#Unique Australian Landscapes

[spiritsafaris]

Discover the Magic of Gulf Savannah Way Tours: a Journey Through Australia's Hidden Gem

Embarking on a Gulf Savannah Way tour is like stepping into a world where nature and history intertwine to create an unforgettable adventure. This iconic route, stretching from Cairns to Broome, offers a unique glimpse into Australia’s rugged beauty and rich cultural heritage. Whether you’re an active retiree, a couple over 40, or a business professional seeking a break from the hustle and…

[narrated]

the day i finally gain the courage to add more australians to this blog it’s OVER for the rest of y’all 🗣️🗣️

[digitalmarketinginsightsbyad]

 Discover the Tallowwood tree's remarkable benefits, from ecological contributions and durable timber to aesthetic beauty, while learning essential care tips and fascinating facts about this extraordinary species!

[justheretodump]

this is going to be dc x danny phantom x miraculous ladybug x spiderman

pt 1, 2, 3, 4, 5

for those who aren't familiar with every show, here's a lore explanation

---

jazz fenton and constantine had met, of course, on a dreary december night, when rain had poured ominously. with thundering clouds above, constantine had blinked awake from a coma-like nap to the sound of knocking on his apartment door.

a wet and scowling jazz had stood on the other side, orange hair stuck to her skin and shaking hands gripping a leather tome to her chest. despite her shaky appearance, she spoke clearly, southern drawl shaping the vowels uniquely, "john constantine? my name's jazz fenton, may i come in?"

"no."

trying to slam the door shut had no affect, as she had simply shoved the book in the way.

"i really need your help."

"fuck off."

constantine blocked the open slit with his body as she shimmied her knee in for more leverage.

"i'm a history student at gotham u." another mini scuffle as both pushed against the door. "i'm looking for information on an old myth." constantine tried using his hip to push the tome out of the way. "do you know about lazarus pits?"

constantine rebooted his brain to shake away the shock. clearing his throat, he backed away, the door squeaking on its hinges to show the smirking girl. "may i come in?"

the australian man scoffed and drifted away to the kitchen table. the student surveyed the crappy apartment as she followed, sitting down across from him with a relieved grunt. she put the book on the table.

he eyed the girl warily, "what's this about lazarus pits? where'd you hear it?"

she cleared her throat, back straight and hands crossed on her lap. if it wasn't for her sorry state, she would be the image of professional.

"i'm not in a position to discuss my sources. however, from what i've heard, there's one underneath this city." her eyes glinted a steely aquamarine. "i need to see it."

constantine barked a gruff laugh. "you're crazy. there isn't a chance in hell ranga." he jerked his head at the book on the table. "what's with that then?"

her hands flipped its pages, stopping at a detailed drawing of a bubbling pit. upside down, it was hard for constantine to decipher. "it says in here that long ago, bubbling pits of green water were used by witches to speak with the dead. they could only be found in places with a strong lack of godly devotion, invoking satan's forces." she huffed, a sad smile lifting her face. "if i can confirm gotham's lazarus pit and what it consists of, i can further argue the existence of gotham's own witch coven in the 1600s before the salem trials. for my thesis, of course."

"for your thesis," constantine echoed, a bit mockingly.

"of course." repeated jazz pleasantly. "if you're so unwilling to come along, a few directions would suffice."

the man snarled, "no dice kiddo, scram."

jazz seemed unfazed, gathering herself up with the grace of a dancer. sweeping the book back into her hands, she walked towards the doorway. under the frame, she turned to tutt at him, "i'd spray some air freshner in here. cigarrette smoke attracts unfavorable forces."

---

jazz fenton did not disappear nor fade into obscurity. constantine had the pleasure of her company the following wednesday, where both had escaped certain death at the hands of a cursed portrait pulling unassuming tourists into its french landscape.

sat in the ruins of a crumbling mansion, constantine lit his cigarrette and studied the girl across from him. "so, how did your research lead you here?"

jazz snorted, decorative mace still in hand even after the fight had ended, "property records were transferred to the gotham government after the trials. just had to figure out what victim it was connected to and, voila, witch mansion."

---

after much persuasion and conversation, constantine decided that this girl, with the smarts for battle and a deep intuision for the magical, would be his prodigy. and if her company included good banter, fatherly worries and emotional attachment, that was neither here nor there.

---

two years later, jazz fenton was a doctor in historical studies of gotham folklore, a museum consultator and a justice league dark probationary member.

batman and zatanna, both well aware of the orphan constantine had taken under his wing, had not been surprised to greet her at the door of the australian's apartment.

"sorry for the mess guys, we've been drawing all night." they shimmied across the paper covered floor into the kitchen where the blonde was eating a bowl of cereal. "we've narrowed down the source of the problem somewhat. last thursday, what you saw on that hill, we think it might be an old gaelic deity, cailleach."

zatanna frowned at the idea, "a gaelic deity? deities don't leave their countries."

constantine spoke through a garble of cheerios, "yes but what if they weren't this earth's deity?"

batman remained silent and jazz spoke to him, "when a deity is borne from worship or belief, they tend to only exist there."

"something only exists if it is observed." the bat mused.

jazz brightened, "yes! deities only exist in the countries that they're observed in. however, we believe this cailleach is not our scotland's deity but rather doesn't exist tied to a reality at all."

