The incredible true-crime story that changed UK legal history
'I am guilty; I'm a little confused.' So spoke Ruth Ellis, a 28-year-old Welsh-born nightclub hostess after firing five bullets into her lover, racing driver David Blakely, one Easter Sunday evening in 1955 London.
Blakely's death spurred a notorious chapter in UK legal history and won Ellis enduring fame as the last woman to be hung in Britain. Her execution brought to the boil swelling opposition to capital punishment (permanently abolished for murder in 1969) and played a part in the introduction of the 'diminished responsibility' defence, allowing the verdict of manslaughter.
It also shone a light on the alarmingly swift process to convict Ellis and the treatment of women, particularly those in the lower classes. It's the latter that A Cruel Love: The Ruth Ellis Story, ITV's magnetic, if occasionally hollow, four-part true-crime drama, magnifies with swish, hypnotic eloquence.
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Adapted from Carol Ann Lee's biography, A Fine Day for Hanging: The Real Ruth Ellis Story, the series is so beautifully shot that the lighting, set and costume hues and poetic positioning of faces and body turn every frame into an Edward Hopper painting. The camera is either pulled back for beautiful scene compositions (the watery natural light in Ellis' prison cell, the smoke-fugged velvet-curtained nightclub where she hosted men, the ordered establishment of the wood-panelled courtroom with a male-only jury), or extraordinarily close-up.
The hair's breadth's away lens is why this series belongs to actor Lucy Boynton (Bohemian Rhapsody). She plays Ellis, a tiny red-lipsticked platinum blonde and single mother-of-two, with a steely and compelling delicacy. There are times watching this series when I searched her face, its pores millimetres from the camera, for any glimmer of why Ellis refused, initially, to defend herself after her arrest. Boynton's facial movements are minute yet intensely perceptible, revealing inner turmoil and Ellis' long-honed resolve to endure lesser treatment.
It's clear, if a little drawn out over the series' 160-minutes, that Blakely (Laurie Davidson), who meets Ellis at the Little Club in Knightsbridge which she managed, is a piece of work. Depicted as a privileged, hard-drinking and violent manipulator, his chaotic presence, which included repeated beatings, lasted two years before Ellis shot him. It's clear why but the people who could have helped mitigate her actions, and sentence, are everywhere – and equally at fault.
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Can a bus full of Greta Thunbergs save the planet? Damon Gameau hopes so
"The Future Council will see you now." A sharp-dressed CEO steps forward into the light to present his corporation's plan. "We're thinking about drilling for more oil and gas." There's a pause as members of the council seated in front of him glance at each other. One gives an eyeroll. Then they all burst out laughing. The Future Council members are all children. Welcome to the Future Council, a documentary that strives to imagine a totally different way of doing things for kids worried about the future of the planet. The 80-minute film follows eight children travelling across Europe in a bright yellow, vegetable oil-powered school bus to better understand the climate crisis. Director Damon Gameau (That Sugar Film) leads the children, including Ruby Rodgers the granddaughter of singer Jimmy Barnes, on their handsomely filmed excursion through spectacular widescreen landscapes. His film features funny fantasy sequences like the imagined all-powerful council of kids and fantastical visual effects to depict the complicated way the world - aka the global economy - currently works. It also confronts the viewer with upsetting moments of these bright and charming children in tears as they are asked to talk about their fears for the future ("we're doomed," says one). The children also meet adults in positions of power at big corporations. They suggest ideas, ask questions and express their anger. "You are not a powerful leader, you are a disgrace," Skye Neville, a Welsh teenager, tells Nestle's global head of public affairs at the food and beverage giant's Swiss HQ. Gameau, whose 2019 documentary 2040 also drilled into environmental awareness, recently spoke about his provocative new film, which is screening in cinemas from August 7, and the actual child-led Future Council it is launching. This interview has been edited for clarity and brevity. JJ: You took me on quite a journey with this film. I started off feeling quite angry about what you were doing to these kids. I felt upset for them - that they were being asked to take all this on when they are just kids. By the end, there is some hope, inspiration, ideas and energy, which is great. But my first question is, are the kids alright? DG: I think that's the biggest question we can ask collectively right now. Are our kids OK? And I don't think they are. I think we need to be honest. They're not OK because we're not doing anywhere near enough. This generation is watching the ocean and the waterways fill up with plastic. They are watching the evisceration of nature. And they're feeling it. They're the generation that has to live in that world and the point of the film is to let their voices be heard because we haven't wanted to listen to them. Many adults will say they are just children, that we know what's best and we impose our own childhoods onto those children. What I learnt doing 2024 and taking it around the world, visiting classrooms, was that these children have access to far more information than any other generation in history and a lot of them know far more than a lot about adults do, particularly around sustainability. And they're so passionate about it. So, this film is trying to bridge that gap. We don't want these kids to solve the problem. The adults have to step up there. We don't want these children to have to understand the complexities of the system and geopolitics. What the children bring is this refreshing creativity, which absolutely we could do with. They also bring a bloody morality - and a morality that's really missing from the system right now. So many of our leaders and big corporations are acting psychopathically because that's what the system allows: short-term thinking, maximum extraction. And the children get to say 'Hang on, where's the humanity in all this? How are we considering humans in this big system that's just marching forward'. I didn't know what to expect as I watched the auditions - we had 1300 children apply. But I was just bowled over by their acumen and how switched on and how passionate they were. And I thought, you know what, maybe this is a moment in history when they do, and should, have a proper voice. Not just protesting on the streets - because that gets them shut down. How else can we get these kids together as a network so they can alleviate some of their anxiety and feel like they're actually contributing? Let's get them heard by some of these leaders and find a way to unleash their creativity. JJ: Are you saying that it's fantasy or defensive or denial from grown-ups to say: can the kids just please be allowed to be kids? Can't they have their childhood and not have to worry about this stuff until maybe they have actual agency in their lives? Instead of being in tears at age 10, don't they deserve their innocence, their chance to not have to worry? DG: Yeah, but we've got to ask why they're crying? Why is there a child crying at 10? And it's because that child goes and cleans up the plastic from her beach every single Sunday. She started a beach pick-up club but she's watching the plastic get more and more and no one in her government or community is giving a shit like she does and