Swift response to Lions eligibility jibe
Jokes about the British and Irish Lions' eligibility haven't stuck according to laid back captain Maro Itoje, who has laughed off the expectation of more to come as the "Australian way". Ten players in Andy Farrell's squad, including Australian-born trio Finlay Bealham, Sione Tuipulotu and Mack Hansen, were born outside England, Ireland, Scotland and Wales. They have qualified either through family or long-term residency, with Hansen and Tuipulotu Australian under-20 teammates and Super Rugby graduates before their moves. Banter was thrown in Saturday's clash with the Western Force in Perth, with the Optus Stadium ground announcer quick to reference the tourist's foreign roots. Centre Bundee Aki and No.9 Jamison Gibson-Park were born in New Zealand but now star for Ireland and will feature in a strong Lions team against the Reds. "As long as they play a bit of Taylor Swift I'll be happy," Reds coach Les Kiss quipped when asked if he expects more jibes over the Suncorp Stadium speakers. "I don't think we'll be getting into that space." Kiss, a former Queensland and Australian rugby league winger, earnt his rugby coaching stripes in a two-decade stint that included success with the Ireland Test team as well as Irish and English clubs. "I've coached a number of those boys. Finlay Bealham was there early," Kiss said of the prop, who moved to Ireland as an 18-year-old. "It's not a light-hearted, easy thing to do. "It's an opportunity. To Mack Hansen, Bundee, I say, 'good on them'. "You get opportunities in different ways. A lot (of banter) is tongue and cheek and have a bit of fun, and that will continue. "The way Aussies like to use our humour - I think the English, Welsh, Scots and Irish, they get it." Reds and Wallabies hooker Matt Faessler agreed. "It could feel like an away game, we might need it," he laughed. "But I think Aussie fans dance on that line quite well. "When the Lions tour, new and old rugby fans come out of the works and see how good international rugby is. "There'll be a fair bit of chat if you go to Caxton Street, a bit of to-and-fro." Lions captain Itoje, who watched from the stands in Perth, is on the same page. "It's the Australian way, isn't it?" he smiled. "They love their sport. Rugby's a little different on a Lions tour. You can feel the atmosphere. It's heightened in comparison to when we were here with England. "As the tour goes on, the atmosphere will build and build and build. "It's just a sports-loving country; aggressive competitors, a little bit chirpy." Jokes about the British and Irish Lions' eligibility haven't stuck according to laid back captain Maro Itoje, who has laughed off the expectation of more to come as the "Australian way". Ten players in Andy Farrell's squad, including Australian-born trio Finlay Bealham, Sione Tuipulotu and Mack Hansen, were born outside England, Ireland, Scotland and Wales. They have qualified either through family or long-term residency, with Hansen and Tuipulotu Australian under-20 teammates and Super Rugby graduates before their moves. Banter was thrown in Saturday's clash with the Western Force in Perth, with the Optus Stadium ground announcer quick to reference the tourist's foreign roots. Centre Bundee Aki and No.9 Jamison Gibson-Park were born in New Zealand but now star for Ireland and will feature in a strong Lions team against the Reds. "As long as they play a bit of Taylor Swift I'll be happy," Reds coach Les Kiss quipped when asked if he expects more jibes over the Suncorp Stadium speakers. "I don't think we'll be getting into that space." Kiss, a former Queensland and Australian rugby league winger, earnt his rugby coaching stripes in a two-decade stint that included success with the Ireland Test team as well as Irish and English clubs. "I've coached a number of those boys. Finlay Bealham was there early," Kiss said of the prop, who moved to Ireland as an 18-year-old. "It's not a light-hearted, easy thing to do. "It's an opportunity. To Mack Hansen, Bundee, I say, 'good on them'. "You get opportunities in different ways. A lot (of banter) is tongue and cheek and have a bit of fun, and that will continue. "The way Aussies like to use our humour - I think the English, Welsh, Scots and Irish, they get it." Reds and Wallabies hooker Matt Faessler agreed. "It could feel like an away game, we might need it," he laughed. "But I think Aussie fans dance on that line quite well. "When the Lions tour, new and old rugby fans come out of the works and see how good international rugby is. "There'll be a fair bit of chat if you go to Caxton Street, a bit of to-and-fro." Lions captain Itoje, who watched from the stands in Perth, is on the same page. "It's the Australian way, isn't it?" he smiled. "They love their sport. Rugby's a little different on a Lions tour. You can feel the atmosphere. It's heightened in comparison to when we were here with England. "As the tour goes on, the atmosphere will build and build and build. "It's just a sports-loving country; aggressive competitors, a little bit chirpy." Jokes about the British and Irish Lions' eligibility haven't stuck according to laid back captain Maro Itoje, who has laughed off the expectation of more to come as the "Australian