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Multiple teens arrested over alleged machete brawl in Melbourne as government says crime laws working

Commuters were forced to run for cover after a group of youths allegedly fought with knives at Flinders Street station on Saturday night Get our breaking news email, free app or daily news podcast The Victorian government has defended the effectiveness of its machete ban after multiple teens were arrested over an alleged machete brawl in the heart of Melbourne. Shocked commuters ran for cover after a group of youths – some armed with machetes – brawled at Melbourne’s Flinders Street station concourse on Saturday night. Continue reading...

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‘Pure, unyielding torture pornography’: is Half Man too unpleasant to be good TV?

Richard Gadd’s follow-up to Baby Reindeer is a relentlessly punishing look at characters being crushed by the unending horror of their lives. At times, it feels like it was made by emo teens If you look up Baby Reindeer on Netflix, you’ll find it categorised as a comedy series. This may come as news to anyone who has actually seen it, because they might have been labouring under the delusion that it was a terror-filled rolling panic attack of a show, sitting somewhere between psychological thriller and all-out horror. But the initial labelling makes some level of sense. Richard Gadd was a comedian and Baby Reindeer was based on his Edinburgh show of the same name. Plus, what could be cuter than a baby reindeer? It would be very simple to infer some level of comedy from the description. Continue reading...

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‘A new way to express myself’: Harlem teens share their lives through photography – in pictures

For the past 25 years, Expanding the Walls program has allowed teenagers to express their identities and their lives via photography. In Expanding the Walls: Making Connections Between Photography, History, and Community on view until 8 June at the Studio Museum in Harlem, a survey contrasts the past and the now with a selection of images for an insight into the world and minds of teens in New York City Continue reading...

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I devoured classic novels as a teenager. In a world of distractions, can I relearn how to read them?

In less than a decade, surrounded by screens, I lost my ability to read some of the best books ever written. But, inspired by the Guardian’s 100 best novels list, I was determined to get it back It is a privilege to be surrounded by books. My parents hail from the literary working class, a subsection of society that believes great works lead to a richer life. Reading for them was an inverted form of class snobbery. My dad could read as well as anyone. He’d prove it on package holidays, sitting on the balcony the entire time, head bowed, cigarette in hand, flicking through the pages of Jane Austen or Herman Melville. The only difference between my old man and an old Etonian was the drudgery of employment. To paraphrase Oscar Wilde: work is the bane of the reading class. As for my own reading life, my mum wore me down, shouting “Read a book!” any time I dared say I was bored. I soon capitulated. I was nudged towards the classics, defined by Italo Calvino as books people say they should “reread” because they’ve either read them or do not want to admit they have not. In my late teens and 20s, I worked my way through the greats. I fell in love with a woman called George and thought Middlemarch was magic. I was a smart lad, prone to bad decisions, unsure of my place in the world. It is perhaps no surprise that I identified with Dorothea. Continue reading...

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Gunfights, grisly deaths and fentanyl: Euphoria’s finale was a lurid epic of biblical proportions

Sam Levinson’s HBO show went to garish new extremes to show the hollowness of the American Dream This article contains spoilers Ahead of the series finale, I didn’t think there was much more that Euphoria could do to shock me. Since season three of the HBO drama picked up its story five years after the group of teens graduated high school, Sam Levinson’s brainchild has made jaw-dropping scenes its raison d’etre. From Cassie (Sydney Sweeney) cosplaying as a dog and making mega bucks on OnlyFans, to Nate (Jacob Elordi) getting his fingers and toes chopped off before being buried alive, and Jules (Hunter Schafer) being mummified in plastic by her sugar daddy, the last eight episodes have demanded our attention in a media landscape where that very thing is valued above all else. But as I watched the final episode, it once again delivered something unexpected. The 88-minute finale felt like a standalone feature film, with no shortage of biblical references. It even ended with the final words: “May God bless us all.” The sudden pivot into a nostalgic, star-spangled morality is indicative of a confused show that, right up until the last moment, hasn’t been sure what it’s trying to tell us. As a lesson in ethics, it falls flat. Yet looking more deeply, there is something more complicated going on. Continue reading...

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Think dance classes terrify you? Try taking four in a weekend

Most of us loved dancing when we were kids. I dip my toe in at Melbourne’s Rising festival and rediscover that simple, pure joy As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I’m wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don’t know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. There’s no time to find out – the class is starting. This year, Rising festival – Melbourne’s winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There’s also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. Continue reading...

