Before Wolf Man let out any howls on-screen, it went into production with a roaringly great idea: Leigh Whannell, fresh from his 2020 hit The Invisible Man, again taking on one of horror cinema's iconic monsters. But this update of 1941 classic The Wolf Man almost didn't happen, at least not like this. In the past decade, rumours first circulated that Dwayne Johnson (Red One) was set to bay at the moon, then a reimagining with Ryan Gosling (The Fall Guy) was simmering — the latter of which Whannell was linked to, then dropped out with Blue Valentine and The Place Beyond the Pines director Derek Cianfrance set to step in instead, then returned to but with Christopher Abbott (Poor Things) starring. Initially, Whannell declined the Wolf Man opportunity. Why did he change his mind? "I think it was hitting upon my way into the character," he tells Concrete Playground. "They were very smart in their inception of me — they said 'well, just as an exercise, what would you do? How would you approach this character if you were to do it — not saying you are, but what if you were?'. And so I started thinking about it, and once I hit upon this idea of perspective and using the camera to shift perspective, that's when I was hooked. Once I have an idea that is keeping me awake at night and I can't stop thinking about it, it's almost like you have to make that film to get that idea out of your system. If something's obsessing you, then you've got to exorcise it. You've got to get it out. And that was it." Co-written by Whannell with his wife Corbett Tuck — an alum of the Whannell-co-created Insidious franchise as an actor, including featuring in his directorial debut Insidious: Chapter 3 — this Wolf Man delivers what it promises, of course. It's a werewolf film, with Abbott's character of Blake Lovell destined for an unwanted transformation. But as anyone that saw The Invisible Man and experienced how it found an inventive way into its well-known horror figure knows, and everyone who watched Whannell's body-horror Upgrade before that and spotted its riff on Frankenstein as well, the Australian filmmaker isn't interested in straightforward or obvious do-overs. He's modernising movie monsters and grounding them in resonant emotion. As The Invisible Man's lead, Elisabeth Moss (The Veil) wasn't in the titular role but rather played the transparent force's target, aka his ex-girlfriend, for instance, in a picture about domestic abuse, coercive control and gaslighting. This time, while again examining the loss of agency as he keeps doing cross his career, Whannell spins an exploration of trauma, plus the transformation and grief that it can spark — and of a marriage and a family tested by it, and also of the breakdown of communication in a relationship, and the mourning over losing someone slowly before your very eyes — around cinema's werewolf archetype. It's a hauntingly effective way in, and a shrewd and engaging one. Again, feeling the impact on those closest to the movie's namesake is essential. As Blake's wife Charlotte, enter Ozark Emmy-winner Julia Garner, starring with Abbott for the third time following Martha Marcy May Marlene (the feature debut for both) and an episode of Girls. She's also currently on a four-film streak where tension and unease is the prevailing mood. The latter and discomfort were equally crucial in her turn in quickly bingeable, ripped-from-the-headlines streaming series Inventing Anna. "There's not just one family member," Garner advises, explaining why it was so pivotal to her that what Charlotte goes through is just as key to the narrative as what Blake faces. Wolf Man uproots the couple and their eight-year-old daughter Ginger (Matilda Firth, Coma) from their San Francisco existence — where Charlotte is an investigative journalist and loving it, Blake is a doting dad but adrift in his surroundings otherwise, and strain already stresses the pair's marriage. While it takes some convincing, soon they're in rural Oregon, where Blake grew up and where the film opens. As a child (feature first-timer Zac Chandler) in the 90s in an area where a strange virus has been linked to wildlife, his survivalist father (Sam Jaeger, The Handmaid's Tale) isolated the family from the rest of the world. Blake has now inherited the property, sparking his comeback decades later, as well as the use of impressive practical effects by Whannell's team to make good on the movie's moniker. First coming to fame at home as the film critic on beloved 90s Saturday-morning TV show Recovery on the ABC, and with acting credits in The Matrix Reloaded, Death Sentence, Dying Breed, The Mule and more to his name, Whannell did indeed wish when he was starting out to be where he is now. His path that also spans bringing both the Saw and Insidious franchises, two of the biggest sagas in horror of the 21st