way". Ten players in Andy Farrell's squad, including Australian-born trio Finlay Bealham, Sione Tuipulotu and Mack Hansen, were born outside England, Ireland, Scotland and Wales. They have qualified either through family or long-term residency, with Hansen and Tuipulotu Australian under-20 teammates and Super Rugby graduates before their moves. Banter was thrown in Saturday's clash with the Western Force in Perth, with the Optus Stadium ground announcer quick to reference the tourist's foreign roots. Centre Bundee Aki and No.9 Jamison Gibson-Park were born in New Zealand but now star for Ireland and will feature in a strong Lions team against the Reds. "As long as they play a bit of Taylor Swift I'll be happy," Reds coach Les Kiss quipped when asked if he expects more jibes over the Suncorp Stadium speakers. "I don't think we'll be getting into that space." Kiss, a former Queensland and Australian rugby league winger, earnt his rugby coaching stripes in a two-decade stint that included success with the Ireland Test team as well as Irish and English clubs. "I've coached a number of those boys. Finlay Bealham was there early," Kiss said of the prop, who moved to Ireland as an 18-year-old. "It's not a light-hearted, easy thing to do. "It's an opportunity. To Mack Hansen, Bundee, I say, 'good on them'. "You get opportunities in different ways. A lot (of banter) is tongue and cheek and have a bit of fun, and that will continue. "The way Aussies like to use our humour - I think the English, Welsh, Scots and Irish, they get it." Reds and Wallabies hooker Matt Faessler agreed. "It could feel like an away game, we might need it," he laughed. "But I think Aussie fans dance on that line quite well. "When the Lions tour, new and old rugby fans come out of the works and see how good international rugby is. "There'll be a fair bit of chat if you go to Caxton Street, a bit of to-and-fro." Lions captain Itoje, who watched from the stands in Perth, is on the same page. "It's the Australian way, isn't it?" he smiled. "They love their sport. Rugby's a little different on a Lions tour. You can feel the atmosphere. It's heightened in comparison to when we were here with England. "As the tour goes on, the atmosphere will build and build and build. "It's just a sports-loving country; aggressive competitors, a little bit chirpy."
The Advertiser
an hour ago
- The Advertiser
Investment banker Simon Mordant's biggest art donation sets 'tongues wagging' across town
IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website. IT'S the largest gift of artwork investment banker Simon Mordant and his theatre costume designer and art director wife Catriona have ever given to one institution, and it's set "tongues wagging" across Newcastle. The Mordants, who are among the country's leading arts philanthropists, have passed on 25 works from their private collection to Newcastle Art Gallery mere months before the new expansion opens to the public. The donation includes works on paper by Ngarrindjeri artist Ian Abdulla, a collage of digital print and oil by John Young and sculptures by Novocastrian artist Jamie North. Mr Mordant said Newcastle was an obvious choice. "Catriona and I believe that art should be seen and enjoyed by the widest possible audience," he said. "In considering Australian and international organisations to be recipients of part of our collection, built over almost 40 years, we looked for organisations where we believed in their leadership and their ambition. "We very much look forward to seeing these works enjoying a new life in Newcastle Art Gallery." The works from the Mordants' collection will feature in a special exhibition next year and be housed among one of the most valuable public art collections in the country outside a capital city. A recent valuation put Newcastle's collection at a staggering $145 million, an increase of $19 million, or about 15 per cent, since key works were last reviewed in 2022. Newcastle Art Gallery Foundation chair Suzie Galwey said the valuation confirms what those in the local scene have long known, that the city has an "outstanding" collection that deserves to be on show. "For the community to be able to go in, access and engage with these incredible icons, they're Australian icons, some of these pieces, is just really going to be something for the community to be so proud of," she said. "I think it will boost visitation, the community will have the opportunity to embrace the gallery and just realise what a significant milestone this is for the arts in Newcastle. "It's a once-in-a-lifetime project." The donation, combined with the long-awaited expansion of the gallery, marks a turning point for the institution, which has only been able to display about one per cent of its collection each year due to space constraints. Once complete, iconic works by artists like Brett Whiteley, John Olsen, William Dobell and Joseph Lycett will be permanently on show, alongside a First Nations collection which has skyrocketed in value, up nearly 80 per cent, and works by female artists which have increased in value across the board. City of Newcastle chief executive Jeremy Bath said the upgraded gallery will be a fitting home for one of the council's most valuable assets. "This is