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The Netflix original comedy series The Kominsky Method is preparing for its final season on the streaming service. Netflix has released the premiere date for the program’s third and final season which will be released on the platform on Friday, May 28, according to Deadline. Created by Chuck Lorre (The Big Bang Theory, Mom), the dramedy series dropped on the streaming service in the fall of 2018 and has released 16 episodes over the course of its previous two seasons. The series had announced it would be renewed and return for another installment, yet it would be its last in the upcoming third season, consisting of only six, half-hour episodes.Read Full StoryThe Kominsky MethodTelevision ComedyGolden GlobesSeries PremiereOriginal Comedy SeriesSeason PremiereNetflix Inc.Original StarsThe Big Bang TheoryArgoBeverly Hills CopYoung & HungryHouseSandy KominskyFinal SeasonChuck LorreMichael DouglasKathleen TurnerPaul ReiserSarah BakerNancy TravisEmily OsmentHaley Joel OsmentLisa EdelsteinAlan Arkin

When President Barack Obama was in office and the White House needed to reach Sen. Joe Manchin, one person was always tasked with making the call: then-Vice President Joe Biden.Read Full StorySenate DemocratsMidterm ElectionPoliticsPresidential ElectionRepublican SenatorsBipartisan SenatorsThe White HouseCongressRepublicansThe Oval OfficeJefferson Jackson DinnerCNNManchin SpaceBiden BurnsCentrist SenatorsJoe BidenBarack ObamaPat ToomeyJay Rockefeller

In a one-two punch of authoritarian maneuvering shocking in both its scope and its severity, Republicans are fighting to hollow out the right to vote for millions of Black and brown Georgians. And what they can’t take away in the state Senate, the GOP plans to gut with a new Trump-aligned Secretary of State.Read Full StoryAbsentee VotingCivil WarBlack ChurchesMagaVoting RightsRacial InjusticePoliticsGOP VotersDemocratic VotersHouse DemocratsGOP EffortsMAGATrumpianThe State SenateBlack GeorgiansJody HiceBrad RaffenspergerStacey AbramsMax Burns

We still aren’t quite able to celebrate Easter the way we used to, but there’s no reason not to eat well and support local while doing so! Here are more than 20 spots offering dine-in and takeout meals and desserts to enjoy this Easter holiday. Easter Carryout Meals. Ilios Noche.Read Full StoryRestaurantsChris Steak House DineFood & DrinkGrilled Cheese SandwichesRoast ChickenClassic CocktailsChocolate CocktailsDine In & CarryoutIliosGreek EasterOpenTableChileanThe Pump HouseAla CarteVANA Celebrate EasterNick

Both of the President and first lady's dogs, Major and Champ, have returned to the White House after spending some time in Delaware following a biting incident involving Major, according to Jill Biden's press secretary Michael LaRosa.Read Full StoryPoliticsThe White HousePetsShelter DogsGermanBidensMajorABC News 'CNN.comHomeWashingtonDelawareSecretaryChampMichael LaRosaJill BidenJen PsakiJoe BidenGeorge StephanopoulosBarack Obama

The House is set to vote Thursday on two proposals that would legalize subsets of the estimated 11 million immigrants living in the U.S. without legal permission, as Democrats gauge the chances of approving immigration legislation and sending it to President Biden's desk. The bills are expected to pass in...Read Full StoryU.s. CitizenshipUndocumented ImmigrantsBillsPoliticsUndocumented WorkersImmigrant WorkersHouseDemocraticSenateDACATPSImmigrant FarmworkersU.S. CitizenshipLegal ImmigrationDreamersDonald TrumpZoe LofgrenDan NewhouseDick DurbinNancy Pelosi

It has been a year since the country first locked down as a result of the COVID-19 pandemic. And while it is still important to take prevention measures against the virus, taking care of yourself and your mental health should also be a priority, according to Dr. Rochelle Walensky, Director of the Centers for Disease Control and Prevention. During Wednesday’s White House COVID-19 Response Team Briefing, she offered guidance on how to practice self-care right now. Read on to hear her advice—and to ensure your health and the health of others, don't miss these Sure Signs You've Already Had Coronavirus.Read Full StoryCdcSelf-careDisease PreventionMental Health CareWellnessDisease ControlWhite HouseResponse Team BriefingCDC ChiefPrevention MeasuresRegular ExerciseWellbeingGuidanceAdviceResilienceAnthony Fauci

LUBBOCK, Texas — On Wednesday, the Texas House voted to advance a bill that would allow restaurants to deliver alcoholic beverages with the purchase of food. At the beginning of the pandemic, Gov. Greg Abbott waived regulations to temporarily allow the pickup and delivery of alcohol for restaurants selling food. House Bill 1024 would make this permanent.Read Full StoryRestaurantsAlcoholic BeveragesFood & DrinkLocal FoodMexican FoodThe Texas HousePicosoMexican KitchenTexansThe Texas SenateBillHouse PassageLUBBOCKAprilGov. AbbottGreg Abbott