she doesn't understand. If we were doing our jobs and looking after the planet they wouldn't be feeling this way. I'm with you. I wish we were not in this situation and so do these children. But unfortunately adults aren't stepping up so they feel they have to because that's the future they're going to inherit. I still speak to the kids most weeks now and they're all doing well. None of them are obsessed with trying to fix all the things wrong with the planet themselves. They've got lots of other interests. They just also care about this stuff. But I'm with you. I think, gosh, it'd be great if kids didn't have to go through this. JJ: But my heart breaks for Skye, who is so angry. At her age, doesn't she deserve to not have that anger? DG: Yeah, you're right. She does. But she's in a village, Fairbourne, that's about to go under the water - the first one in the Western world because of climate. So, that's why she's angry - because she's losing her home and no one cares. So we can't say 'Skye, it's fine, don't worry about it'. No, no, it's so real to her because she's losing her home and that's why she's got that fire in her belly. It's difficult. We can't ask her just to stop because she's fighting for something bigger than we understand. JJ: But when [Aussie eco-activist] Clover Hogan tells the kids "eco-anxiety is a really healthy response" - that stabbed me. I understand the statement, maybe, as a philosophical perspective. But is it healthy for a 10-year-old? DG: As they discuss in the film, if you're not feeling something right now ask yourself a question. When you look at the dehumanising going on the world; when you look at how much nature we're losing; when you look at the pollution and the algal bloom that's killing sea creatures in South Australia - if you're not feeling some kind of emotion, where are you at? How disconnected are you actually with the living world? So, there are so many complex discussions to have and that's the point of the film. Let's have a proper conversation because children are feeling things more deeply than maybe a few more adults should be. JJ: I'm not sure I will be alone in my initial reaction against the film. I don't want to give in completely to my inner Sky News After Dark voice, but there's an impulse to say 'Just leave the kids alone, let them be kids, stop turning them all into Greta Thunberg'. I think we'd prefer for our kids to be like the boy from Norfolk Island [Hiva] who just cherishes birds and wants to take photos of them. DG: I appreciate you sharing your honesty because, as you know, in so many of these calls people - even if they are feeling that way - they just tiptoe through. But these are conversations we need to be having so thanks for being honest. The whole point of the Future Council for the child is that we partner you with organisations and companies so you can help, so you can design products, start to shape your own future so you don't feel hopeless and are crying all the time and feeling that there's nothing left for your future. How do we bring together all these children around the world that are feeling like this and network them so they can meet the right people to get action and feel like they're doing something? I get it. The reactive response - the Sky News response - is to go 'But the children!' JJ: Won't somebody please think of the children? DG: [Laughs] Yeah, exactly - but that's exactly what I would say back. JJ: I started off feeling angry and upset seeing these kids feeling this angry and upset. Like when we see kids take a day off school to wave placards. They haven't had to make adult decisions yet - like holding down a job or having to buy groceries that only come in plastic packaging - they're kids. DG: The kids in the film do come to realise that there are some really good humans who care about the planet and who have children and who are working in these massive corporations. So, perhaps the Greta bolshie approach isn't actually the only way to do this. We need to humanise this and also work from within to solve these problems because, you know what, let's be honest, activism hasn't really worked. I mean, we're eating more meat than ever despite veganism, we're spraying more chemicals than ever despite 'silent spring'. It can't be the only way. We have to do things differently. JJ: What do you hope the film achieves? Is it about getting more kids picking up plastic at the beach, which everyone should do of course? Or is it bigger than individual action? DG: We don't want this to be just a film. We want this to go bigger. We want to invite other children in, which has happened already. We have set them up as a child-led organisation where the adults are obviously doing all the governance and guiding them but a lot of the decisions are coming from them. So we've got board members, we've got a COO, it's set up as a not-for-profit and we're starting to work with companies. We're doing a trial at the moment with Officeworks, for example, so the children are actually going in and working with Officeworks to help design the most sustainable backpacks and pencil cases and stationery to use in school. They have a tangible outcome that translates their grief into action. The council then takes a clip of the profits and it goes into a fund and the kids allocate that to nature repair projects around the world. So, the idea is that we are doing that with 50 companies a year from now as we take the film around Australia and Europe and America over the coming months. Really, the film is a small part of it. It's just the recruitment piece and our screenings in Australia have already had 50 kids sign up because they do feel a bit of hope. They want to meet other kids like them and they want to do something. We're setting up a network for the children so they feel like they are contributing to their own future instead of protesting on the streets. JJ: Obviously parents of children up to a certain age are the gatekeepers for watching this film. And maybe schools and teachers. What's the message to parents who might be scared off, not wanting their kids to feel upset or angry or powerless? DG: I guess that's the feeling some parents will have too. Like the previous films I've done, I want to create a space for the family to go and watch and have these feelings together and then talk about it when they get home. We know that some kids are completely oblivious to this stuff. But I reckon there's seven or eight kids in every classroom around the world right now that feel pretty strongly about it but they feel like they're the weirdo or ostracised. This film is the chance to let your child know that they can be heard, that there are other kids like them and there are things they can do. They don't have to just sit in this despair or get overwhelmed by this anxiety - they can join up with other kids and start to take action. JJ: Can you have a crack at social media next? You just said that some kids are oblivious to what's going on with the environment and that's probably the reason! DG: [Laughs] You're not the first person who's asked me that. But you're right. It's clearly a major issue. People are taking this very seriously now thankfully. JJ: The Australian government, to its credit, is giving it a crack. It was impressive to hear the new Communications Minister Anika Wells say "We want kids to know who they are before platforms assume who they are". DG: Yes, that was a great line. And this would be a rare thing in the world right now - actually getting bipartisan support. It's a very uniting issue - and we don't have many of those! So, the seed is planted. Someone asked me years ago to do this after That Sugar Film but I just baulked because it was already bad enough going to dinner parties and everyone would hide dessert. But if I then did something about phones and social