Culture

This year’s Melbourne and Sydney Fringe Festivals put together lively online programs that prove theatre can successfully translate to screen.

The much-anticipated new season of Succession digs further into grotesque family dysfunction – and it doesn’t disappoint.

For Corrie Chen, the chance to direct the groundbreaking television series New Gold Mountain was the fulfilment of a dream.

She climbs off the couch to right the handle of a bucket and to haul it – nuggety little thing – across the room. The rain hangs from the ceiling crack like a string of beads and scatters over the floor. Connie would more know a string of beads than a bird. We have beads. I used to see bird carcasses around but their hollow flying bones are no good for swamping. The floods. What was left of the chickens – those mass graves – is washed away.

Glass artist Liam Fleming finds an inspiring sense of freedom in a painting by Australian Modernist Frank Hinder.

Los Angeles-based La Luz channel the girl-group harmonies of the 1960s in their luminous, self-titled album.

Brent Harris returns to the subject that helped build his reputation more than three decades ago, The Stations.

Nasim Pedrad’s Chad brings an inspiring complexity to the comic gaps of adolescent awkwardness.

A multiplatform project launching this month melds visual art and journalism to mark the cost of two decades of conflict in Afghanistan.

Leo pushed away the plate of fries and climbed down from his seat, copper mane flopping around the toddler’s face. Brooke had wanted to call him Aslan, but Martin had intervened. Martin was sensible. He could parent with one hand tied behind his back. Brooke could barely parent with both hands, an early childhood nurse for a mother and nine books on raising children (waiting to be read, but still). She had no maternal instincts whatsoever. So much for women’s intuition.