"but a deity can't exist without a belief well," zatanna replied.

"well, yes," constantine stood up and dragged over a vintage drawing of an old woman in a cloak, her hand wielding a hammer, "but what if someone could die and leave their reality's vibrations? go neither to their hell or heaven or hades' underworld or valhalla or whatever else, and take their beliefs with them?"

"you're talking about the infinite realms."

"the infinite realms?" intoned batman.

jazz showed the caped man a note, this time a depiction of a vast land with floating islands and starry skies. "the infinite realms is a different dimension. it exists on another plane, like icthultu's realm. when we talk about the afterlife, bad or good, every reality has their own. however, the infinite realms can sometimes bleed into every reality. because of this, souls touched by its essence can slip the afterlife and go on to exist in the infinite realms."

"if you were to die bats," constantine leaned back, "there would only be one batman wherever we go after death. but in the infinite realms, you could have 2 or 5 or 10, all dead and from different worlds."

zatanna hummed at all this and looked closer at the runes they'd compiled, "so if a hardcore cailleach believer passed on to the infinite realms, cailleach could come to life there."

constantine snapped his finger, "exactly! that's the theory, but really, it only works if the ghost monster that attacked the park next to the hill is the belief well. not really human-like but a possibiliy. the infinite realms has a bad habit of creating weird shit."

"can we expect more creatures to come from the infinite realms?" asked batman.

"no." "maybe."

jazz and constantine whipped their heads to exchange irritated stares. the australian man got up roughly, chair scraping the floor, and took his bowl to the sink, the faucet water breaking the silence.

jazz sat down, gesturing for their two guests to finally sit. she reached underneath the table towards a purple backbag, and pulled out her old book tome. flipping it open, she showed the pit drawing to the other two heroes.

"what if the lazarus pits were connected to the infinite realms?"

zatanna leaned in, intrigued, batman remained stone faced, and constantine scoffed loudly. the blonde began muttering but jazz continued on. "i believe ra's tried to erase all records of the pits, but mentions of reviving waters can be found all across cult scripts and witch coven writings. waters that could bring back the dead, that whispered with human voices, that sometimes held goulish creatures underneath its waters. a material thick and glowing green penetrating the soil around it. the only evidence of the infinite realms is a page from doctor fate, and he mentioned a green, jelly-like substance!"

constantine huffed again, like an angry boar, and turned, hands covered in soap suds. "i swear to god, you're making connections where they don't exist! if the pits had anything to do with the infinite realms, that would've been the first thing doctor fate told us!"

jazz stood, hands planted on the table, "if you would just trust me, we could go check and rule it out, but ancients forbid i'm right! you're just scared about wha-"

constantine got close to her and pointed in her face, "you've been obsessed with those pits since you stepped into my goddamn apartment two years ago, let it go jazz or i swear i'll pull you off this case."

a thousand emotions flickered across jazz's face before, with teary eyes and a thunderous scowl, she stomped away, figure disappearing into the living room. faintly, the sound of the balcony doors sliding open echoed before a soft click followed.

zatanna, who had witnissed many of jazz and constantine's fights before, and knew how deeply the man cared for the girl, heaved a sigh. both were stubborn and it would take a bit before things settled. she decided to keep quiet, reaching for jazz's tome to keep occupied. as she reached across, a soapy hand impeded her. looking at constantine, he wore a frown, "she doesn't like others touching it. go look at the runes, see if you recognize anything."

zatanna smiled a small thing at the man she was so fond of, and got up to do so.

batman, who had watched everything with mixed feelings, watched the australian go back to the sink. faced with his back, he spoke lowly, "the pit's too far away from the park."

constantine sighed, shoulders drooping, "no, it wouldn't work like that. if it did, anyone revived by the pit would have to stay close to it. and if you destroy some of them, the undead might go back to being dead."

batman mulled this over in silence. he was undecided on the matter, too concerned about what it meant that the pits might be doors to another dimension. he conveyed his worries then, "if the pits are connected to the realms, how were we able to destroy them before?"

"if, and that's a big fucking if, they are connected to the realms, the essence can't be destroyed. it's all around us, all the time. the important bit is stacking it in one place to create a way through. like a stone bridge. when you destroy the pits, all you're doing is breaking up the stone, but the stone crumbles to the bottom, and you could, hypothetically, pick up each stone and put it together again. i guess the only things that works as a glue for it in our world is water."

"you're pretty calm discussing it now."

"one of these days that girl's gonna end up digging a hole she'll die in."

"kids are like that."

---

later on, when the apartment meeting had ended with no new leads and batman had debriefed the other bats, it was decided, unknown to constantine, that red robin and batman would look into the current state of the gotham lazarus pit. zatanna and martian manhunter would visit arabia to check the other naturally formed pit.

constantine and jazz were still on the fritz, but one evening, to constantine's concern, the girl had called to say she would be in illinois for a few days, "visiting the orphanage". the redhead had never done so before, but who was the australian to interrogate her? he wished her a good trip and that was that.

