A Radio New Zealand, ami egyébként elképesztően profi tematikus podkasztokat csinál (nem ilyen opinionated self-faszverős infulenszer szarokat) csinált a Kākāpō breeding seasonról egy nagyon jó sorozat.
Following the next breeding season of the world’s favourite parrot.
In 2019 Alison Ballance followed the bumpy, rollercoaster ride that was the kākāpō breeding season. Now she returns, six years on, to do it all over again. We'll meet familiar characters, of both the human and bird kind, as well as new faces. Will the chicks born in 2019 start to breed? How will the team fare with a more hands-off approach? Will the deadly aspergillosis that surfaced in 2019 return? And with the rimu mast predicted to be big, could this be the most successful breeding season yet? First episode drops 16th December. Don't miss it.
További tök érdekes, szórakoztató, fontos témák amikről akkor is érdemes hallgatni, ha nem NZ-n élsz, különösen, ha csak nyári képeket láttál az országról:
Voice of the Kākāpō: An adventure through the bumpy bumper 2019 breeding season of NZ's rare flightless parrot.
Black Sheep: The shady, controversial and sometimes downright villainous characters of NZ history. Join William Ray as he explores history through the lens of Kiwi dirtbags in NZ's most awarded podcast.
Far from town: Arpége Taratoa-Rangikura meets women at the end of gravel roads and up remote valleys across Aotearoa. Over cups of tea, they talk about love, loss and connection to whenua.
The Stolen Children of Aotearoa: about gang whānau and their journey to speak out about the abuse they experienced as children in Aotearoa’s state-care system.
The Last Voyage of the Rainbow Warrior: July 1985. Greenpeace ship The Rainbow Warrior docks at Marsden Wharf, ready for a major protest campaign at Muroroa Atoll. Everyone knows what happened next. But do you know what went before?
Untold Pacific History: A dynamic and often provocative account of New Zealand's relationship with the Pacific.
Red Line: Can we walk the thin line between what some see as an evil empire and others as our greatest economic opportunity? A four-part series investigating China's growing influence in New Zealand.
Deer Wars: Back-country legends tell tales of fortunes made and friends lost. Hear from a rich cast of back country characters who fought NZ's battle with Red Deer…. sometimes by hanging out of helicopters.
Search & Rescue NZ: Each year, thousands of people need to be rescued in New Zealand’s unforgiving outdoors. Some searches are successful, some not. But behind each is an incredible story of courage.
Ha szereted a podcastokat amiket rádiós szakemberek készítenek változatos témákban, akkor itt van 149. Erre való a közszolgálati rádió btw.
I want to give a quick shout-out to flirty LQS! It often seems like he is the oblivious straight man to RNZ/RBJ/MZ's... everything... which is understandable. It's probably impossible to outshine RNZ in all his glory drama and personas.
But LQS does flirt it's just way more subtle than what RNZ is doing (again not hard to do) and I think it's even more obvious in The Spirealm than in KoD pre-relationship.
I mean I am sorry but what is that lychee scene?? Is there a heterosexual explanation to handfeeding your bro lychees of all things? And then commenting how it really suits him because of his beauty? That boy was out there trying to make an only barely gained consciousness RNZ faint.
How much do you want to bet that RNZ screamed into his pillow after he gained the mental capacity again to process that interaction? First of all, prada gucci balenciaga RNZ was only in a tank top after being unconscious for 3 days when his crush walked in. Have we seen RNZ more vulnerable before? This man is a master of putting up a front first of all visually and that all went out of the window in that scene. LQS has never seen RNZ softer and he has watched him sleep.
And! Then! It's the first time LQS initiates compliments for RNZ's appearance without RNZ fishing for it! Usually RNZ is out there trying his darnest to get LQS to acknowledge that he is exceptionally good-looking and compliment his appearance socially arm-twisting him into saying anything in that regard. While RNZ perpetually looks like he came straight(ha!) from a fashion shoot. None of that here. LQS teases RNZ unprompted! He compliments him! While RNZ probably looks the least kept in front of company he has allowed himself in years.
I'm not even going to go into the handfeeding here in detail it was so unnecessarily intimate and soft. I live for RNZ being taken care of after his years of living as guardian and literal savior for people and LQS really wants to be that for him and this is such a soft and sexy extension of that.
Damn this scene has got me in a chokehold and I am betting anything that RNZ played through that 3000 times in the hours after that to mentally prepare himself to not melt into a puddle the next time he sees LQS.
A bilingual book about the Māori creation story has won the highest accolade in children's literature.
A bilingual book about the Māori creation story has won the highest accolade in children's literature.
Te Wehenga: The Separation of Ranginui and Papatūānuku by Motueka writer Mat Tait (Ngāti Apa ki te rātō) won the Margaret Mahy Book of the Year Award at New Zealand Book Awards for Children and Young Adults held at Wellington's Pipitea Marae.
Te Wehenga simultaneously tells the Māori creation pūrākau, which explains the beginning of the world, in te reo Māori and English.
21 minutes of Rhys Darby talking about many things including his new stand-up tour in 2025.
(CW: Rhys talks briefly about his late mother around the 13/14-minute mark, and there’s an emotional catch in his voice).
