LGBTIQA+ holidayers beware: homophobic extras on offer in trans-Tasman travel

FOR OUR FIRST overseas trip in a decade, my husband and I turned our eyes towards Japan, which by October 2025 was on the brink of the broadest LGBTIQA+ reforms in the country’s history. Our travel plans were fairly advanced when new hard-right prime minister Sanae Takaichi sold-out LGBTIQA+ rights in a swift move that left her country the only G7 nation that does not recognise same-sex marriage.

So we settled on a short trip to New Zealand instead, the country that had welcomed us with enthusiasm in 2008 for our civil union, something Australia was unwilling to provide until the marriage laws were amended here ten years later. This time, Richard and I planned a week in the North Island, including a visit to Napier, one of the world’s best-preserved Art Deco cities.

We flew into Auckland for the weekend, then went to collect our pre-booked rental car in the CBD on Monday morning, looking forward to a night at a spa on the way to the North Island’s east coast.

The queue at Europcar’s Shortland Street branch was long, so Richard joined the end while I sat outside with our bags. The reason for the delays was clear: staff were upselling like it was going out of style, bamboozling several parties with upgrades.

Once it was our turn, I heard the young woman behind the desk (as bright and helpful as a Disney Princess) ask where Richard’s partner was. So I stepped forward just in time to witness ugly homophobia drain all traces of princess away.

Old Enemy

Across days to come we would replay the moment over and over searching for another way to explain the sudden shift in attitude. Was it because I’d been so keen to speed the already overblown process by requesting no upgrades be offered to us? Could it have been due to me putting my hand up when I did so, to interrupt the performative drama of her upselling?

Whatever, the impact was unarguable: within minutes we were given the ultimate downgrade … out the door with no rental car as the princess’s lame excuses about Richard’s ‘unreadable’ debit card echoed through a room full of customers.

But this was Auckland, a major city on a weekday morning, so I immediately started calling other car-hire companies. Yet no dice. We’d have to wait at least two days for a vehicle.

Ironically, one of the reasons was Auckland Pride being in full swing. Perhaps one local princess was a bit over so many queens in town? It reminded me of our brush with homophobia in Sydney during Mardi Gras a decade ago, and the need to pivot fast.

Our carefully planned itinerary was on the brink of collapse, so I channeled my inner Nineties backpacker and found a bus service to Napier departing in forty minutes. As we set off on foot for the coach station, my head buzzed with the possibility that we’d be unable to salvage hotel bookings and find new ones, but part of me delighted in the dodge.

In hindsight I recognise that was a coping mechanism to shield us from the return of a very old enemy, one we thought we’d seen the back of years ago.

The 7-hour coach trip across the North Island left us with plenty of time to pursue avenues of complaint via Europcar’s Australia/NZ customer care. Napier is serviced by Hawke’s Bay airport, which has a Europcar desk, so the company could simply honour our longstanding booking by arranging a car for us to collect anytime during our 5-day stay in the region.

As the rural landscape swept by from the top floor of a double-decker bus, our planned day trips to wineries and out-of-the-way swimming spots was starting to feel like it was back in our grasp.

Rising Above

The trouble with homophobia in a customer service setting has always been that it’s usually delivered with just enough plausible deniability to go unchallenged. Europcar’s defence – that our debit card was unable to be read – sounded credible and put the blame on us. The trouble with that excuse was that we’d offered to pay by several other means, all rebuffed as we were bundled out.

Long ago, I’d been forced to go to great lengths to explain homophobic treatment after my late partner’s sudden death. I knew all too well how defensive companies and organisations get when confronted with customers calling out their staff for playing by their own rules.

I also knew how difficult this type of homophobia is to explain to others. A whole world of victim blaming awaits because many find it impossible to imagine that the recipient of the discrimination didn’t do something to cause it.

So it wasn’t really a surprise to find that denial was Europcar’s knee-jerk response, because their Disney Princess lied to them.

Consequently, no rental car was offered to us in Hawke’s Bay. Complicating matters, we both came down with the flu. We’ll never know if it was due to sitting on an air-conditioned coach for a whole day, but walking around beautiful Napier became a bit of a slog with body aches, coughs and sniffles. Our amazing accommodation was our haven, as were the friends who swooped in and drove us to their tranquil home further south, where they regaled us with shocking holiday homophobia stories of their own, never once assuming that we’d brought this untenable situation on ourselves.

