When we, as Australian (and colonial) creators, discuss a push-back against cultural cringe, we’re asking these question

This isn’t all that’s happening in the cafe, however: former owner Chay has also recently died, and is being kept in the world of the living against his will by his protege (and current proprietor of the Terminal), Maddy, who is trying desperately to resurrect him through the use of illegal rituals.

Maddy, whose lack of attention to detail was the driving force behind Chay’s death, does not meaningfully engage with it. She simply refuses; the trauma and guilt weighs too heavily on her shoulders. Her relationship with Chay becomes defined by a ghastly breach of consent, and she is so deeply stuck in survival mode that she sees no way out than to maintain the status quo.

The Stoic life centred around habits and routines — practices in which they engaged daily, from their waking moments until going to sleep, that provided the structure necessary for a day lived well. These practices can provide a blueprint for us, to help us to lead good and happy lives. This article outlines these practices, and how you can structure your day like a Stoic thousands of years later.

I spent most of my childhood living in various parts of California, and something that I always found striking was how conversational dynamics shifted when Americans weren’t at the table. It happened to an extent with Europeans, but the most fun conversations were always with other Australians or New Zealanders: we’d instantly drop the literalist facade, our accents would broaden, and our ‘inside voices’ would become a distant memory.

Most of the products I’ve highlighted are product bait. They’ve generated real sales, both through indirect traffic to other products, and people paying for joke products. Come to the dark side.

This is why I buy them in packs of three or five. I hate being at the mercy of a tiny tube, causing an eclipse with my massive beautiful biceps as I flex to press the paste out (that’s sarcasm, ps).

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keyframes is easy too. Select keyframes, press Ctrl/Cmd C or click on Copy from the dropdown menu on selected keyframes. After that you can paste them on any layer. Sometimes it is very usefull when you animate some layers the same way.

So instead, she resorts to gallows humour. This is a deeply Australian form of introversion — we process trauma alone in our own time, but when in company, we deflect, deflect, deflect.

In the case of the Brits, it’s a linguistic one-up-manship; a way of condescending, undermining, confronting or disagreeing without outright saying it, often for the amusement of other Brits — and, I’d argue, Aussies.

“Enjoy” is a strong word, perhaps. After all, if you suddenly found yourself wandering the streets of Melbourne as a ghost, you’d probably have a few questions. This is the dilemma that Kishan, the player foil, struggles with. Kishan is a young man who wanders into the cafe after dying of unclear causes, and throughout the course of Necrobarista, he processes his panic, fear, and grief with the support of the rest of the cast.

Most of the products I’ve highlighted are product bait. They’ve generated real sales, both through indirect traffic to other products, and people paying for joke products. Come to the dark side.

Necrobarista, a game on which I was the lead writer, is a character study of a group of people who each engage with grief, loss, and trauma in different ways, set in a Melbourne laneway cafe called The Terminal. This cafe, like many others, is a liminal space; uniquely, however, it sits on the boundary between our world and the afterlife, and is frequented by the spirits of the recently departed, who are granted twenty-four hours to enjoy the cafe before they’re asked to move on, lest the cafe incur a time debt from their choice to linger further. The balance must be maintained, after all.

The first thing you will be told as an Australian going to America, whether for a holiday, a work trip, or something more permanent, is that Americans don’t understand our jokes. Australian cultural coding runs so deep in our use of the English language that our ingrained sense of irony — and our absolutely relentless use of sarcasm — simply does not parse for outsiders. Gary Nunn, writing in the Sydney Morning Herald, argues that these tendencies are a sort of cryptolect, a culture-wide in-joke:

But upon further thought, I admire its resourcefulness. You’ll get more bang for your buck in the long run. It’s rather innovative. Scarcity is certainly a source of demand.

This is something that’s on show in every scene of The Dressmaker: every person living in the remote town of Dungatar has their own traumas, and each of them absolutely refuses to even consider engaging with them, lest their fragile socially-constructed shells shatter into dust. The only person in The Dressmaker willing to break that veil of silence is the protagonist, Tilly Dunnage, and the consequences of her actions are clear. By the end of the film, her mother has died of a stroke, her lover has drowned in a grain silo, and, having learned the truth behind her childhood traumas, Tilly has left Dungatar behind, burned to the ground by her hand.