media? I'm not going to get invited anywhere! My life's over! "The Future Council will see you now." A sharp-dressed CEO steps forward into the light to present his corporation's plan. "We're thinking about drilling for more oil and gas." There's a pause as members of the council seated in front of him glance at each other. One gives an eyeroll. Then they all burst out laughing. The Future Council members are all children. Welcome to the Future Council, a documentary that strives to imagine a totally different way of doing things for kids worried about the future of the planet. The 80-minute film follows eight children travelling across Europe in a bright yellow, vegetable oil-powered school bus to better understand the climate crisis. Director Damon Gameau (That Sugar Film) leads the children, including Ruby Rodgers the granddaughter of singer Jimmy Barnes, on their handsomely filmed excursion through spectacular widescreen landscapes. His film features funny fantasy sequences like the imagined all-powerful council of kids and fantastical visual effects to depict the complicated way the world - aka the global economy - currently works. It also confronts the viewer with upsetting moments of these bright and charming children in tears as they are asked to talk about their fears for the future ("we're doomed," says one). The children also meet adults in positions of power at big corporations. They suggest ideas, ask questions and express their anger. "You are not a powerful leader, you are a disgrace," Skye Neville, a Welsh teenager, tells Nestle's global head of public affairs at the food and beverage giant's Swiss HQ. Gameau, whose 2019 documentary 2040 also drilled into environmental awareness, recently spoke about his provocative new film, which is screening in cinemas from August 7, and the actual child-led Future Council it is launching. This interview has been edited for clarity and brevity. JJ: You took me on quite a journey with this film. I started off feeling quite angry about what you were doing to these kids. I felt upset for them - that they were being asked to take all this on when they are just kids. By the end, there is some hope, inspiration, ideas and energy, which is great. But my first question is, are the kids alright? DG: I think that's the biggest question we can ask collectively right now. Are our kids OK? And I don't think they are. I think we need to be honest. They're not OK because we're not doing anywhere near enough. This generation is watching the ocean and the waterways fill up with plastic. They are watching the evisceration of nature. And they're feeling it. They're the generation that has to live in that world and the point of the film is to let their voices be heard because we haven't wanted to listen to them. Many adults will say they are just children, that we know what's best and we impose our own childhoods onto those children. What I learnt doing 2024 and taking it around the world, visiting classrooms, was that these children have access to far more information than any other generation in history and a lot of them know far more than a lot about adults do, particularly around sustainability. And they're so passionate about it. So, this film is trying to bridge that gap. We don't want these kids to solve the problem. The adults have to step up there. We don't want these children to have to understand the complexities of the system and geopolitics. What the children bring is this refreshing creativity, which absolutely we could do with. They also bring a bloody morality - and a morality that's really missing from the system right now. So many of our leaders and big corporations are acting psychopathically because that's what the system allows: short-term thinking, maximum extraction. And the children get to say 'Hang on, where's the humanity in all this? How are we considering humans in this big system that's just marching forward'. I didn't know what to expect as I watched the auditions - we had 1300 children apply. But I was just bowled over by their acumen and how switched on and how passionate they were. And I thought, you know what, maybe this is a moment in history when they do, and should, have a proper voice. Not just protesting on the streets - because that gets them shut down. How else can we get these kids together as a network so they can alleviate some of their anxiety and feel like they're actually contributing? Let's get them heard by some of these leaders and find a way to unleash their creativity. JJ: Are you saying that it's fantasy or defensive or denial from grown-ups to say: can the kids just please be allowed to be kids? Can't they have their childhood and not have to worry about this stuff until maybe they have actual agency in their lives? Instead of being in tears at age 10, don't they deserve their innocence, their chance to not have to worry? DG: Yeah, but we've got to ask why they're crying? Why is there a child crying at 10? And it's because that child goes and cleans up the plastic from her beach every single Sunday. She started a beach pick-up club but she's watching the plastic get more and more and no one in her government or community is giving a shit like she does and she doesn't understand. If we were doing our jobs and looking after the planet they wouldn't be feeling this way. I'm with you. I wish we were not in this situation and so do these children. But unfortunately adults aren't stepping up so they feel they have to because that's the future they're going to inherit. I still speak to the kids most weeks now and they're all doing well. None of them are obsessed with trying to fix all the things wrong with the planet themselves. They've got lots of other interests. They just also care about this stuff. But I'm with you. I think, gosh, it'd be great if kids didn't have to go through this. JJ: But my heart breaks for Skye, who is so angry. At her age, doesn't she deserve to not have that anger? DG: Yeah, you're right. She does. But she's in a village, Fairbourne, that's about to go under the water - the first one in the Western world because of climate. So, that's why she's angry - because she's losing her home and no one cares. So we can't say 'Skye, it's fine, don't worry about it'. No, no, it's so real to her because she's losing her home and that's why she's got that fire in her belly. It's difficult. We can't ask her just to stop because she's fighting for something bigger than we understand. JJ: But when [Aussie eco-activist] Clover Hogan tells the kids "eco-anxiety is a really healthy response" - that stabbed me. I understand the statement, maybe, as a philosophical perspective. But is it healthy for a 10-year-old? DG: As they discuss in the film, if you're not feeling something right now ask yourself a question. When you look at the dehumanising going on the world; when you look at how much nature we're losing; when you look at the pollution and the algal bloom that's killing sea creatures in South Australia - if you're not feeling some kind of emotion, where are you at? How disconnected are you actually with the living world? So, there are so many complex discussions to have and that's the point of the film. Let's have a proper conversation because children are feeling things more deeply than maybe a few more adults should be. JJ: I'm not sure I will be alone in my initial reaction against the film. I don't want to give in completely to my inner Sky News After Dark voice, but there's an impulse to say 'Just leave the kids alone, let them be kids, stop turning them all into Greta Thunberg'. I think we'd prefer for our kids to be like the boy from Norfolk Island [Hiva] who just cherishes birds and wants to take photos of them. DG: I appreciate you sharing your honesty because, as you know, in so many of these calls people - even if they are feeling that way - they just tiptoe through. But these are conversations we need to be having so thanks for being honest. The whole point of the Future Council for the child is that we partner you with organisations and companies so you can help, so you can design products, start to shape your own future so you don't feel hopeless and are crying all the time and feeling that there's nothing left for your future. How do we bring together all these children around the world that are feeling like this and network them so they can meet the right people to get action and feel like they're doing something? I get it. The reactive response - the Sky News response - is to go 'But the children!' JJ: Won't somebody please think of the children? DG: [Laughs] Yeah, exactly - but that's exactly what I would say back. JJ: I started off feeling angry and upset seeing these kids feeling this angry and upset. Like when we see kids take a day off school to wave placards. They haven't had to make adult decisions yet - like holding down a job or having to buy groceries that only come in plastic packaging - they're kids. DG: The kids in the film do come to realise that there are some really good humans who care about the planet and who have children and who are working in these massive corporations. So, perhaps the Greta bolshie approach isn't actually the only way to do this. We need to humanise this and also work from within to solve these problems because, you know what, let's be honest, activism hasn't really worked. I mean, we're eating more meat than ever despite veganism, we're spraying more chemicals than ever despite 'silent spring'. It can't be the only way. We have to do things differently. JJ: What do you hope the film achieves? Is it about getting more kids picking up plastic at the beach, which everyone should do of course? Or is it bigger than individual action? DG: We don't want this to be just a film. We want this to go bigger. We want to invite other children in, which has happened already. We have set them up as a child-led organisation where the adults are obviously doing all the governance and guiding them but a lot of the decisions are coming from them. So we've got board members, we've got a COO, it's set up as a not-for-profit and we're starting to work with companies. We're doing a trial at the moment with Officeworks, for example, so the children are actually going in and working with Officeworks to help design the most sustainable backpacks and pencil cases and stationery to use in school. They have a tangible outcome that translates their grief into action. The council then takes a clip of the profits and it goes into a fund and the kids allocate that to nature repair projects around the world. So, the idea is that we are doing that with 50 companies a year from now as we take the film around Australia and Europe and America over the coming months. Really, the film is a small part of it. It's just the recruitment piece and our screenings in Australia have already had 50 kids sign up because they do feel a bit of hope. They want to meet other kids like them and they want to do something. We're setting up a network for the children so they feel like they are contributing to their own future instead of protesting on the streets. JJ: Obviously parents of children up to a certain age are the gatekeepers for watching this film. And maybe schools and teachers. What's the message to parents who might be scared off, not wanting their kids to feel upset or angry or powerless? DG: I guess that's the feeling some parents will have too. Like the previous films I've done, I want to create a space for the family to go and watch and have these feelings together and then talk about it when they get home. We know that some kids are completely oblivious to this stuff. But I reckon there's seven or eight kids in every classroom around the world right now that feel pretty strongly about it but they feel like they're the weirdo or ostracised. This film is the chance to let your child know that they can be heard, that there are other kids like them and there are things they can do. They don't have to just sit in this despair or get overwhelmed by this anxiety - they can join up with other kids and start to take action. JJ: Can you have a crack at social media next? You just said that some kids are oblivious to what's going on with the environment and that's probably the reason! DG: [Laughs] You're not the first person who's asked me that. But you're right. It's clearly a major issue. People are taking this very seriously now thankfully. JJ: The Australian government, to its credit, is giving it a crack. It was impressive to hear the new Communications Minister Anika Wells say "We want kids to know who they are before platforms assume who they are". DG: Yes, that was a great line. And this would be a rare thing in the world right now - actually getting bipartisan support. It's a very uniting issue - and we don't have many of those! So, the seed is planted. Someone asked me years ago to do this after That Sugar Film but I just baulked because it was already bad enough going to dinner parties and everyone would hide dessert. But if I then did something about phones and social media? I'm not going to get invited anywhere! My life's over! "The Future Council will see you now." A sharp-dressed CEO steps forward into the light to present his corporation's plan. "We're thinking about drilling for more oil and gas." There's a pause as members of the council seated in front of him glance at each other. One gives an eyeroll. Then they all burst out laughing. The Future Council members are all children. Welcome to the Future Council, a documentary that strives to imagine a totally different way of doing things for kids worried about the future of the planet. The 80-minute film follows eight children travelling across Europe in a bright yellow, vegetable oil-powered school bus to better understand the climate crisis. Director Damon Gameau (That Sugar Film) leads the children, including Ruby Rodgers the granddaughter of singer Jimmy Barnes, on their handsomely filmed excursion through spectacular widescreen landscapes. His film features funny fantasy sequences like the imagined all-powerful council of kids and fantastical visual effects to depict the complicated way the world - aka the global economy - currently works. It also confronts the viewer with upsetting moments of these bright and charming children in tears as they are asked to talk about their fears for the future ("we're doomed," says one). The children also meet adults in positions of power at big corporations. They suggest ideas, ask questions and express their anger. "You are not a powerful leader, you are a disgrace," Skye Neville, a Welsh teenager, tells Nestle's global head of public affairs at the food and beverage giant's Swiss HQ. Gameau, whose 2019 documentary 2040 also drilled into environmental awareness, recently spoke about his provocative new film, which is screening in cinemas from August 7, and the actual child-led Future Council it is launching. This interview has been edited for clarity and brevity. JJ: You took me on quite a journey with this film. I started off feeling quite angry about what you were doing to these kids. I felt upset for them - that they were being asked to take all this on when they are just kids. By the end, there is some hope, inspiration, ideas and energy, which is great. But my first question is, are the kids alright? DG: I think that's the biggest question we can ask collectively right now. Are our kids OK? And I don't think they are. I think we need to be honest. They're not OK because we're not doing anywhere near enough. This generation is watching the ocean and the waterways fill up with plastic. They are watching the evisceration of nature. And they're feeling it. They're the