one of the most significant and highly valuable public collections of art outside of a state or national institution," he said. "The expansion will enable the gallery to be fit for purpose to host our $145 million collection alongside touring exhibitions from across Australia and around the world, creating a significant cultural tourism opportunity for Newcastle and the Hunter," he said. The more than $50 million rebuild will deliver an extra 1,600 square metres of space, more than doubling what was previously on offer. A new cafe and retail shop, multi-purpose and educational spaces and a secure international standard loading dock are included in the project. Construction of the building's shell is set to be completed in the second quarter of 2025, with the aim of reopening the doors this year in time for the New Annual festival at the end of September. Gallery director Lauretta Morton said she was honoured to accept the Mordants' donation and looked forward to showing it in a special exhibition next year. "Having known Simon for several years, I have always admired his and Catriona's incredible support for artists and the broader arts sector globally, so I was quite overwhelmed to be invited to review their collection and select works of art that represented the vision for our reimagined gallery, to be locally grounded, nationally engaged and globally minded," she said. "We're also proud of what this updated valuation tells us about the growing global celebration of so many significant First Nations artists, and the value and recognition for women artists, which have steadily increased during the past five years." The city's collection includes works of local, national and international importance. Newcastle independent lord mayor Ross Kerridge said the new valuation not only gives the city "bragging rights" but also demonstrates what an important and prestigious collection the gallery has. Cr Kerridge hopes the expansion will bring more visitors to Newcastle, but more importantly, that locals benefit, given their efforts to make the project happen with the help of generous benefactors over the years. "The recent donation from Simon and Catriona Mordant, that's really set tongues wagging," he said. "They recognise that this is an important gallery, they want their works to be seen, so it builds on success. "This builds on a whole sensibility about the city, it changes the profile of the city, changes the feel of the city and gets us noticed." The expansion project has been made possible with $10 million in state and federal government funding and more than $12 million from the Newcastle Art Gallery foundation through the Valerie and John Ryan bequest and community fundraising efforts. Ms Galwey said the foundation is about $500,000 away from its $13 million goal. "The foundation has been advocating and fundraising for the expansion of the gallery for more than 20 years. We're still looking to get to our target of $13 million, and we're almost there," she said. "It would be wonderful for us to get to our target, so we're calling on the community to dig deep. "Every donation makes a huge difference, and it's just wonderful to be part of this incredible story for the arts in Newcastle." To make a donation, visit the foundation's website.
ABC News
3 hours ago
- ABC News
Streaming giants have helped bring Korean dramas to the world – but much is lost in translation
In less than a decade, Korean TV dramas (K-dramas) have transmuted from a regional industry to a global phenomenon – partly a consequence of the rise of streaming giants. But foreign audiences may not realise the K-dramas they've seen on Netflix don't accurately represent the broader Korean TV landscape, which is much wider and richer than these select offerings. At the same time, there are many challenges in bringing this wide array of content to the rest of the world. The rise of hallyu Korean media was transformed during the 1990s. The end of military dictatorship led to the gradual relaxation of censorship. Satellite media also allowed the export of K-dramas and films to the rest of East Asia and parts of Southeast Asia. Some of the first K-dramas to become popular overseas included What Is Love (1991-92) and Star in My Heart (1997). They initiated what would later become known as the Korean wave, or hallyu . The hallyu expansion continued with Winter Sonata (2003), which attracted viewers in Japan, Malaysia and Indonesia. Dae Jang Geum /Jewel in the Palace (2005) resonated strongly in Chinese-speaking regions and was ultimately exported to more than 80 countries. A breakthrough occurred in 2016. Netflix entered South Korea and began investing in Korean productions, beginning with Kingdom (2019-21) and Love Alarm (2019-21). In 2021, the global hit Squid Game was released simultaneously in 190 countries. Squid Game season three promises an ending to the gory competition. But Netflix only scratches the surface Last year, only 20 per cent of new K-drama releases were available on Western streaming platforms. This means global discussions about K-dramas are based on a limited subgroup of content promoted to viewers outside South Korea. Moreover, foreign viewers will generally evaluate this content based on Western conceptions