century, to audiences with fellow Australian James Wan (Aquaman and the Lost Kingdom) — and starring in them. But he steadfastly appreciates his journey and, as he notes, "that luck plays a massive part in film-industry success". While he's been doing big things as Aussie filmmaker, Garner keeps working with Down Under talents. See also: Kitty Green's The Assistant and The Royal Hotel, plus Rosemary's Baby prequel Apartment 7A from Relic's Natalie Erika James. We chatted with Whannell and Garner about their routes to Wolf Man, how the film continues trends in each of their careers, casting and the movie's fresh interpretation of the Wolf Man story. The figure is no stranger to the screen, after all, with 2010's The Wolfman also going the remake route, and focusing on werewolves at the heart of films as varied as 1935's Werewolf of London; the 80s trio of An American Werewolf in London, The Howling and Teen Wolf; and Wolf in the 90s (and others). Part of our interview, too: Whannell's recurring themes, Garner's reunion with Abbott and more. On Whether Whannell Ever Dreamed That He'd Be Modernising Iconic Movie Monsters Back When He Was a Film Critic on 90s ABC Series Recovery Leigh: "I think I did dream. I mean, 'dream' is the right word, because they were very much daydreams. I don't think I took it past the daydreams. Once you start actualising a daydream, where you're drawing up plans and charts, and thinking about the chess moves that you're going to make to get there — I was just wishing for it. So I think that the fact that I actually am doing it is a literal dream come true, but it's also surprising to me. Because I think if I hadn't met the right people at the right time — and it's a very particular path I had to walk. One wrong move and this all goes in a different direction. On Garner Engaging with a New Way Into a Horror Classic in Wolf Man Immediately After Rosemary's Baby Prequel Apartment 7A — and If That's a Daunting Task Julia: "With this one, I feel like a lot of it is just that's what people want to see now. I feel like most of the movies that come out in this day and age are horror in a way, so I think that's what's popular now. And I'm just an actor that that needs to work — what can I say? No. But that's what's popular. The thing with Wolf Man that's interesting is that I actually didn't watch any — I've watched the previous Wolf Mans before, even before I was attached to this movie, but I didn't rewatch any of the previous Wolf Mans because I always felt like it felt very different and it wasn't connected to the previous Wolf Mans at all. So I wasn't going to take that as reference, movie reference. I found other places that were more beneficial for this Wolf Man than the previous Wolf Mans." On What Motivates Whannell to Make New Versions of All-Time Horror Greats Leigh: "I think they're iconic characters that people know. They're known around the world. The Wolf Man, Invisible Man, Dracula, Frankenstein — these characters are truly global, and people have a firm idea in their head. You say 'Frankenstein' to somebody and they have a picture in their head, probably the classic Boris Karloff image of the square green head with the bolts in the neck. There's that, but having said that, they're not locked in. People have done many things with these different characters. You can take the Wolf Man and plug it into a teen comedy. They did with Michael J Fox in the 80s. You can take a werewolf and plug it into a children's film. My kids watch animated movies with the Wolf Man running around, and Adam Sandler's doing the voice of Dracula. They're very malleable. They're so entrenched in pop culture that they don't even have to sit in one lane anymore. [caption id="attachment_788088" align="alignnone" width="1920"] The Invisible Man[/caption] That's what's exciting to me, because getting people into movie theatres these days is difficult. If you can take a really known character like that and create essentially an original film inside of it — like with The Invisible Man, I was essentially creating my own story. I wasn't adapting a novel. I was creating this character of Cecilia, her inner world. So it's a way of having my cake and eating it. I get to write an original movie that's based on an iconic character, and the fact that it's so well-known means that studio has a way in. They can sell it to people. It's an equation you have to think about, I think, when making movies these days, because getting people into theatres is tough." On Why Whannell's Approach to Horror Monsters Appealed to Garner, and What She Was Excited to Dig Into Julia: "That it felt very real and very grounded. I thought that was a super-interesting combination, with the supernatural element of a monster movie, like Wolf Man. So, that contradiction — well, any contradiction always interests