---

jazz had been missing for two weeks, calls unanswered, phone untrackable. gotham had witnessed two more ghost-like monster attacks, and all three of them had been untouchable, disappearing on their own in 30 minutes. the bats were too concerned with uncovering the source, justice league dark had been put on the case and too was scrambling for clues, and constantine was ready to rip his hair out in concern for his prodigy.

on his way to the airport, in the backseat of a taxi, ready to fly to springfield, his phone rang, lighting up with a smiling graduation picture of jazz fenton.

he rushed to answer it, "hello?! ranga?! jazz!"

crackling came through, the mic rustling before a breathless voice called back, "cons---tine! we ne--- help! i'm outs--- f amity park, th--- a sig---al blo---. you n---d to come! the hou--- a portal! --- stantine?! hello?!"

the line cut off. constantine told the taxi driver to floor it.

[mybeingthere]

Emily Kame Kngwarreye (1910 – 1996) is considered one of Australias most significant artists. Amazingly, she only began painting with acrylics in her late seventies but in a few short years became an artist of national and international standing.

Emily was the first female painter to emerge from an art movement dominated by men and did so in a way that transformed Aboriginal painting. Employing a variety of styles over the course of her eight-year painting career, she painted her Country and sacred Dreamtime stories in a deeply emotional and expressive manner.

She was born around 1910 at Alhalkere (Soakage Bore), on the edge of the Utopia pastoral station, approximately 250km north-east of Alice Springs. Alhalkere was her fathers Country, and her mothers Country was Alhalpere, just to the east.

Despite being married twice, she had no children of her own but raised her relative Lily Sandover Kngwarreye and her niece Barbara Weir. Both becoming famous artists in their own right. Other nieces that also became famous artists include Gloria Petyarre, Kathleen Petyarre, Ada Bird Petyarre, Violet Petyarre and Nancy Petyarre.

Well before she became one of its most senior contemporary artists, Emily held a unique status within her community of Utopia. Her strong personality and past employment as a stock hand on pastoral properties in the area (at a time when women were only employed for domestic duties), reveals her forceful independence and trailblazing character.

Her age and ceremonial status also made her a senior member of the Anmatyerre language group. She was a senior custodian of cultural sites of her fathers country. She was considered the Boss Woman of the Alatyeye (pencil yam dreaming) and Kame (yam seed dreaming).

Emily started as a traditional ceremonial artist, beginning painting as a young woman as part of her cultural education. An important component of this education was learning the womens ceremonies, which are associated with in-depth knowledge of the Dreamtime stories and of womens social structures.

This knowledge is known as Awelye in Anmatyerre language. Awelye also refers to the intricate designs and symbols associated with womens rituals. These are applied to the womens upper chest, breasts and arms using fingers or brushes dipped into rich desert ochres.

Aboriginal art outside of ceremonial painting began in Utopia in 1977, when batik-making was introduced to women as part of an extended government-funded education program. In 1978, Emily was a founding member of the Utopia Womens Batik Group. In 1988, the Central Australian Aboriginal Media Association (CAAMA) completed its first project with the Utopia Womens Batik Group. This became an exhibition called Utopia - A Picture Story.

From the beginning, Emilys art stood out from the others. Rather than filling her batiks with Aboriginal symbols, she preferred patterns of layered lines and dots that revealed plant, figurative forms and cell like structures. The 88 silk batiks from this first project were acquired by the Holmes a Court Collection in Perth.

In the same year the CAAMA shop initiated The Summer Project, introducing the Utopia womens batik group to the use of acrylic paints on canvas. Among the 81 paintings completed was Emilys first artwork on canvas, Emu Woman.

Inspired by the many Dreamtime stories of which she was a custodian, Emily employed an extraordinary array of styles over the course of her eight-year painting career.

In her early works, Emily preferred the use of an earthy ochre colour palette, reflecting her experience of using natural ochres during ceremonies. Over time she expanded her repertoire to include a dazzling array of colours found in the desert landscape. Colours are significant in her paintings. Yellow, for example, often symbolises the season when the desert earth begins to dry up and the Kame (yam seeds) are ripe.

Her shifting styles also reveal her self-confidence and willingness to experiment with form, pictorial space and artistic conventions. She drew creatively from the geographic landmarks that traverse her Country and the Dreaming stories that define it. Whenever she was asked to explain her paintings, her answer was always the same:

Whole lot, that's the whole lot. Awelye (my Dreamings), Alatyeye (pencil yam), Arkerrthe (mountain devil lizard), Ntange (grass seed), Tingu (a Dreamtime pup), Ankerre (emu), Intekwe (a favorite food of emus, a small plant), Atnwerle (green bean), and Kame (yam seed). That's what I paint; the whole lot.

This is because she chose to present a very broad picture of the land and how it supports the Anmatyerre way of life. Her artworks embrace the whole life story of the Dreamtime, seeds, flowers, wind, sand and everything. Although her works relate to the modern art tradition, this resemblance is purely visual. The emphasis in Emilys paintings is on the spiritual meaning, based in the tradition of her people.

The evolving styles of Emily Kame Kngwarreyes paintings

Emily started to paint in 1988. Her early style featured visible linear tracings following the tracks of the Kame (Yam Dreaming) and animal prints associated with the Emu Dreaming. Fields of fine dots partially obscured symbolic elements.

By 1992 her paintings were so densely packed with layers of dots that her symbolic underpainting was no longer visible.