generation that has to live in that world and the point of the film is to let their voices be heard because we haven't wanted to listen to them. Many adults will say they are just children, that we know what's best and we impose our own childhoods onto those children. What I learnt doing 2024 and taking it around the world, visiting classrooms, was that these children have access to far more information than any other generation in history and a lot of them know far more than a lot about adults do, particularly around sustainability. And they're so passionate about it. So, this film is trying to bridge that gap. We don't want these kids to solve the problem. The adults have to step up there. We don't want these children to have to understand the complexities of the system and geopolitics. What the children bring is this refreshing creativity, which absolutely we could do with. They also bring a bloody morality - and a morality that's really missing from the system right now. So many of our leaders and big corporations are acting psychopathically because that's what the system allows: short-term thinking, maximum extraction. And the children get to say 'Hang on, where's the humanity in all this? How are we considering humans in this big system that's just marching forward'. I didn't know what to expect as I watched the auditions - we had 1300 children apply. But I was just bowled over by their acumen and how switched on and how passionate they were. And I thought, you know what, maybe this is a moment in history when they do, and should, have a proper voice. Not just protesting on the streets - because that gets them shut down. How else can we get these kids together as a network so they can alleviate some of their anxiety and feel like they're actually contributing? Let's get them heard by some of these leaders and find a way to unleash their creativity. JJ: Are you saying that it's fantasy or defensive or denial from grown-ups to say: can the kids just please be allowed to be kids? Can't they have their childhood and not have to worry about this stuff until maybe they have actual agency in their lives? Instead of being in tears at age 10, don't they deserve their innocence, their chance to not have to worry? DG: Yeah, but we've got to ask why they're crying? Why is there a child crying at 10? And it's because that child goes and cleans up the plastic from her beach every single Sunday. She started a beach pick-up club but she's watching the plastic get more and more and no one in her government or community is giving a shit like she does and she doesn't understand. If we were doing our jobs and looking after the planet they wouldn't be feeling this way. I'm with you. I wish we were not in this situation and so do these children. But unfortunately adults aren't stepping up so they feel they have to because that's the future they're going to inherit. I still speak to the kids most weeks now and they're all doing well. None of them are obsessed with trying to fix all the things wrong with the planet themselves. They've got lots of other interests. They just also care about this stuff. But I'm with you. I think, gosh, it'd be great if kids didn't have to go through this. JJ: But my heart breaks for Skye, who is so angry. At her age, doesn't she deserve to not have that anger? DG: Yeah, you're right. She does. But she's in a village, Fairbourne, that's about to go under the water - the first one in the Western world because of climate. So, that's why she's angry - because she's losing her home and no one cares. So we can't say 'Skye, it's fine, don't worry about it'. No, no, it's so real to her because she's losing her home and that's why she's got that fire in her belly. It's difficult. We can't ask her just to stop because she's fighting for something bigger than we understand. JJ: But when [Aussie eco-activist] Clover Hogan tells the kids "eco-anxiety is a really healthy response" - that stabbed me. I understand the statement, maybe, as a philosophical perspective. But is it healthy for a 10-year-old? DG: As they discuss in the film, if you're not feeling something right now ask yourself a question. When you look at the dehumanising going on the world; when you look at how much nature we're losing; when you look at the pollution and the algal bloom that's killing sea creatures in South Australia - if you're not feeling some kind of emotion, where are you at? How disconnected are you actually with the living world? So, there are so many complex discussions to have and that's the point of the film. Let's have a proper conversation because children are feeling things more deeply than maybe a few more adults should be. JJ: I'm not sure I will be alone in my initial reaction against the film. I don't want to give in completely to my inner Sky News After Dark voice, but there's an impulse to say 'Just leave the kids alone, let them be kids, stop turning them all into Greta Thunberg'. I think we'd prefer for our kids to be like the boy from Norfolk Island [Hiva] who just cherishes birds and wants to take photos of them. DG: I appreciate you sharing your honesty because, as you know, in so many of these calls people - even if they are feeling that way - they just tiptoe through. But these are conversations we need to be having so thanks for being honest. The whole point of the Future Council for the child is that we partner you with organisations and companies so you can help, so you can design products, start to shape your own future so you don't feel hopeless and are crying all the time and feeling that there's nothing left for your future. How do we bring together all these children around the world that are feeling like this and network them so they can meet the right people to get action and feel like they're doing something? I get it. The reactive response - the Sky News response - is to go 'But the children!' JJ: Won't somebody please think of the children? DG: [Laughs] Yeah, exactly - but that's exactly what I would say back. JJ: I started off feeling angry and upset seeing these kids feeling this angry and upset. Like when we see kids take a day off school to wave placards. They haven't had to make adult decisions yet - like holding down a job or having to buy groceries that only come in plastic packaging - they're kids. DG: The kids in the film do come to realise that there are some really good humans who care about the planet and who have children and who are working in these massive corporations. So, perhaps the Greta bolshie approach isn't actually the only way to do this. We need to humanise this and also work from within to solve these problems because, you know what, let's be honest, activism hasn't really worked. I mean, we're eating more meat than ever despite veganism, we're spraying more chemicals than ever despite 'silent spring'. It can't be the only way. We have to do things differently. JJ: What do you hope the film achieves? Is it about getting more kids picking up plastic at the beach, which everyone should do of course? Or is it bigger than individual action? DG: We don't want this to be just a film. We want this to go bigger. We want to invite other children in, which has happened already. We have set them up as a child-led organisation where the adults are obviously doing all the governance and guiding them but a lot of the decisions are coming from them. So we've got board members, we've got a COO, it's set up as a not-for-profit and we're starting to work with companies. We're doing a trial at the moment with Officeworks, for example, so the children are actually going in and working with Officeworks to help design the most sustainable backpacks and pencil cases and stationery to use in school. They have a tangible outcome that translates their grief into action. The council then takes a clip of the profits and it goes