We were two married, middle-aged queer couples making the best of a bad situation, laughing about how it’s still necessary to be cautious about where we spend our hard-earned pink dollars. Instead of supporting a problematic New Zealand tourism economy in which individuals feel like they can impose their homophobia at will, in the company of like-minded friends we had the kind of holiday experience that money cannot buy.

Rising above, it’s what our generation has always done.

But during the last thirty minutes of our flight home from Wellington we encountered something it was hard to surmount, even at cruising altitude. After two hours of faultless service from an air steward, Richard and I both witnessed her face sour when she offered us a basket of sweets and realised we were holding hands. On our way off the plane, she farewelled every other passenger while silently giving us the stony glare of a gorgon.

Denial of Service

Queerphobia is unarguably on the rise. Some would say it never really went away, particularly considering a new generation of radicalised youth committing targeted attacks against gay men despite the widely publicised Special Commission of Inquiry into LGBTIQ+ Hate Crimes.

Many in the LGBTIQA+ community called on the Albanese Government to include anti-queer hate in a recent overhaul of Australia’s hate-speech laws in the wake of the Bondi Massacre, but the reform was limited to racial hatred.

Yet it turned out that Europcar’s Australia/NZ customer care team were forced to connect the dots during our holiday, after an Australian-Israeli couple was left without a hire car at Melbourne Airport days after our Auckland incident. News of the company’s failure had made it all the way to Israel, where a commentator put this type of incident into words I could finally understand: denial of service.

It’s as old as the Nazis and usually delivered with moral disclaimers, nonsensical justifications and a callous lack of care. But now that we were armed with vocabulary that Europcar’s Australia/NZ customer care team could have no doubt about, I wrote to them again.

The response was swift:

“Please accept our sincere apology for the inconvenience this has caused.” – Europcar Australia and New Zealand Customer Services

A Bit Prickly

Being an author and journalist, I’m a man of words, so it was a delight to receive news on the drive home that my latest novel Dirt Trap would be reviewed in the Newtown Review of Books this week by none other than Karen Chisholm of AustCrimeFiction.

When I took a look, one paragraph seemed to underscore what ‘inconvenience’ really does to same-sex attracted people:

“He’s also not afraid to make his central character a tricky individual. Readers may struggle to warm to James Brandt, although those prepared to reflect a little will see ample reasons for him being stressed, complicated, confused, and occasionally grating. It makes sense that a man who has experienced so much rejection early in life, and homophobia and the possibility that difference is potentially life-threatening, would be a bit prickly. It wouldn’t make sense to have it any other way, and it’s not just a brave move, it’s speaking truth to the facts.” – Karen Chisholm

Dirt Trap and its prequel Tank Water are not auto-fiction, although like many emerging authors I based aspects of my protagonist on my own life. I’ve often spoken about how James Brandt is a better version of me: a more skilled journalist and a more empathetic member of his community and his family.

But this week I learned the major similarity between me and James: we’re both prickly when we witness or experience homophobia. In fact he’s probably a bit more strident than me, because I sense that he would have stood his ground inside Europcar’s Auckland CBD office and caused a real stink.

It’s uncanny how life sometimes explains why you write fiction at all, simply because it has a way of allowing us to articulate the unsayable.

Queering the book trade: five LGBTIQA-themed reads to look out for

SAME-SEX ATTRACTION HAS cropped up in Australian literature since the dawn of our publishing industry, when queer characters were heavily coded yet highly visible when you knew how to read the signs.

From the middle of the 20th century, we stepped a bit further out of the margins into tales like Kenneth Cook’s Wake in Fright (1961), although the roles were small, mainly stereotypical villains and helpless victims. Happy endings for queers were in very short supply.

Decades on, a shift is underway, and you’ll observe it in just about every section of your favourite bookshop. Exhibit A: this short list of works in the publishing supply chain right now.