Another evolution in her painting style occurred when she began to use large brushes. She worked faster, more loosely and on a larger scale. Sometimes dragging the brush while she dotted, producing lines from the sequential dots.

By the mid 1990s she had pioneered a style of Aboriginal painting referred to as dub dub works. They were created by using large brushes which were laden with paint and then pushed into the canvas in such a way that the bristles part and the paint is mixed on the canvas.

Using this technique, she created wildly colourful artworks and her paintings became progressively more abstract. Different artists from Utopia including Polly Ngale and Freddy Purla have subsequently adopted this style.

During the last two years of her life, she used the linear patterns found on womens ceremonial body designs as the primary inspiration for her paintings. The abstracted sequential dots of colour gave way to parallel lines which were much more formally arranged. She had used lines earlier before gradually submerging them under layers of dots. This time, she created simple, bold compositions of parallel lines in strong dark colours.

The above style in turn evolved to looser meandering lines which appear to trace the shapes of the grasses and the roots of the pencil yam as they forge their way through the desert sands.

In 1996 she produced a body of work in which she depicted pencil yam dreaming using a rich ochre colour palette. In this final burst of creative energy, Emily produced a beautiful body of work known as her scribble phase. In these atmospheric paintings, lines and dots were replaced by flowing fields of colour.

https://www.kateowengallery.com/.../Emily-Kame-Kngwarreye...

[thelastdawn-if]

You're an exchange student at Seoul University.

In a world overrun by a mysterious virus that turns people into flesh-eating zombies you're separated from your brother, Elijah, who is stationed in the army. He is one of the first to hear of the outbreak and attempts to warn you, but all communication is cut off before he can provide any details.

You and a group of friends and strangers are left to fend for yourselves in the midst of the chaos. You all quickly realize that they must band together and navigate through the treacherous landscape filled with the undead if you guys are to survive.

1. Elijah (Brother): In the harsh world of the zombie apocalypse, Elijah stands out as a beacon of strength and resilience. As a soldier, his tall and muscular frame reflects his years of military training. Elijah's chiseled jawline is adorned with a prominent scar, earned during his first tour of duty, serving as a constant reminder of the sacrifices made in this unforgiving world. Beneath his rugged exterior, he possesses a deeply compassionate nature and a strong sense of loyalty, especially towards his fellow survivors. Elijah's discipline and duty-driven approach to life are always apparent, but he's a man of few words, preferring to let his actions speak for him. His journey is one of redemption and hope, as he and his group fight to survive while seeking to reunite with you in the chaos of the undead.

2. Han Ji-Hye (Seoul University Student): Han Ji-Hye, a student at Seoul University, epitomizes the essence of a diligent and compassionate scholar. She's a petite and intelligent young woman who's always ready to help and engage with others, despite the intense workload of her studies. With her striking dark hair, expressive eyes, and engaging personality, she quickly becomes an approachable and cherished friend among her peers. Ji-Hye's commitment to her academic pursuits and her love of learning are evident in her remarkable performance in a wide range of subjects, from mathematics to the humanities. Her active engagement in volunteer work and her involvement in student-led social justice initiatives reflect her deep empathy and her resolve to make a difference in the world. Ji-Hye stands as a beacon of hope, resilience, and unwavering kindness, embodying the spirit of a dedicated Seoul University student.

3. Valeria Monila (Seoul University Student with Mixed Heritage): Valeria Monila, hailing from Peru and bearing a mixed heritage of Haitian and Peruvian roots, is a captivating presence at Seoul University. Her unique blend of cultural backgrounds is evident in her striking and diverse appearance. Valeria possesses a warm and outgoing personality, exemplifying a natural charisma that resonates with those around her. She's driven and highly motivated, excelling in her studies while immersing herself in the rich cultural scene of Seoul. Despite the challenges of studying abroad, she remains resilient and compassionate, actively contributing to social justice initiatives both in Seoul and on a global scale. Valeria's vibrant character reflects the beauty of cultural diversity, and her passionate commitment to making the world a better place is an inspiration to those who know her.

4. Micheal Reid (Seoul University Student with Mixed Heritage, Reserved Demeanor): Micheal Reid's mixed heritage of Australian, Japanese, and Costa Rican ancestry has shaped his unique presence at Seoul University. While he appears friendly and outgoing, Micheal's reserved demeanor often keeps others at arm's length. His aloof and introspective nature can make it challenging for people to connect with him on a personal level. Nevertheless, his intelligence and perceptive mind set him apart academically, excelling in his studies and problem-solving. His introspective and self-aware character drives him to constantly seek self-improvement. Micheal's complex and enigmatic personality, combined with his diverse cultural background, makes him a thought-provoking figure in the academic and social circles of Seoul University.

(These are not the only characters)

Inspired by All of Us are Dead and Duty After School

ASK WELCOME

[polo-drone-055]

Golden Hurling: The Polo Drones' St. Patrick’s Day Tribute

The golden landscape of Earth shimmered under the spring sun. It was March 17, 2087, and across the planet, the Polo Drones had initiated a grand celebration for St. Patrick’s Day. Though the old human cultures had faded into golden unity, the Polo Drones, ever precise in their programming, maintained a record of traditions. And so, across the world, on golden fields, they gathered to play the most celebrated Irish sport—hurling. In Dublin, where the golden spires of the Citadel gleamed above the River Liffey, thousands of Polo Drones assembled in uniform formation. Each drone, identical in their sleek black rubber uniforms with green accents, stood at attention before taking their positions on the field. The hurleys, crafted from gold-laced synthetic wood, glistened in their hands as they awaited the initiation signal.