into a fund and the kids allocate that to nature repair projects around the world. So, the idea is that we are doing that with 50 companies a year from now as we take the film around Australia and Europe and America over the coming months. Really, the film is a small part of it. It's just the recruitment piece and our screenings in Australia have already had 50 kids sign up because they do feel a bit of hope. They want to meet other kids like them and they want to do something. We're setting up a network for the children so they feel like they are contributing to their own future instead of protesting on the streets. JJ: Obviously parents of children up to a certain age are the gatekeepers for watching this film. And maybe schools and teachers. What's the message to parents who might be scared off, not wanting their kids to feel upset or angry or powerless? DG: I guess that's the feeling some parents will have too. Like the previous films I've done, I want to create a space for the family to go and watch and have these feelings together and then talk about it when they get home. We know that some kids are completely oblivious to this stuff. But I reckon there's seven or eight kids in every classroom around the world right now that feel pretty strongly about it but they feel like they're the weirdo or ostracised. This film is the chance to let your child know that they can be heard, that there are other kids like them and there are things they can do. They don't have to just sit in this despair or get overwhelmed by this anxiety - they can join up with other kids and start to take action. JJ: Can you have a crack at social media next? You just said that some kids are oblivious to what's going on with the environment and that's probably the reason! DG: [Laughs] You're not the first person who's asked me that. But you're right. It's clearly a major issue. People are taking this very seriously now thankfully. JJ: The Australian government, to its credit, is giving it a crack. It was impressive to hear the new Communications Minister Anika Wells say "We want kids to know who they are before platforms assume who they are". DG: Yes, that was a great line. And this would be a rare thing in the world right now - actually getting bipartisan support. It's a very uniting issue - and we don't have many of those! So, the seed is planted. Someone asked me years ago to do this after That Sugar Film but I just baulked because it was already bad enough going to dinner parties and everyone would hide dessert. But if I then did something about phones and social media? I'm not going to get invited anywhere! My life's over! "The Future Council will see you now." A sharp-dressed CEO steps forward into the light to present his corporation's plan. "We're thinking about drilling for more oil and gas." There's a pause as members of the council seated in front of him glance at each other. One gives an eyeroll. Then they all burst out laughing. The Future Council members are all children. Welcome to the Future Council, a documentary that strives to imagine a totally different way of doing things for kids worried about the future of the planet. The 80-minute film follows eight children travelling across Europe in a bright yellow, vegetable oil-powered school bus to better understand the climate crisis. Director Damon Gameau (That Sugar Film) leads the children, including Ruby Rodgers the granddaughter of singer Jimmy Barnes, on their handsomely filmed excursion through spectacular widescreen landscapes. His film features funny fantasy sequences like the imagined all-powerful council of kids and fantastical visual effects to depict the complicated way the world - aka the global economy - currently works. It also confronts the viewer with upsetting moments of these bright and charming children in tears as they are asked to talk about their fears for the future ("we're doomed," says one). The children also meet adults in positions of power at big corporations. They suggest ideas, ask questions and express their anger. "You are not a powerful leader, you are a disgrace," Skye Neville, a Welsh teenager, tells Nestle's global head of public affairs at the food and beverage giant's Swiss HQ. Gameau, whose 2019 documentary 2040 also drilled into environmental awareness, recently spoke about his provocative new film, which is screening in cinemas from August 7, and the actual child-led Future Council it is launching. This interview has been edited for clarity and brevity. JJ: You took me on quite a journey with this film. I started off feeling quite angry about what you were doing to these kids. I felt upset for them - that they were being asked to take all this on when they are just kids. By the end, there is some hope, inspiration, ideas and energy, which is great. But my first question is, are the kids alright? DG: I think that's the biggest question we can ask collectively right now. Are our kids OK? And I don't think they are. I think we need to be honest. They're not OK because we're not doing anywhere near enough. This generation is watching the ocean and the waterways fill up with plastic. They are watching the evisceration of nature. And they're feeling it. They're the generation that has to live in that world and the point of the film is to let their voices be heard because we haven't wanted to listen to them. Many adults will say they are just children, that we know what's best and we impose our own childhoods onto those children. What I learnt doing 2024 and taking it around the world, visiting classrooms, was that these children have access to far more information than any other generation in history and a lot of them know far more than a lot about adults do, particularly around sustainability. And they're so passionate about it. So, this film is trying to bridge that gap. We don't want these kids to solve the problem. The adults have to step up there. We don't want these children to have to understand the complexities of the system and geopolitics. What the children bring is this refreshing creativity, which absolutely we could do with. They also bring a bloody morality - and a morality that's really missing from the system right now. So many of our leaders and big corporations are acting psychopathically because that's what the system allows: short-term thinking, maximum extraction. And the children get to say 'Hang on, where's the humanity in all this? How are we considering humans in this big system that's just marching forward'. I didn't know what to expect as I watched the auditions - we had 1300 children apply. But I was just bowled over by their acumen and how switched on and how passionate they were. And I thought, you know what, maybe this is a moment in history when they do, and should, have a proper voice. Not just protesting on the streets - because that gets them shut down. How else can we get these kids together as a network so they can alleviate some of their anxiety and feel like they're actually contributing? Let's get them heard by some of these leaders and find a way to unleash their creativity. JJ: Are you saying that it's fantasy or defensive or denial from grown-ups to say: can the kids just please be allowed to be kids? Can't they have their childhood and not have to worry about this stuff until maybe they have actual agency in their lives? Instead of being in tears at age 10, don't they deserve their innocence, their chance to not have to worry? DG: Yeah, but we've got to ask why they're crying? Why is there a child crying at 10? And it's because that child goes and cleans up the plastic from her beach every single Sunday. She started a beach pick-up club but she's watching the plastic get more and more and no one in her government or community is giving a shit like she does and she doesn't understand. If we were doing our jobs and looking