Mark van Kaathoven is a guerilla gardener who prevents green waste from going to the landfill. Instead, he uses it to make a vibrant sponge garden. He's only had four bags of green waste sent to the tip in the last 15 years.
The Kiwi director bringing live-action Avatar: The Last Airbender to life
Netflix's live-action adaptation of Avatar: The Last Airbender is arguably one of the biggest productions of the year. The project, which has a budget of US$120 million, has captured imaginations worldwide since its debut last month. Today, Netflix confirmed the series will be renewed for two more seasons.
One of the visionaries behind the new show is Asian-New Zealand creative Roseanne Liang. Serving as co-executive producer and director of episodes five and six, Liang knows the responsibility she carries in taking a beloved story from script to screen.
"It is a huge weight to bear," she says.
"We wanted to provide the best thing in the spirit of why we love the original Avatarand that's all we can really operate through. Have faith, trust our instincts that our hearts are pure, our minds are true and we're doing the best we can."
It all started in 2021, when Liang's agent called her about the show. Netflix was looking specifically for pan-Asian directors and her name was on the list.
"I knew about the show because all my friends had been saying 'you need to watch it' at various points. I was like, 'oh it's a Nickelodeon animation' and they're like, 'no, you don't understand. It is life, it's got one of the best dramatic arcs ever, you've got to watch this show' ... I watched the hell out of the three seasons and became a convert. Everything everyone told me was true."
Liang says there were huge challenges in adapting a 20-episode, half-hour animated series into eight hours of epic live-action television.
"The world is so rich, there's bending, there's all this flora and fauna and animals, it's this pan-Asian, indigenous world that is taking from cultures that seem familiar to us but are different and new. The challenge of that world-building was vast.
"It's also hard to get the tone into your head - you can do silly things like sucking frogs and cactus juice in the animation - because it's animation - but I don't know if you can have the tonal whiplash in a live-action like that.
"We'd always have to find that line. The dramatic can't be too dramatic, we've gotta undercut it with probably a quip or something, but the funny can't be too slapstick cause people will be like, what is this."
Liang says casting for the project also came with a bit of pressure. Season one follows a 12-year-old Aang, 14-year-old Katara and 15-year-old Sokka, and finding young actors capable of undertaking the roles was "scary".
"They're all teenagers. I think Dallas (Zuko) is a bit older but still young, just in his early 20s. It's all about casting the right actor - and person. Because the person needs to be able to deal with the pressure of what they're about to go through.
"The children had an incredible support network though. Dallas Liu and Ian Ousley (Sokka), they were best mates, they chose to room together in Vancouver where we shot and they were each other's support buddies. I just love their bromance, it's a beautiful thing when cast members look after each other like that."
The Netflix adaptation attracted some scrutiny after the creators of the original series - Bryan Konietzko and Michael Dante DiMartino - stepped away from the project citing creative differences after being involved for two years. Liang says their departure was "a source of pain and dismay".
"We cared so deeply about the source material ... at the same time, we know what we're doing it for. Some things won't live up to people's understanding, we're never going to be able to completely mimic or mirror the animation, but some things - I've gotta hand it to the writing team - some things they made even better."
A plot tweak in episode six, directed by Liang, follows Zuko's journey in a way that strengthens what the character stands for - Liang argues, better than the animation itself. While episode four features the addition of one of the most beautiful and heartbreaking flashbacks of the series, the funeral of Iroh's son Lu Ten.
"The Leaves from the Vine storyline about how much Iroh grapples with his part in the war and the cost of who he was in the army, the writers were like, we think we can add this moment in here to really cement the relationship between Zuko and Iroh.
"Zuko did an immense kindness to Uncle Iroh by sitting with him in mourning and it is a gift that Iroh repays. That relationship is one of the most rewarding, beautiful, fun, funny relationships of the whole series."
As a Chinese-New Zealander, Liang says it was a huge honour to be involved in a project that highlights the richness of a pan-Asian, indigenous world.
"It was the ethos of the entire production team that we do something new in this sphere that won't draw the silly, polarised calls of "wokeness" because it makes complete sense in this beautiful world that Bryan and Michael created in the original series. It was always diverse and that was their vision.
"All we had to do was serve that vision and it was just the most natural thing in the world."
While she hadn't worked on a project of this scale before, Liang could draw on rich experience from her involvement in local productions such as Creamerie (with RNZ's own Perlina Lau), Banana in a Nutshell and My Wedding and Other Secrets. She hopes her success inspires other New Zealand creatives to aim for the stars.
"Just because we come from a small country or are part of a diasporic community, that's no barrier to working at this level ... whether it's your ethnicity or your upbringing, don't let it limit you because you can get there."
In fact, Liang's "New Zealand-ness" was a strength on set. Wearing an 'Aroha Mai, Aroha Atu' shirt, she explained that the Māori phrase means 'love received, love returned' - an understanding that helped connect with the First Nations indigenous crew that worked on the show.
"The ethos that we have in New Zealand, the multi-cultural understanding of people and relating to each other, it helps - so much of my job is feeling people's energy and giving my own energy back to them and growing up in New Zealand where these - usually indigenous - ideas of how to serve people and act with love has served me so well.
"It's really been nothing but an asset to my entire process."