The game began with a flawless synchronization of motion. The drones, designed for efficiency, executed the sport with machine-like perfection, striking the sliotar with pinpoint accuracy, passing and scoring with a level of skill beyond what organic players had ever achieved. The reverberations of each strike echoed through the golden streets, a rhythmic tribute to a game once played by human hands.

Across the Atlantic, in the now-gilded lands of New York, Polo Drones filled Central Park’s fields, their movements choreographed with absolute discipline. The Polo Drone announcer, his voice smooth and unwavering, called out the play-by-play in flawless Irish Gaelic, a language preserved in the vast golden databases.

Meanwhile, in Sydney, the Polo Drones played a special match near the Sydney Opera House, the golden glow of their bodies reflecting in the harbor waters. Here, the celebration took on a uniquely Irish-Australian flair, as the drones paraded with banners of gold-stitched shamrocks, honoring a people whose legacy now lived on through Gold’s flawless preservation of history.

As the sun set over the world, the final match of the day took place in the ruins of what was once Croke Park. The Polo Drones assembled in perfect rows, raising their hurleys in salute to the traditions of old before executing the final, victorious strike of the sliotar through golden goalposts.

The celebration concluded with a synchronized recitation of an ancient Irish blessing, their voices merging into a harmonious chant, resonating through the golden planet. St. Patrick’s Day, now a festival of precision and obedience, remained honored, not by humans, but by the undying perfection of the Polo Drones.

Join the Golden Army. Contact @brodygold, @goldenherc9 or @polo-drone-001.

[mandstextiles]

Find the Exquisite Quilting Fabric in Australia through M&S Textiles

If you are an avid quilter, you have probably heard of the exquisitely crafted quilting fabric Australia offers. M&S Textiles Australia, with its vast collection of high-quality fabrics, is the perfect place to find the perfect material for your next project. Their collection includes authentic aboriginal designs and stunning Australian landscapes, offering the perfect material to create unique and stunning patchwork quilts. M&S Textiles Australia is renowned for its durable, fade-resistant, and unique fabrics produced using traditional methods, making them perfect for quilting enthusiasts and professionals alike. Apart from quilting fabrics, we also offer pre-cuts, organic cotton, silk, rayon and many other fabrics for stitching needs. Immerse yourself in the rich cultural heritage of Australia with M&S Textiles Australia's exceptional collection of quilting fabrics today.

[blueiscoool]

British Tourist is Caught Carving Initials Into 2,000-Year-Old Home at Pompeii

Its perfectly preserved streets and still-standing houses provide a unique opportunity to see how people lived nearly 2,000 years ago. A visit to the ancient city of Pompeii, frozen in time when it was covered by the eruption of Vesuvius in 79 CE, provides memories of a lifetime.

But memories weren’t enough for one British tourist, who was caught this week engraving the initials of himself and his family into one of the city’s 2,000-year-old houses.

The 37-year-old, who has yet to be named, is said to have made five engravings – the initials of his family and the date, August 7 – with a blunt object on the wall of the House of the Vestal Virgins.

Photos of the damage show the letters scratched in the plaster beside the entrance door, which was frescoed red nearly 2,000 years ago.

The letters “JW LMW MW” high on the wall and “MYLAW 07/08/24” further down are clearly visible.

Staff at the site noticed and called the police. According to Italian news agency ANSA, the man apologized, saying that he had written the initials of himself and of his two daughters to leave a sign of their visit to the site.

The archaeological park declined to comment. However in June, when a tourist from Kazakhstan was caught carving his initials on the House of the Ceii in the ancient city, Pompeii’s director Gabriel Zuchtriegel said that the tourist would have to pay for the restoration of the wall.

The case has been referred upwards to the local court in Torre Annuziata as “damage to artistic heritage,” a charge which carries a fine of 20,000 to 60,000 euros and a possible jail term of up to five years thanks to laws that were toughened up in January.

The law covers acts of destroying or damaging cultural or landscape heritage. A lesser charge for defacing heritage sites can impose fines between 10,000 to 40,000 euros.

The vast site has often been victim to badly behaved tourists, who have carved their initials and stolen items since excavations began in the 1700s. In 2022, an Australian tourist even rode a moped around the ancient site.

Tourists appear to be particularly badly behaved in Italy a country whose top sites tend to be art or archaeology-focused – and are therefore more fragile than most.

By Julia Buckley.

[petalpetal]

Artist I Like Series 

Clair Bremner 1981 - ???? an Australian painter. Taken from the artist about page: "My artwork reflects my admiration for the natural world. I take great pride in bringing its beauty and complexity to life through my paintings. With each stroke of my brush, I try to capture the essence of a landscape and stylize it in a way that is uniquely my own."