Then national theatre critic of The Australian, Katharine Brisbane and her husband, drama academic, the late Dr Philip Parsons, two years after they founded Currency Press in 1971, with their children Nick, now chair of Currency Press, and Harriet, this year replacing Katharine as Director of Currency House. Currency House No-one has done more for Australian drama than Katharine Brisbane. When she talks, we should all be listening to what she has to say. Over seven remarkable decades, she has played one of the leading roles in Australian culture. As theatre critic for the Australian from 1967 to 1974, she documented the most exciting, innovative and tumultuous period of the nation’s artistic, cultural, social and political activity — from the avant-garde stirrings of the late 1960s, through the revolutions of the Australian Performance Group in Melbourne and the Nimrod Theatre in Sydney. Australia’s new wave was not so much a singular wave, but a thrashing, roiling series of tempests lashing the complacent, monochrome cultural landscape: Brisbane was there to document it all. With her late husband, Philip Parsons, Brisbane founded Currency Press in 1971 committed to publishing the explosion of new Australian plays, a commitment it maintains to the current day. A public discussion In 2001, responding to a sense of “despondency” amongst performing arts workers — deriving in no small part from the contraction of funding over the prior decade — Brisbane and a handful of collaborators set up a monthly discussion club they called “Currency House”. Over the following three or four years, the group encouraged artists to join them in an attempt to restore a sense of purpose and significance: to reignite the passion, optimism and energy of the years of cultural expansion that followed the establishment of the Australian Council for the Arts in 1968, and the fiscal (and ideological) investments of subsequent governments. In 2004, Currency House took the private discussions public, launching the quarterly essay series Platform Papers. Now 89, Brisbane’s latest provocation, an essay called On the Lessons of History, is a stirring call to arms for the arts sector, and, reportedly, her last Platform Paper. Read more: The problem with arts funding in Australia goes right back to its inception On the surface, On the Lessons of History presents as a retrospective of the 62 essays and their authors, luminaries of contemporary practice and thinking, including Wesley Enoch, Lyndon Terracini, Lee Lewis and Alison Croggon. However, there is something much more important going on here, as hinted in the title’s nod to Will and Ariel Durant’s formative The Lessons of History (1968), a book that distilled history into sharp, focused themes, with a view to better understanding the past and the times to come. Brisbane’s sights are set resolutely on the future. The essay charges artists with a responsibility not only to their practices, but to a broader project. The arts, she writes, should provide a space where we undertake reflection as an active, interventionist and disruptive project. In this, theatre can lead us to an imagining of “Australia as a wiser and more creative country”. Crafting a new future Brisbane writes with informed urgency. Since 2001, she has observed “a period of cultural change from which we have emerged a different nation”. But not a better one, she writes. Rather: we have allowed ourselves to be swept up in fears and occupied with distraction — new [electronic] devices of incomprehensible ingenuity that invite entry into dazzling new worlds to escape the wreck we have made of this one. Artists are caught up in the terror: precarious, scared to speak out for fear of losing work, locked into logics of competition, celebrity and commerce. In response to this trend, and to the acute challenges of the most recent few years — drought, pandemic, the shattering revelations of corruption and inhumanity across our public institutions — Brisbane urges a fundamental repositioning of the arts. Most pointedly, she points to the “fatally flawed” terms under which the Australia Council was established. Katharine Brisbane’s ongoing legacy is formidable. Currency House Since its establishment in 1968, the council has been focused on funding “products rather than creators”, and dividing the arts sector into discrete artforms — losing sight both of the artists themselves, and the ways art forms meld and evolve. Rather than persisting in the “endless, competitive pursuit of excellence” — a trajectory which culminated in former arts minister George Brandis siphoning funding away from the Australia Council — we must reconsider the needs of the arts sector in the 2020s and beyond, and act on these new needs. Instead of framing arts funding as “money with which to produce art”, could we not instead see it as “money for cultural research”? This, then, is what Brisbane describes as Currency House’s new project: concrete steps toward re conceiving and redesigning the arts and cultural sector. The first of those steps is to provide a rallying point for artists: an activist platform from which to build upon the proposals and provocations of the Platform Papers series, lobbying and advocating for genuine change. For Brisbane, among the most pressing demands should be a cabinet-level acknowledgement of the creative sector, with an arts department “staffed by arts workers, dedicated to forward planning and fostering collaborative enterprises.” Read more: Remember the arts? Departments and budgets disappear as politics backs culture into a dead end Crucially, it is artists themselves who must show the way forward. They must not be cowed into silence, but instead must demand, at the very least, “funds to experiment and a living wage.” “In 2021” Brisbane writes, “we are starting again.” What, she concludes, do we have to lose? Platform Paper 63: On the Lessons of History by Katherine Brisbane, is on sale now. Ian Maxwell is the Head of the School of Literature, Art and Media at the University of Sydney, which has supported the publication of Katharine Brisbane's Platform Paper, and is partnering with Currency House to support an ongoing cultural advocacy project. This article is from The Conversation AU, which brings news and analysis from academic experts directly to the public.Katherine BrisbaneNational TheatreAvant-GardeCurrency PressCurrency HouseThe Australia CouncilAustralian CouncilUniversity Of SydneySchool Of LiteratureAustralian DramaAustralian CultureTheatre CriticIan MaxwellMelbourneAvant-gardeKatharine BrisbaneNickAlison CroggonAriel DurantGeorge Brandis

A plan to revamp the state’s Bright Futures program is being further watered down amid opposition from parents and students. The original version of the proposal would have tied the higher education tuition scholarship to whether a student’s major leads to a job. The newest version of Republican Senator Dennis...Read Full StoryScholarshipsFlorida State UniversityJobsFlorida CollegeSenate BudgetCollege TuitionBright Future 'sFSUHouseGAAScholarship AwardsState AppropriationsGov. Ron DeSantisRepublican LawmakersHigher EducationDennis BaxleyTravis HutsonRon Desantis