after the planet they wouldn't be feeling this way. I'm with you. I wish we were not in this situation and so do these children. But unfortunately adults aren't stepping up so they feel they have to because that's the future they're going to inherit. I still speak to the kids most weeks now and they're all doing well. None of them are obsessed with trying to fix all the things wrong with the planet themselves. They've got lots of other interests. They just also care about this stuff. But I'm with you. I think, gosh, it'd be great if kids didn't have to go through this. JJ: But my heart breaks for Skye, who is so angry. At her age, doesn't she deserve to not have that anger? DG: Yeah, you're right. She does. But she's in a village, Fairbourne, that's about to go under the water - the first one in the Western world because of climate. So, that's why she's angry - because she's losing her home and no one cares. So we can't say 'Skye, it's fine, don't worry about it'. No, no, it's so real to her because she's losing her home and that's why she's got that fire in her belly. It's difficult. We can't ask her just to stop because she's fighting for something bigger than we understand. JJ: But when [Aussie eco-activist] Clover Hogan tells the kids "eco-anxiety is a really healthy response" - that stabbed me. I understand the statement, maybe, as a philosophical perspective. But is it healthy for a 10-year-old? DG: As they discuss in the film, if you're not feeling something right now ask yourself a question. When you look at the dehumanising going on the world; when you look at how much nature we're losing; when you look at the pollution and the algal bloom that's killing sea creatures in South Australia - if you're not feeling some kind of emotion, where are you at? How disconnected are you actually with the living world? So, there are so many complex discussions to have and that's the point of the film. Let's have a proper conversation because children are feeling things more deeply than maybe a few more adults should be. JJ: I'm not sure I will be alone in my initial reaction against the film. I don't want to give in completely to my inner Sky News After Dark voice, but there's an impulse to say 'Just leave the kids alone, let them be kids, stop turning them all into Greta Thunberg'. I think we'd prefer for our kids to be like the boy from Norfolk Island [Hiva] who just cherishes birds and wants to take photos of them. DG: I appreciate you sharing your honesty because, as you know, in so many of these calls people - even if they are feeling that way - they just tiptoe through. But these are conversations we need to be having so thanks for being honest. The whole point of the Future Council for the child is that we partner you with organisations and companies so you can help, so you can design products, start to shape your own future so you don't feel hopeless and are crying all the time and feeling that there's nothing left for your future. How do we bring together all these children around the world that are feeling like this and network them so they can meet the right people to get action and feel like they're doing something? I get it. The reactive response - the Sky News response - is to go 'But the children!' JJ: Won't somebody please think of the children? DG: [Laughs] Yeah, exactly - but that's exactly what I would say back. JJ: I started off feeling angry and upset seeing these kids feeling this angry and upset. Like when we see kids take a day off school to wave placards. They haven't had to make adult decisions yet - like holding down a job or having to buy groceries that only come in plastic packaging - they're kids. DG: The kids in the film do come to realise that there are some really good humans who care about the planet and who have children and who are working in these massive corporations. So, perhaps the Greta bolshie approach isn't actually the only way to do this. We need to humanise this and also work from within to solve these problems because, you know what, let's be honest, activism hasn't really worked. I mean, we're eating more meat than ever despite veganism, we're spraying more chemicals than ever despite 'silent spring'. It can't be the only way. We have to do things differently. JJ: What do you hope the film achieves? Is it about getting more kids picking up plastic at the beach, which everyone should do of course? Or is it bigger than individual action? DG: We don't want this to be just a film. We want this to go bigger. We want to invite other children in, which has happened already. We have set them up as a child-led organisation where the adults are obviously doing all the governance and guiding them but a lot of the decisions are coming from them. So we've got board members, we've got a COO, it's set up as a not-for-profit and we're starting to work with companies. We're doing a trial at the moment with Officeworks, for example, so the children are actually going in and working with Officeworks to help design the most sustainable backpacks and pencil cases and stationery to use in school. They have a tangible outcome that translates their grief into action. The council then takes a clip of the profits and it goes into a fund and the kids allocate that to nature repair projects around the world. So, the idea is that we are doing that with 50 companies a year from now as we take the film around Australia and Europe and America over the coming months. Really, the film is a small part of it. It's just the recruitment piece and our screenings in Australia have already had 50 kids sign up because they do feel a bit of hope. They want to meet other kids like them and they want to do something. We're setting up a network for the children so they feel like they are contributing to their own future instead of protesting on the streets. JJ: Obviously parents of children up to a certain age are the gatekeepers for watching this film. And maybe schools and teachers. What's the message to parents who might be scared off, not wanting their kids to feel upset or angry or powerless? DG: I guess that's the feeling some parents will have too. Like the previous films I've done, I want to create a space for the family to go and watch and have these feelings together and then talk about it when they get home. We know that some kids are completely oblivious to this stuff. But I reckon there's seven or eight kids in every classroom around the world right now that feel pretty strongly about it but they feel like they're the weirdo or ostracised. This film is the chance to let your child know that they can be heard, that there are other kids like them and there are things they can do. They don't have to just sit in this despair or get overwhelmed by this anxiety - they can join up with other kids and start to take action. JJ: Can you have a crack at social media next? You just said that some kids are oblivious to what's going on with the environment and that's probably the reason! DG: [Laughs] You're not the first person who's asked me that. But you're right. It's clearly a major issue. People are taking this very seriously now thankfully. JJ: The Australian government, to its credit, is giving it a crack. It was impressive to hear the new Communications Minister Anika Wells say "We want kids to know who they are before platforms assume who they are". DG: Yes, that was a great line. And this would be a rare thing in the world right now - actually getting bipartisan support. It's a very uniting issue - and we don't have many of those! So, the seed is planted. Someone asked me years ago to do this after That Sugar Film but I just baulked because it was already bad enough going to dinner parties and everyone would hide dessert. But if I then did something about phones and social media? I'm not going to get invited anywhere! My life's over!