of culture and narrative. They may, for instance, have Western preferences for genre and themes, or may disregard locally-specific contexts. This is partly why Korean and foreign audiences can end up with very different ideas of what 'Korean' television is. Historical dramas, such as Swordsman starring Yoon Soy, have played a pivotal role in the development of Korean TV drama. ( Reuters: Truth Leem ) Genres When a K-drama is classified as a sageuk (historical drama) but also incorporates elements of fantasy, mythology, romance, melodrama, crime fiction and/or comedy, foreign audiences may dismiss it as 'genre-confused'. Or, they may praise it for its 'genre-blending'. But the drama may not have been created with much attention to genre at all. The highly inventive world-building of pre-Netflix dramas such as Arang and the Magistrate (2012) and Guardian: The Lonely and Great God (2016) prominently feature all the aforementioned genres. While foreign viewers may think visual media begins with readily identifiable genres, many K-dramas aren't produced on this premise. Themes Western viewers (and other viewers watching through a Western lens) might assume 'liberal' themes such as systemic injustice, women's rights and collusion in politics entered K-dramas as a result of Western influence. But this is a misconception. The emergence of such themes can be attributed to various changes in Korean society, including the easing of censorship, rapid modernisation, and the imposition of neoliberal economics by the International Monetary Fund in 1997. Kim Ryeo-ryeong's novel The Trunk has been adapted into a K-drama. ( Supplied: Netflix ) Although gender disparities still exist in South Korea, economic uncertainty and modernisation have prompted a deconstruction of patriarchal value systems. Female-centred K-dramas have been around since at least the mid-2000s, with women's independence as a recurring theme in more recent dramas. Local contexts A major barrier to exporting K-dramas is the cultural specificity of certain elements, such as Confucian values, hierarchical family dynamics, gender codes and Korean speech codes. The global success of a K-drama comes down to how well its culturally-specific elements can be adapted for different contexts and audiences. In some cases, these elements may be minimised, or entirely missed, by foreign viewers. For example, in Squid Game, the words spoken by the killer doll in the first game are subtitled as 'green light, red light'. What the doll actually says is ' mugunghwa-kkochi pieot-seumnida ', which is also what the game is called in Korean. This translates to 'the mugunghwa (Rose of Saron) has bloomed', with mugunghwa being South Korea's national flower. These words, in this context, are meant to ironically redefine South Korea as a site of hopelessness and death. But the subtitles erase this double meaning. It's also difficult for subtitles to reflect nuanced Korean honorific systems of address. As such, foreign viewers remain largely oblivious to the subtle power dynamics at play between characters. All of this leads to a kind of cultural 'flattening', shifting foreign viewers' focus to so-called universal themes. A case study for global success Nevertheless, foreign viewers can still engage with many culturally-specific elements in K-dramas, which can also serve as cultural literacy. The hugely successful series Extraordinary Attorney Woo (2022) explores the personal and professional challenges faced by an autistic lawyer. Director Yoo In-sik described the series as distinctly Korean in both its humour and the legal system it portrays, and said he didn't anticipate its widespread popularity. Following success in South Korea, the series was acquired by Netflix and quickly entered the top 10 most popular non-English language shows. The global appeal can be attributed to its sensitive portrayal of the protagonist, the problem-solving theme across episodes, and what Yoo describes as a kind and considerate tone. Viewers who resonate with these qualities may not even need to engage with the Korean elements. Many K-dramas that achieve global success also feature elements typically considered 'Western', such as zombies. While the overall number of zombie-themed productions is low, series and films such as Kingdom (2019–21), All of Us Are Dead (2022), Alive (2020) and Train to Busan (2016) have helped put Korean content on the map. One potential effect of the zombie popularity may be the displacement of Korean mythological characters, such as fox spirits, or gumiho , which have traditionally held significant narrative space. Local production under threat The influence of streaming giants such as Netflix is impacting South Korea's local production systems. One consequence has been a substantial increase in production costs, which local companies can't compete with. The early vision of low-cost, high-return projects such as Squid Game is rapidly diminishing. Meanwhile, Netflix is exploring other locations, such as Japan, where dramas can be produced for about half the price of those in Korea. If this continues, the rise of Korean content may slow down. This article is republished from The Conversation under a Creative Commons licence. Read the original article.