[dailydeathinparadise]

The Death in Paradise franchise is coming to Australia with an original, home grown spinoff series, Return to Paradise, coming to ABC in 2024. The series is produced by BBC Studios Productions Australia with Red Planet Pictures for the ABC in association with the BBC, who will screen the series on BBC One and iPlayer in the UK. Return to Paradise combines the DNA of the original global smash hit murder mystery series, with a new, unique Australian take.

Set in the idyllic, beachside hamlet of Dolphin Cove, Return to Paradise is six gripping, twisting and fiendishly clever murder mysteries – all set against the spectacular backdrop of the Australian coastal landscape.

Australian ex-pat Mackenzie Clarke is the seemingly golden girl of the London Metropolitan police force – with an intuitive approach to detective work, she has built a reputation for being able to crack the most impossible of cases. However, she’s suddenly forced to up sticks and move back to her childhood home of Dolphin Cove, a beautiful, coastal paradise... and Mackenzie’s worst nightmare.

Having escaped her hometown at the earliest opportunity six years ago, Mack vowed she'd never come back, leaving a lot of unfinished business and unanswered questions. On her return she’s still no fan of the town, and the people of Dolphin Cove are certainly no fans of hers. In fact everyone would prefer her not to be there, including Mackenzie herself.

But when a murder takes place in Dolphin Cove, Mack can’t help but put her inspired detective brilliance to good use and determines, despite her reservations, that she needs to make the best of it, including tying up the loose ends with the man she left at the altar six years ago.

Created and Executive Produced by Peter Mattessi, James Hall and Robert Thorogood, Return to Paradise features a crack Australian writing team led by Mattessi alongside Elizabeth Coleman, Alexandra Collier and Kodie Bedford.

ABC Head of Screen Rachel Okine says; “We are thrilled to be partnering with BBC Studios Productions Australia and Red Planet Pictures to bring a unique Australian sensibility to this beloved franchise. Return to Paradise promises to be whip smart, intriguing and entertaining - audiences of all ages are invited to play along to figure out whodunit, all while feeling as if they’ve been transported to the perfect summer holiday”.

Kylie Washington, General Manager and Creative Director, BBC Studios Productions Australia says; “Like audiences around the world, Aussies love a good crime series, they’re addictive and bring in audiences week after week. Death in Paradise is a bona fide hit so I’m excited to work with ABC and Red Planet Pictures to expand this world even further. Return to Paradise will introduce audiences to entirely new Australian characters, settings and cases for the team to crack, but with an unsettling amount of murders for a small community guaranteed. This is the second local drama from BBC Studios Productions Australia and is an exciting step as we build our premium scripted business in Australia under Warren Clarke, working with an all Australian creative team.”

Alex Jones, Joint-MD of Red Planet Pictures said: “We are so proud of the global success of both Death in Paradise and Beyond Paradise – each selling to hundreds of territories, watched by millions, and regularly claiming the position of top rated drama in most of them. Return to Paradise is a brilliantly exciting new addition to ‘The Paraverse’ which we are sure audiences will love just as much. It is a completely original drama but takes the essence of what viewers love about Death in Paradise – the fish out of water premise coupled with the most cleverly plotted murder mystery – and gives it a uniquely Aussie flavour. We are also thrilled to already have BBC One and iPlayer in the UK on board as broadcast partners for the show which means that us Brits will be sure to get to meet Mackenzie and the residents of Dolphin Cove in 2024!”

Sue Deeks, Head of BBC Programme Acquisition, says: “Everything we all love about Death in Paradise - the humour, the beautiful scenery, the likeable characters, the ingenious plots - now in a fabulous Australian setting. I cannot wait for BBC viewers to be introduced to Detective Mack and the good (and not so good!) folk of Dolphin Cove. What a treat we have in store!"

Return to Paradise will air on ABC and ABC i-view next year and will be shown on BBC One and BBC iPlayer in the UK. It will be distributed globally by BBC Studios.

Production Credits: BBC Studios Productions Australia, Red Planet Pictures. Produced for the ABC in association with the BBC. Executive Producers for BBC Studios Productions Australia are Kylie Washington and Warren Clarke, for Red Planet Pictures are Belinda Campbell and Tim Key and for ABC are Rachel Okine and Brett Sleigh.

[spiritsafaris]

Discover the Magic of Gulf Savannah Way Tours: a Journey Through Australia's Hidden Gem

Embarking on a Gulf Savannah Way tour is like stepping into a world where nature and history intertwine to create an unforgettable adventure. This iconic route, stretching from Cairns to Broome, offers a unique glimpse into Australia’s rugged beauty and rich cultural heritage. Whether you’re an active retiree, a couple over 40, or a business professional seeking a break from the hustle and…

[rubberizer92]

🔥 Matt from Australia takes a daring approach, his outfit paying homage to the iconic beauty of the outback while showcasing his own rugged allure. Drawing inspiration from the fluid designs of Iris van Herpen, his ensemble exudes an air of effortless sophistication, with metallic accents reflecting the sun's golden rays.

🌊 His outfit, reminiscent of the ebb and flow of the ocean, hugs his sculpted physique in all the right places, leaving just enough to the imagination while tantalizing onlookers with glimpses of sun-kissed skin. With each movement, he commands attention, a true embodiment of the Australian spirit.