Sky News AU
3 days ago
- Sky News AU
‘We have lost a formidable talent and a dear friend': Gallipoli and BMX Bandits actor David Argue dead at 65
Aussie actor David Argue, best known for his roles in iconic Aussie films Gallipoli, BMX Bandits and Razorback, has died at age 65. The Melbourne-born star passed away on Wednesday following a battle with cancer. Throughout a glittering four decade career, Argue built up an impressive CV as a character actor on stage and screen and rubbed shoulders with some of the biggest names in the entertainment industry. The veteran actor's big screen debut came in the 1981 blockbuster Gallipoli as the young digger Snowy. Argue memorably played the hapless criminal Whitey in the 1983 cult film BMX Bandits alongside future superstar Nicole Kidman. He would go on to pick up an AACTA Award nomination for Best Supporting Actor for the performance, and also scored another nomination for his role in the film Going Down. In 1995, Argue appeared in the miniseries Correlli alongside future husband and wife Hugh Jackman and Deborra-Lee Furness. The Victorian Actors Benevolent Trust led the tributes to Argue on social media, describing him as a 'remarkably talented and much-loved actor'. 'He had the rare gift of making any character he played utterly unique and totally believable,' the organisation said in a statement. 'In recent years, as David's health declined, the VABT was able to provide much-needed assistance and emotional support. 'In return, David had no hesitation in championing our work, most recently with a deeply personal and humorous reflection at our Trivia Fundraiser. 'We have lost a formidable talent and a dear friend.'
Sydney Morning Herald
4 days ago
- Sydney Morning Herald
This sun-splashed Mexican rooftop is perfect for long, margarita-charged lunches
Perched on the new Eve Hotel at Redfern's Wunderlich Lane precinct, Lottie is one of the swishest spots to sweet up guacamole, grilled Sinaloa-style chicken and pork jowl with a cola-flavoured mole. Previous SlideNext Slide I can't say if Lottie serves the best Mexican food in Australia, but it is, by some margin, the swishest spot to load up on guacamole I've encountered outside the Americas. Terrazzo floors. Textured, blush-pink travertine walls. Pops of red ochre and orange through the tabletops, banquette and coasters. Succulents frame the skyline and there's a retractable ceiling that can't welcome summer soon enough. It's on the rooftop of the equally swish Eve Hotel, which opened in February at Redfern's Wunderlich Lane precinct (that $500 million, mixed-use, brick development on the Surry Hills border). If you sit on the side of Lottie that has a view of Sydney Football Stadium, you'll also have a sight-line to the giant, Bond-villain doorway leading to Eve's rooftop pool. Only hotel guests can access the pool and, on a sunny winter afternoon, a few of them do. One patron forces a smile in our table's direction that reminds me of an old Jerry Seinfeld stand-up bit, the one about the stewardess giving a look to economy passengers while closing the first-class curtain. A look that says, 'Maybe if you had worked a little harder ...' Rooms cost upwards of $500 if you want the privilege of drinking one of Lottie's (very good) cocktails with your toes in the water. The rest of us will be at the bar. I'm not sure how I feel about such a luxury development operating in a suburb where longtime residents have been pushed out due to redevelopment and soaring rents. An essay for the Herald 's opinion pages some other time. For the purposes of this column, however, I'll say that I like many of Lottie's dishes an awful lot and Mexican-born chef Joe Valero is a talent. One of the best, three-bite snacks I've had all year is Valero's version of a sope (it's like a chubby, fried tortilla) made with featherlight potato rather than masa flour. He tops it with kangaroo tail cooked for six hours in a stock of its own bones and a combination of dried-chilli varieties to balance smoke, tang, sweetness and heat. Liquid & Larder is the hospitality business running Lottie, plus Bar Julius (classic drinks, all-day dining, beautiful fit-out, would recommend) on the Eve Hotel's ground floor. While the group's CBD steak joints, Bistecca and The Gidley, are invariably packed with blokes, the Lottie clientele was 90 per cent women the other week. Is there a law against men eating together in nice Mexican restaurants? What's going on, my dudes? There's steak here, too! Butter-soft rib-eye, specifically, topped with a herbal, charred salsa of tomatillo, jalapenos and shiso. It's one of six large plates designed to be eaten with warm, textured corn tortillas on the side ($1.50 each – load up). Grilled Sinaloa-style chicken is marinated in a spice paste fruity with ancho chillis and dressed in a coriander-heavy aji verde with burnt lime. Vibrant, citrusy stuff. Goat from a farm just outside Orange is marinated, cooked whole and shredded for the barbacoa, a submissive tangle of meat with caramelised crust and a soft punch from apple cider vinegar. Pair it one of the dozens of tequilas and mezcals on offer, or something red and earthy from the short-but-powerful wine list. There's usually someone on hand you can chat with about booze, and for the lighter dishes our waiter recommends a Chilean wine made from the moscatel de Alejandria grape he describes as 'like eucalyptus beurre blanc'. Sold. You'll also want a half-serve of the pork jowl with a cola-flavoured mole sauce deep enough to get lost in. It's one of the few dishes that remain from Lottie's opening menu (Valero was only appointed head chef in May), along with the ceviche-like aguachile with snappy, raw prawns and pickled carrots. I was half-tempted to shoot its laser-sharp, leftover liquor, dotted with prawn oil, like a 19th-century health tonic. Word to the wise: avoid the basement-level car park, at least on a Sunday afternoon. It was an epic poem to find a spot two weekends ago, a drawn-out battle with locals shopping at Wunderlich Lane's Harris Farm. Eve Hotel guests have their own parking spots, but again, that will be upwards of $500 for the privilege.