Queer characters crop up in these titles as family units and courageous protagonists; in sexual encounters and chaste romances, and as parents, children, siblings, colleagues and more. I could analyse whether such portrayals are authentic or run very deep. I could explore which of these authors sits where on the LGBTIQA+ spectrum, if at all…

But all of that is beside the point, which is that Australia’s most courageous book publishers, distributors, booksellers and authors are digging deep to bring queer stories into the mainstream. Just get reading…

My Heart at Evening by Konrad Muller

Former convict Jorgen Jorgensen is tasked with investigating the apparent suicide of English surveyor, architect and explorer Henry Hellyer in colonial Van Diemen’s Land. Pitting its characters against the harsh 1830s frontier, Muller’s debut novel unpicks a web of silence and inconsistent evidence that saw Hellyer beleaguered by gossip about his sexual liaisons with male convicts. Ramping up gradually via its tense, tender and detailed prose, this evocative colonial mystery is the first release from Tasmanian imprint Evercreech Editions, and forces us to question whether Hellyer’s death was one of the earliest cases of homophobic retribution masked as self harm. 

Swallow by Alexandria Burnham

Garry Wotherspoon’s research into explosive archived love letters between 19th century seamen Matthew Flinders and George Bass, and bushrangers Captain Moonlite and James Nesbitt, unleashed a long-overdue queer gaze on the Australian colonial experiment. Now, Alexandria Burnham’s heartfelt and feisty tale of high-seas adventure and high-stakes love joins the growing ranks of historical fiction brave enough to portray complex and endearing same sex-attracted characters living in one of the country’s toughest eras. From the WestWords stable, platforming the people, places and cultures that comprise the heart of Western Sydney.

Haze by Sam Elliott

This gripping debut blazes a new trail into Australian rural noir. With intense, action-packed prose, Elliott throws the reader into a rural community blasted apart by bushfire, on the heels of the fierce, loyal, humane and unique Constable Dahlia Turner. While some locals cry arson, Dahlia fights to focus on the heinous murder and missing child that lead to far more uncomfortable truths. Haze tackles the lawlessness of country towns, but this is no moral crusade, because Elliott explores Dahlia’s courageous journey to confront similar aspects in herself. An engaging portrayal of 21st century rural life from PanMacmillan Australia, which gave rise to queer Australian author Hayley Scrivenor.

Dark Desert Road by Tim Ayliffe

In a completely new direction for Ayliffe, hitherto master of global espionage fiction, this fast-paced novel takes readers from the heart of Sydney into the badlands of the Riverina with child-protection cop Kit McCarthy, on a mission to rescue her twin sister Billie. There’s a dark history in this family: war crimes, domestic violence and conspiracy theories have broken the McCarthys irretrievably. As Kit digs deep for the sake of a nephew she’s just discovered, chilling evidence makes it clear that Billie has reinvented herself from happy-go-lucky city chick into a separatist intent on destruction. A relentless chase into the heart of sovereign citizenry from Echo Publishing.

The Watchnight by Michael Burge

“A refreshingly original historical crime novel. Journalist and novelist Michael Burge weaves together facts with riveting fiction, breathing life into a forgotten pocket of Australian history. With elegant prose and intriguing, conflicted characters, he tells a mesmerising tale that’s anchored in the beauty and brutality of a tiny rural outpost in the 1850s. Its strengths are due in part to the setting, a Methodist community in rural NSW during the gold rush; the depiction of a beautiful relationship between a Burra Burra woman and an Irish woman; and a gripping plot that explores complex questions of crime, forgiveness and faith in the 1850s.” – author Poppy Gee. Now available from Unicorn Press.

Take Another Look: The ‘passionate absurdities’ of James Lapine’s Impromptu

The fourth in a series of retrospective pop culture reviews revisits the historical romance that reignited the careers of Judy Davis and Hugh Grant…


TWO-THIRDS OF THE way through James Lapine’s 1990 film Impromptu, Mandy Patinkin (as 19th century French poet Alfred de Musset) stretches his face towards the camera in full clown whiteface and viciously shuts down his flaky colleague Hugh Grant (as Polish composer Frédéric Chopin), shouting, “Art never apologises!”

It heralds an explosive turning point in screenwriter Sarah Kernochan’s reimagining of the notorious affair between French writer George Sand (played with pants-wearing, gun-toting, acrobatic gusto by Judy Davis) and sickly Chopin (in the hands of comedically brittle Grant).