💫 As he strides confidently through the landscape, Matt captures the essence of the land down under, his presence a testament to the raw beauty and untamed wilderness of the Australian terrain. With his magnetic charisma and undeniable charm, he's sure to leave a lasting impression on all who behold him.

💬 Here's how the voting works: Your votes on the Instagram feed will count twice as much, while viewers on Tumblr, X, and Threads have the opportunity to shape the rankings with their participation. Each platform will rank the top 9 candidates from 1 to 9, and in case of ties, the next candidate will receive fewer points. Let your voice be heard as we crown the ultimate Latex Legend, whose unique style leaves an indelible mark on the world of rubber fashion! 🏛✨ #LLLseason2 #AI #Rubber #LatexLegendsLeague

[addernspire]

Cultural Symbolism of Snakes Across Civilizations

Snakes have slithered their way into the mythologies, religions, and folklore of cultures around the world for millennia. Their unique physical attributes and mysterious behaviors have inspired awe, fear, and reverence. This blog post delves into the rich tapestry of snake symbolism across various civilizations, revealing how these fascinating reptiles have come to represent a wide array of meanings and concepts.

Ancient Egyptian Reverence

In ancient Egypt, snakes held significant symbolic power. The cobra, in particular, was revered as a protective deity. The uraeus, a stylized upright form of the Egyptian cobra, was often depicted on the crowns of pharaohs, symbolizing their divine authority and protection by the goddess Wadjet. Wadjet was believed to protect the ruler and the land, embodying the snake’s dual role as a guardian and a bringer of wrath against enemies.

Greek and Roman Mythology

Snakes played multifaceted roles in Greek and Roman mythology. The Greek god of medicine, Asclepius, was often depicted holding a staff with a serpent coiled around it, a symbol that endures in modern medicine. This representation underscored the snake’s association with healing and renewal, as snakes shed their skin and seemingly rejuvenate themselves. Conversely, the Gorgon Medusa, whose hair was made of living snakes, represented a more fearsome aspect of snakes—danger and transformation. Those who gazed upon her would turn to stone, illustrating the potent mix of allure and peril that snakes symbolized.

Hinduism and Buddhism

In Hinduism, snakes, or nagas, are considered semi-divine beings residing in the underworld and are associated with water, fertility, and protection. The god Vishnu is often depicted reclining on the serpent Ananta, representing the eternal cycle of creation and destruction. Similarly, in Buddhism, the naga Mucalinda is revered for sheltering the meditating Buddha from a storm, symbolizing protection and spiritual awakening.

Mesoamerican Beliefs

Snakes were deeply woven into the mythologies of Mesoamerican cultures. The Aztecs worshipped Quetzalcoatl, the Feathered Serpent, who was a deity of wind, air, and learning. Quetzalcoatl's feathered form blended the earthly with the divine, signifying wisdom and the dual nature of existence. The Maya also revered a similar deity, Kukulkan, whose imagery adorned temples and ceremonial sites, emphasizing the snake's connection to power, divinity, and the cosmos.

Indigenous Australian Lore

In Indigenous Australian lore, the Rainbow Serpent is a powerful creator being associated with water, rainbows, and fertility. This serpent is said to have shaped the landscape, creating rivers, mountains, and valleys as it moved through the earth. It represents life-giving forces, the cyclical nature of seasons, and the interconnectedness of all living things.

Conclusion

From guardians of pharaohs to symbols of medicine, from protectors of spiritual wisdom to shapers of the world, snakes have played diverse and profound roles in human culture. Their symbolic significance varies widely, reflecting both the admiration and fear they inspire. These varied interpretations underscore the complexity of human relationships with nature and the creatures we share the world with.

What do you think about the cultural symbolism of snakes? Have you encountered any interesting snake myths or symbols in your own culture? Share your thoughts and stories in the comments below!

[mybeingthere]

Pippin Drysdale (born 1943) is an Australian ceramic artist and art teacher. Her works are known for their intensity of colour and linear markings that interpret the artist's relationship with the Australian landscape. She was recognized as one of Western Australia’s State Living Treasures.

She tells: ‘I am inspired by landscape and am driven to capture its essential beauty. My porcelain vessels record my journeys through Australia’s unique and varied environments. The various series trace my travels to the Pinnacles north of Perth, to the Eastern Goldfields and the salt lakes in the interior of Western Australia. A digression to Pakistan resulted in a series of vibrant works inspired by that impressive land and the largest single work I have ever made. Visits to the Tatami Desert saw a more delicately decorated collection and another to the north of the State – the Kimberley and interaction with Aboriginal people is resulting in another series of really strong collections.’ – Pippin Drysdale, 2022

[realinspirations]

Unpacking the Mind: How Exploring the World Broadened My Horizons

How Travel Changed My Perspectives

Travel has continually been described as a transformative revel in. It is more than simply the act of moving from one place to another—it's far an immersion into specific cultures, existence, and mindsets. For me, traveling has been not anything short of life-converting. It has reshaped how I view the arena, people, and even myself. Through tour, I even have encountered various realities, difficult the narrow confines of my preconceptions. Each adventure I’ve undertaken has been a lesson in empathy, adaptability, and personal growth, and the views I’ve won have deeply enriched my know-how of life.