me. I think playing a mother, but not only playing a mother, playing a working mother — a mother that is struggling with what her identity is. I interviewed a lot of working mothers separately, and they all had similar responses, in a way. And the pressure of being a woman in this in this day and age — there was different pressure being a woman in the past, but there's now this different pressure of this day and age, and they all had similar responses. But then to add on top, something that was also just interesting was the sense of acting, how I approached it, too, was the seven stages of grief taking place in one night. And I think that was a really interesting challenge as an actor, because playing anything that takes place in one day is very challenging, let alone having the stages of grief — that's very challenging as well." On Wolf Man Combining Its Monster-Movie Setup with Musing on a Marriage Breakdown, a Family Strained by It, and Grief and Loss Leigh: "I think it is a balancing act, but it's one of the things I love about screenwriting is calibrating it. You're shaping something. You're making this sculpture. And to me, there's something very musical about writing a film, because there is a rhythm to it — and it's a rhythm that you just feel, you kind of feel it in your bones. You're just like 'okay, I need a chord change here. It's time for a big moment, and then I'll pull back'. I love doing that. I love being the god of my own little world. So much of life is out of our control — but when you write a screenplay, you create these people and you can treat them badly, you can treat them well, you can give them victories, you can rip the rug out from underneath them. There's something very cathartic about that, about controlling the fate of these imaginary people. And so I do enjoy that calibration. I do enjoy deciding — and so I'll give them a moment of connection, and I'll give them an emotional moment, and then I'll be vicious to them. You really are putting these characters through the wringer and you just have to use yourself as the barometer of 'when do I get emotional and when do I write things up a little bit?'. On Elements of Horror, Tension, Unease and Discomfort Simmering in Garner's Last Four Films in a Row — Including The Royal Hotel and The Assistant Julia: "I think it's funny. I look at those two movies, I don't look at them as horror movies so much, Royal and The Assistant. I look at them more as movies that have a lot of tension, and movies that have more of a grey area — and that's what feels like horror, a grey area is sometimes scarier because it feels more real. But this movie is different from anything that I've done, because this is actually the most of an action movie from out of anything that I've done, so that was one of the things that I also wanted to do. There was a lot of physical just running and all the things that I'm doing this movie. It was like an action horror movie it felt like, this film." On Why Whannell Keeps Telling On-Screen Tales About the Loss of Control and Agency Leigh: "That's interesting. A lot of times I treat interviews like free therapy, where I'm discovering in real time what the hell it is I do with my life. The old saying 'a fish cannot describe water' applies — I'm so inside of my films and so close to them that I'm not always the best person to tell you what they're about. Someone like you, who's coming in with a fresh set of eyes, you have a better Google Maps-view of this thing that I've done, and you maybe can pick up things. So I'm surprised a lot of times. Hearing you say that, I'm like 'okay' — and thinking about it, I'm like 'yeah, you're right'. There is this throughline through Upgrade and The Invisible Man and Wolf Man, and a lot of stuff I've done. I think that — just unpacking this in real-time here for you — I think that feeling like being out of control is something I'm afraid of in my own life. I'm somebody who wants to know what the plan is. I'm trying to keep a lid on the chaos of life. Some people are better at going with the flow. I definitely need that and I've always been like that. So maybe it's a fear of mine that's coming out. But also I think it just makes for good drama when you have someone who is being stripped of their agency and who they are. That's just great drama, especially when the person doesn't deserve it, when they're a sympathetic character. They say the key to screenwriting is to put your main character up a tree and throw rocks at them. I guess I enjoy torturing these fictional people because that makes for a good screenplay." On the Importance of Key Surroundings in Garner's Recent Films, Such as Wolf Man's Oregon Farm Setting Julia: "Surroundings in general, I think, is — and this is actually not on the actor, but I think if a director is not using the surroundings, that