‘Aussie Tourists Etiquette Compendium': How to avoid ‘looking like a bogan' overseas
'I'm currently working on an Aussie Tourists Etiquette Compendium, everyday tips to avoid looking like a bogan when you're abroad,' Mr Dean said.
'The first chapter deals with how to dress.'
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West Australian
5 hours ago
- West Australian
A quick guide to extend your Indonesia Visa in the summer of 2025
It sometimes feels like visas have been invented to ruin holiday plans. From securing Uzbekistan, Pakistan and Chinese visas when they still were a lengthy, red-tape-filled nightmare, I have compiled dozens of pages of visa application forms to visit countries all over Asia and beyond. I have recently extended my Indonesian visa — one of the most coveted given that Bali remains a top destination in Southeast Asia, and I would like to share the nitty gritty of my experience to help you make the best of your next Bali holiday — hopefully inspiring you to use some of that time to explore more of Indonesia's other beautiful 17,000 islands. Ready to handle some red tape? Here's my guide to getting an Indonesian e-visa and extending it while inside Indonesia. Australians and citizens of many other countries can certainly get a 30-day visa on arrival in Indonesia, which costs 500,000 rupiah ($47.50) and is extendable for up to another 30 days. It can be purchased with cash or using a credit card at most Indonesian airports — certainly at Ngurah Rai International Airport, one of the country's most popular entry points. But if you already know that you need to stay more than 30 days in Indonesia, I recommend instead to spend the little time needed to secure an Indonesian e-visa at The e-visa has the same cost as a visa on arrival, plus a mere 19,000 rupiah ($1.81) for transaction fees, but it's much more worth it. Why? First, it will make the process of extending your Indonesian visa faster and easier later, and second, having an e-visa before you land will help you go straight to the new electronic gates where you'll be able to enter the country just by scanning your passport's details page — no more stamping, questioning from immigration officers, and most important, no need to queue with the other hundred people who, unlike you, have to line up to pay for their visa on arrival. In the past, renewing an Indonesian visa on arrival was possible but required several visits to an immigration office in Indonesia, sometimes up to three times. Extremely time-consuming. The is very convenient because it helps cut down that process to no visit or maybe just one — some offices, Bali in particular, now require candidates to visit once to have their picture taken before they can approve a visa extension. Even if you can purchase an e-visa without registering an account with my recommendation is to create one because by having a profile you'll not only be able to log-in and find your application way faster, but you'll also be able to use the same log-in profile for future visits to Indonesia. Once you have registered on and have a user ID and password, the website is quite straightforward in asking you to compile your details and upload a picture of your passport and a return ticket. It's important to understand that You can submit a ticket that's more than 30 days from your arrival because this system is automated — nobody will check the return date, for now. As extensions are pretty much a guarantee, don't be afraid to buy your return ticket for the date you want within 60 days of your arrival. You will pay by international debit or credit card following a link in your profile's visa request success page you can access by logging in and checking your profile. Keep in mind that you are not allowed to extend your visa until 14 days before your current one expires. The website will not let you do so, returning an error message. Don't panic and enjoy your holiday. You don't have to apply for an extension exactly on your 16th day, but it helps to know this because if you plan to travel somewhere offbeat with a lack of Internet connection, it's a good idea to pay for your visa extension as early as possible — in fact, as long as you have paid for it, it is understood that even if Indonesian immigration will be late in processing your extension, you would not face the very high 1,000,000 rupiah ($95) daily overstay fee. This said, don't leave until the last minute because yes, Indonesian immigration often takes some time to review the applications, there are many holidays when offices are closed, and there have been cases in which when an extension has not been settled on the last day of a visa, tourists have paid overstay fines. The process is quite simple: once you log in, you should see a tab with your current visa information and, at the end of the line, a check box for action — select 'renew' and follow the instructions on the screen. A 'renew' option is also available on the upper part of the website's selection menu. The important thing to input at this stage is an address in Indonesia — a hotel or guest house is sufficient — considering that it's important to use an address in the Indonesian island or city you plan to be in at the end of your current visa. This is because, since August 2024, Indonesian immigration, especially in Bali, requires a person to visit an immigration office to have their picture taken before a visa extension can be approved. After this process, visa extensions are generally approved immediately. You will receive a confirmation and a PDF file with your extension via email within a few hours. Just keep it saved in your mobile phone. It's unlikely you'll be asked for it, especially because once you leave Indonesia, you'll use some automatic gates to exit the country. Make sure you know when your visa extension's last day is, because it can only be extended one time, and overstay fees are expensive and not worth the hassle. Enjoy your 60 days in Indonesia!
Sky News AU
6 hours ago
- Sky News AU
‘Appalling': Attempts made to stop Zionist singer from performing in Sydney
Sky News host Rowan Dean discusses the 'appalling story' involving the Australian singer Deborah Conway. Mr Dean said people in Sydney are attempting to 'prevent' Deborah Conway from performing at Marrickville in August, due to her Zionist views. 'Yet so deranged and unhinged are some people that they are trying to have the concert cancelled. 'Even fellow artists who should hang their heads in shame.'