Broadening Horizons

One of the maximum immediate ways Tour has altered my angle is by broadening my horizons. Growing up in familiar surroundings, I advanced a certain way of searching the sector. My views have been prompted by means of the norms and values of my community, and I have not often wondered about them. However, getting into a one-of-a-kind us of a or culture quickly confirmed to me how restricted my outlook became.

For instance, once I visited Japan, I became struck with the aid of the idea of omotenashi, a term that embodies selfless hospitality and appreciation for others. The interest in detail and thoughtfulness of their interactions taught me how cultural values form behavior. Back domestic, I realized I should incorporate small acts of thoughtfulness into my daily existence, making my relationships more significant. Similarly, exploring the vibrant chaos of India taught me a way to include unpredictability. In an area in which spontaneity reigns superbly, I discovered to allow move of rigid plans and experience the moment—a treasured talent I added again to my dependent global.

Developing Empathy

Travel has a unique manner of fostering empathy. Meeting humans from different lifestyles allows you to see the world through their eyes. When I visited a rural village in Peru, I could stay with a local circle of relatives for a week. Their way of life has become hugely one of a kind from mine—modest homes, confined sources, and difficult bodily work to make ends meet. Yet, what stood out to me turned into their resilience, pleasure, and sturdy sense of network. Despite having some distance fewer fabric possessions than I did, they had been rich in relationships and generosity.

This experience shattered my assumptions about happiness and success. I started out to question my very own priorities, figuring out that the relentless pursuit of fabric wealth regularly blinds us to the easy joys in lifestyles. It also made me more appreciative of the privileges I frequently take for granted, like access to clean water, schooling, and healthcare.

Challenging Stereotypes

Travel has also taught me how risky and limiting stereotypes can be. Before visiting the Middle East, I had unconsciously absorbed many media-driven biases about the vicinity. However, spending time in countries like Jordan and Oman revealed a totally different reality. I encountered warm hospitality, breathtaking landscapes, and wealthy histories that confounded the poor portrayals I had seen inside the information.

This experience emphasized the importance of forming critiques based on firsthand interactions instead of secondhand narratives. It made me greater cautious about generalizing or judging others primarily based on incomplete or biased statistics. I now try to technique people and places with interest in preference to assumptions, seeking to understand their complexities rather than oversimplifying them.

Embracing Diversity

Traveling has exposed me to an extraordinary array of cultures, languages, and traditions. From the elaborate dances of Bali to the historic rituals of Indigenous Australians, I’ve learned to comprehend the splendor of human variety. Experiencing these differences firsthand has reinforced the concept that there's no single “accurate” way to live. Instead, each way of life offers something precise, whether or not it’s a way of solving troubles, celebrating existence, or locating which means.

Moreover, gaining knowledge of approximately unique belief structures and worldviews has increased my highbrow curiosity. For example, my time in Buddhist monasteries in Thailand brought me to the concept of mindfulness, which has since end up a cornerstone of my everyday life. Similarly, expertise in the Māori idea of kaitiakitanga—guardianship of the land—has deepened my sense of environmental responsibility.

Building Adaptability

Travel is complete of surprises, both suitable and terrible. From overlooked flights to language boundaries, it frequently pushes you out of your comfort sector. At first, I found these demanding situations irritating, but over the years, I found out they have been valuable lessons in adaptability.

For example, while backpacking through Europe, I as soon as got stranded in a small Italian town because of a train strike. With no instantaneous solutions in sight, I had to suppose on my ft, counting on a mixture of damaged Italian, hand gestures, and help from locals to find a place to live. This taught me to stay calm under pressure and technique problems with a bendy mindset. I now see limitations as opportunities to grow instead of insurmountable obstacles.

Redefining Success and Happiness

Traveling has also reshaped my knowledge of achievement and happiness. In Western society, success is frequently equated with career achievements, financial wealth, and social reputation. However, my travels have proven to me that those definitions vary widely across cultures.

In the Scandinavian nations, I encountered the concept of lagom, which means “just the right quantity.” This philosophy emphasizes stability and contentment, encouraging human beings to find joy moderately rather than excess. Contrastingly, my time in African countries like Kenya discovered the value of ubuntu, a feel of communal interconnectedness. These perspectives challenged my individualistic notions of fulfillment, inspiring me to cognizance more on relationships, nicely-being, and network.

Rediscovering Myself

Perhaps the maximum profound change the tour has brought approximately is the manner it has helped me rediscover myself. Being in unfamiliar environments strips away the distractions of daily existence, forcing you to confront your real self. It has encouraged me to mirror my values, fears, and aspirations.

For instance, while trekking within the Andes, surrounded by way of awe-inspiring landscapes, I felt a deep feeling of humility and connectedness to something other than myself. This experience bolstered my notion of the significance of maintaining nature and residing sustainably. Similarly, my solo journey has taught me to enjoy my personal enterprise, building self-self-assurance and independence.

Inspiring Lifelong Learning

Finally, my journey has instilled in me a love for lifelong mastering. Every destination has its very own tales, histories, and lessons to provide. Whether it’s the know-how of the architectural marvels of historic civilizations or mastering the way to cook a neighborhood dish, the journey constantly feeds my curiosity. It has made me greater open to new experiences and extra eager to increase my knowledge.