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Euphoria mirrors the nihilism of a generation raised on Andrew Tate and Bonnie Blue

As its third season ends, Sam Levinson’s HBO show reflects the grim future that gen Z faces. Its rage-bait is precisely the point The third season of Euphoria has been almost impossible to ignore for anyone with a smartphone. The HBO drama, which started off in 2019 following a group of hedonistic, privileged teens, has evolved into television’s answer to rage-bait, creating moments that are specifically designed to dominate the news feed with memes and outrage. Even before we reach the season finale, we’ve seen OnlyFans storylines, pup play, sugar daddies, mummification fetishes, a disastrous wedding, fingers and toes being sliced off, venomous snake attacks, cockatoo assassinations (RIP Paladin), gangster shootouts and (several) characters being buried alive. In season three, Euphoria picked up its story five years after the characters graduated from high school. At times, the show has felt lost outside of the high school setting, exploring a confusing mishmash of genres and plots, some of which have been called out for glamorising misogyny and violence. Yet despite these criticisms, the show has a track record of taking bold artistic risks, which is becoming rarer in a content landscape that values quantity over quality. It turned Sam Levinson, its creator, into one of Hollywood’s most exciting (and polarising) visionaries, and catapulted a new generation of actors into the A-list to the point where it now seems like they have outgrown the show). As season three concludes, Euphoria represents a strange – and very “2026” – contradiction, where it feels both ridiculous and undeniably influential. Continue reading...

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‘I lived near a serial killer’: Steven Shearer on turning teen angst and death metal into high art

He rarely gives interviews and hates explaining his work – yet his stunning paintings, inspired by subcultures and German Romanticism, reveal a lot about this reclusive Canadian Steven Shearer is a quiet man. He’s elusive, too, shy and reclusive. He is difficult to pin down for an interview. And once you have, it is tough to get him talking. Maybe the Canadian artist thinks his work – spanning 40 years and multiple media, including stunning paintings of long-haired teens, collages of appropriated images, and billboard-sized poetry inspired by heavy metal lyrics – speaks for itself. But Shearer’s work doesn’t really speak, at least not clearly; it mumbles awkwardly into its sleeve like a goth at a family Easter picnic. “I wrote down lots of potential things to say,” he says from his immaculate white studio in Vancouver, ahead of his show at David Zwirner Gallery in London, his first UK exhibition since 2007, “but it’s not my nature. All the hope or will to be able to communicate kind of goes into the pictures. And I try to stay out of the way once that’s happened.” Continue reading...

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UK minister visits Australia for ‘lessons’ ahead of expected British social media crackdown

Kanishka Narayan says Australia’s pioneering law has contributed to national conversation under way in Britain The UK’s online safety minister says he has spent a week in Australia learning the “practical lessons” of the country’s under-16s social media ban amid concern that many teenagers are bypassing the law. The British government is expected to announce a social media crackdown within weeks after a public consultation that could see the UK follow in Australia’s footsteps and restrict access to social media for teens – including age limits or changes to allegedly addictive design features – by the end of this year. Continue reading...

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Iceage: For Love of Grace & the Hereafter review | Alexis Petridis's album of the week

(Mexican Summer) The quintet add shoegaze, country and 50s rock’n’roll to their core indie-punk sound, resulting in songs that offset lyrical bleakness with gleeful, uplifting music Iceage have always seemed like a band in a state of constant development. You might say that’s understandable, given the Danish musicians were in their teens when their debut album New Brigade was released in 2011: if you don’t change between the age of 18 and your early 30s, you’re probably in trouble. But rock music isn’t real life, and a less adventurous band might have been minded to stick with a good thing, given the reception New Brigade was afforded. Twenty-four minutes of hardcore blended with noisy Birthday Party-esque post-punk and a sizeable pinch of gothic gloom, it was praised so vociferously that the praise itself provoked heated debate, as claims any one band are the “saviours” of an entire genre are wont to do, particularly when said genre is punk. Iceage seemed entirely unbothered about any ensuing weight of expectation. If they didn’t exactly sound like a completely different band on 2014’s Plowing Into the Field of Love, they were still doing things you would never have imagined the authors of New Brigade doing: piano ballads, country-rock and, on Abundant Living, attempting to join the dots between Howlin’ Wolf’s Smokestack Lightning and the ramshackle sound of frontman Elias Rønnenfelt’s favourites the Pogues. In 2018, Beyondless offered Dexys-style horns, New Orleans jazz and a track that sounded like mid-80s U2 equipped with a string section. By 2021’s Seek Shelter, they had a gospel choir on board and mixed anthemic songs – imagine Oasis mired in angst, gloom and distortion – with tracks that interpolated the Carter Family’s Can the Circle Be Unbroken? or bore the influence of French chanson. Continue reading...

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Multiple teens arrested over alleged machete brawl in Melbourne as government says crime laws working

‘Pure, unyielding torture pornography’: is Half Man too unpleasant to be good TV?

‘A new way to express myself’: Harlem teens share their lives through photography – in pictures

I devoured classic novels as a teenager. In a world of distractions, can I relearn how to read them?

Gunfights, grisly deaths and fentanyl: Euphoria’s finale was a lurid epic of biblical proportions

Think dance classes terrify you? Try taking four in a weekend

Euphoria mirrors the nihilism of a generation raised on Andrew Tate and Bonnie Blue

‘I lived near a serial killer’: Steven Shearer on turning teen angst and death metal into high art

UK minister visits Australia for ‘lessons’ ahead of expected British social media crackdown

Iceage: For Love of Grace & the Hereafter review | Alexis Petridis's album of the week