Sydney Morning Herald
8 hours ago
- Sydney Morning Herald
The screen queens building Brisbane's answer to Pixar
Five of the films take place in the same cinematic universe. 'Sanctuary City' is a seaside utopia inhabited by animals from every continent, but dominated by Australian ones, voiced by the likes of Deborah Mailman, Sam Neill, Angourie Rice, Thomas Weatherall and David Wenham. 'What's so impressive about their work is that they are championing Australian talent,' says Australian Cinémathèque associate curator Rosie Hays, who has programmed the Like A Photon Creative back catalogue for a Saturday screening series at GOMA. 'They're Brisbane-based. They're doing all of the things that many in the film industry say are not possible. I love that they're women-led, and I love that they just get on with making great stories.' On a cold Wednesday morning in a nondescript office block in West End, Bates and Souvlis are getting on with the storymaking business. Both graduates of the Bachelor of Creative Industries at QUT, the two met while working on children's TV at Channel 10 on Mount Coot-tha and decided to start out on their own. 'The industry was changing. YouTube Kids was just coming about, so I was looking at the media landscape for kids and thinking that we had something to offer,' Souvlis says. 'We were really dedicated and passionate about quality children's content that had kindness and representation at its heart.' Despite having experience in live action only they quickly became the first female Australians to be commissioned to make an animation for Sesame Street (titled 1 to 10 Hoedown). At the same time Disney commissioned them to make a 26-episode preschool series, Balloon Barnyard, about two balloon donkeys who solve problems and mysteries. The third string to their bow was a reading app for children called Kindergo, which rose to be the number one kids' app in over 30 countries. That's when Universal Pictures came knocking. 'Universal said, 'would you be interested in doing theatrical releases in Australia for Australian audiences? Can you create us a movie?'' Bates, a former teacher and children's book publisher, recalls. 'And we said, 'what if we created you a Marvel-esque universe whereby we had six to 10 films, and all of those stories wove into each other. Wouldn't that be better?' And they said, 'yeah, actually that would be better.'' The first cab off the rank in was The Wishmas Tree, both a cautionary environmental tale and a smart dive into the yuletide film market. Despite an unlikeable protagonist and a curtailed cinema release due to COVID, it got them off to a strong start. The film that followed, superhero story Combat Wombat starring Mailman, taught them a major lesson in what makes a character relatable. 'A 40-year-old, reluctant female superhero – you couldn't possibly tell where that idea came from,' Souvlis laughs. 'In the beginning, I was like, 'kids won't relate to this',' Bates says. 'But you find the heart of that hero. I mean, look at [2009 Pixar film] Up: you've got your older character and your younger character, and you feel just as strongly for the old character.' Occupying a pleasing middle ground between Hollywood and Studio Ghibli, the Sanctuary City movies are both earthily comedic ('You've gotta make 'em laugh,' Bates says) and emotionally affecting. Amid the knockabout action, Daisy Quokka portrays a child finding her own path and a parent reconciling with his estranged daughter. The Lost Tiger tackles First Nations identity in the story of a thylacine adopted by kangaroos as a baby who reconnects with his mob. Then there's The Sloth Lane – an anti-fast food quasi-zombie movie that is also a heartfelt celebration of family. With its cast including Latino and American actors, the 2024 film played on 1000 screens in both North and South America. Bates says that they feel a responsibility to tell stories about kindness, empathy and compassion. 'That there are consequences to actions. That you have responsibilities within a family or community unit. They're inherent in all of the stories that we do.' They also decided early on that continuity of work was crucial. 'We're not project-by-project; we are a pipeline,' Souvlis says. 'Our staff are the most important people that are ever going to come through our building.' They have nurtured directors including Murray, Tania Vincent and Ricard Cussó. Cussó now co-runs Cosmic Dino, the studio tasked with production on the Bluey movie for Ludo, the BBC and Disney. Bates points out that the first four animated movies to be directed by women in Australia are all theirs – and all three of the filmmakers were pregnant during production. 'Being able to offer the opportunity for women to work in the industry in the way that men take for granted is really important to us.' Nor is it insignificant that their first six movies all have female protagonists. Several hissworthy villains are women too, ranging from Judith Lucy's scheming PR-agent koala in Combat Wombat to Celeste Barber's greedy archeologist in The Lost Tiger. Launching a movie business during COVID followed by a crisis in the streaming business has made them resilient, Souvlis says. 'We didn't have a lot of luck on our side when we started out, and that has made us better business people.' Loading Crucial to their success has been support from Screen Queensland through the Screen Finance Fund and the Post, Digital and Visual Effects (PDV) Incentive. Its chief creative officer, Dr Belinda Burns, says companies such as Like a Photon Creative are putting Queensland on the map for animation. 'Nadine and Kristen have built a dynamic production company with a unique slate of characters and films, while also amplifying diverse voices,' she says. Any parent who has despaired at the hold that YouTube Kids has on young viewers should rejoice that children's screen entertainment still has passionate advocates. Yet it's a rapidly shrinking genre, internationally and locally. 'There are no buyers in Australia, really, because we don't have any quotas,' Souvlis laments. Nevertheless, the Photons are poised for greater success. Their next film, Pout-Pout Fish: The Movie, is in the can. Based on a New York Times best-selling picture book, and nearly double the budget of any previous LAPC film, its voice cast includes Nick Offerman, Amy Sedaris, Jordin Sparks and Miranda Otto. It's being made in collaboration with another female-owned production house, New York-based MIMO Studios. So is another film based on a major children's book, Maggie and Abby's Neverending Pillow Fort, currently in production for a 2026 release under director Allison Brownmore. Just like Daisy Quokka, creative people in Brisbane are used to being underestimated and overlooked. But Bates believes it's precisely this that has given them the drive to succeed. 'It's because we are underdogs, right? Because we aren't having opportunities handed to us,' she says. 'We have been called 'regional filmmakers' before,' Souvlis laughs. 'People come here and go, 'Oh! There's a city here!''