Legends of the 19th century’s French Romantic era have joined Sand, Chopin, de Musset, composer Franz Liszt (Julian Sands), writer Marie d’Agoult (Bernadette Peters), and painter Eugène Delacroix (Ralph Brown) at the bucolic retreat of patron Duchess d’Antan (Emma Thompson).

SCREEN SAND Judy Davis

In a black comedy akin to Peter’s Friends meets Dangerous Liaisons, picnics, croquet and illicit sex punctuate Madame Sand’s escapades from former lovers. All the while she simply wants to seduce the man behind the music: the phlegmatic and reclusive Chopin.

He represents a higher form of expression to the brash novelist’s hungry heart. Trapped by a seemingly unconquerable object of desire, the great feminist novelist meets her match, and in the fallout of this summer jaunt Impromptu finds its feet as an original and compelling romance.

Romantic Heroism

The film contains several treats, particularly Thompson’s early comedic turn as the hilarious Duchess d’Antan; and Elizabeth Spriggs as an enthusiastic fan who corners Sand just as Chopin’s music really starts to beguile her.

There was near-universal critical praise for Judy Davis in another career-defining portrayal of a writer at a very different stage of her career to the aspiring Sybylla Melvyn in My Brilliant Career (1979). 

“A great actress in a great role,” wrote Terrence Rafferty in The New Yorker. “Davis makes Sand’s passionate absurdities both funny and tremendously moving; this woman’s willingness to embarrass herself seems a kind of romantic heroism.”

Davis stepped up to play the unconventional Sand at a critical time of her career, and put an heroic effort into promoting her first international lead role since A Passage to India, the production that left her with that ‘difficult actress’ reputation.

A 1991 interview with the Los Angeles Times from a Hollywood hotel reads a bit like a charm offensive. Confined to the descriptor of “Australian actress”, Davis delivered several bombshells that can be read as a form of art in a state of apology.

Her up-front explanation to the notorious clash with “autocratic” British director David Lean (“we got into an actual screaming match in India”) came the very month of the movie titan’s death. This is counterpointed with revelations about Impromptu, shot entirely in France with a director who did not speak the language, “a recipe for disaster” dodged due to Lapine’s “staying power”, according to Davis.

Yet despite her picking up an Independent Spirit Award for best actress, in a role that amplified Davis’ independence, Impromptu failed to outsell its modest budget.

Discordant Twits

Some critics focussed on the director’s inexperience. Renowned for his Pulitzer Prize-winning libretto of the Broadway premier of Sunday in the Park With George (complete with Peters and Patinkin in a Sondheim masterpiece exploring France, art and love) Lapine’s film debut came off as lacking in big-screen technique.

CHOPIN LISZT Julian Sands and Hugh Grant

“When he introduces the music of Chopin and Liszt into the proceedings, the effect isn’t revelatory, it’s discordant,” wrote Peter Rainer in the Los Angeles Times. “It’s impossible to believe that such sounds could have issued from such twits.”

Yet Rafferty found more nuance in Grant’s performance, a precursor of portrayals to come: “A brilliant caricature of the Romantic ideal of the artist; he gives the character an air of befuddled unworldliness.”

Kernochan might have put one of the Romantic era’s greatest mysteries on the page – exploring why the reticent Chopin succumbed to the steamroller Sand – but Hugh Grant and Judy Davis came into their own portraying it.

Drawing on Sand’s strength, Chopin fronts up to a duel with one of her former lovers. He fails miserably and she picks up the pieces, but left to their own devices in a rural farmhouse (designed with exquisite simplicity by art director Gérard Daoudal) Sand and Chopin are finally able to work themselves free of artifice.

By then, she’s adopted her real name, Aurora, and taken to dresses (Jenny Beavan’s outstanding work). He shrugs off his shyness in a tender and unpredictable bedroom scene where, as it turns out, artists do apologise when they seek true connection.

In the hands of key creatives Lapine and Kernochan – a spousal team in a rare collaboration – Impromptu says much about the meeting of minds that is possible for artistic couples.

Chopin allowed Grant to realise his potential as a leading man who can embrace his pathetic side, and Sand gave Davis the opportunity to transcend her independent reputation by owning it.

Impromptu is streaming on Apple TV.