is not good for the film because it's a character on its own. So you're not getting to know another character in the film." On How Whannell Knew That Abbott and Garner Were His Wolf Man Leads Leigh: "I knew both of their work and knew how talented they both were. With Chris, the final straw was seeing him do a play in New York where he was just so great. And he was just ball of energy on stage, just raging — and then I went and saw him backstage and he's just chilling out with a glass of wine. And I was like 'okay, this guy, this guy is amazing that he could do that and then this'. I could see that he could switch it on and off. And with Julia, I already knew what she was capable of. So a lot of times with actors, unless you're a Christopher Nolan or Steven Spielberg, you really are just fishing for a yes. You don't always get that. I've written plenty of impassioned letters to different actors trying to sell them on a film I'm writing and gotten the rejection. Even directors can get rejected. Actors face a lot of rejection, but directors do too. So I'm just so happy that these particular two people responded. I was waiting for Julia. I was like 'uhhh, I haven't heard anything for a couple of days'. I'm reading into it. 'I guess she's going to pass'. And then she texted me a little wolf emoji. And I was like 'all right'. It was just one of those happy times when two people you know can do it both said yes." On Garner Working with Christopher Abbott for the Third Time — and How They Drew Energy From Each Other in Their Wolf Man Performances Julia: Well, it definitely didn't feel like the first time I met him. So that was easy. And Chris is such a great actor, so I was very excited to attach myself to this. Chris met me when I was 16 years old, which is crazy — there is history. Just being real, I think is so important. Being real and being open, because if you have just open behaviour, then that makes your scene partner hopefully more open. So that openness is contagious, and then you get a real response. On What Whannell Makes of His Journey From Australian TV to Co-Creating the Saw and Insidious Franchise, Then Upgrade, The Invisible Man and Wolf Man Leigh: "A lot of it's been surprising. So much of the movie industry is gambling, and you the old saying 'nobody knows anything' applies, I think. Certainly in Hollywood, where you've got these big studios spending lots of money and it's a profit-driven industry. Unlike Australia, it's not a a government-supported art form. It's a deluge of capitalism, and you stand or fall on that box office. And there are detours you can take, i.e. spend less — well, then you're not on the hook as much; the less money you spend, the less you're expected to make. So anyone who manages to scrape out a career, it's kind of a surprise — because when James Wan and I did that first Saw movie, we never expected that people would actually go to see it, and never expected to turn into this huge franchise. And it was a total bonus prize. So it's surprising more than anything. And I think when luck is involved, it can keep you humble — or it should. If you start believing that you're there because of destiny, that you were chosen by the hands of fate, that's when you're in trouble. That's when your ego's talking. But if you have a healthy awareness that luck plays a massive part in film-industry success, it does keep you god-fearing. It keeps you humble in the face of that luck. Here I am again talking to you, I'm rolling the dice again. I've made a film. I'm hoping it does well. But I have no idea how it's going to connect with audiences. That part isn't up to me. There's nothing I can do or say to make this film connect with people. It either will or it won't. So yeah, I'm just very well-aware of that." [caption id="attachment_927986" align="alignnone" width="1920"] The Royal Hotel[/caption] On How Garner's Run of Working with Australian Directors Came to Be Julia: "I don't know. Well, Kitty is one of my closest friends, so I will do anything with her. I literally was just like 'I need to call her'. I love Australians. I think you guys are awesome. And you guys have great, great directors and art coming out of there, so I'm always intrigued by what an Australian has to say." Wolf Man opened in cinemas Down Under on Thursday, January 16, 2025. Leigh Whannell will chat about the film at the 2025 AACTA Festival, which runs from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast.
"I think a little bit is that annoying mosquito lead. It gets in your ear and it's hard to get it out." That's why Chris Stracey, one half of Bag Raiders with Jack Glass, thinks that the duo's perennial earworm 'Shooting Stars' not only initially resonated with listeners, but keeps resonating. More than a decade and a half has now passed since the peppy tune first hit airwaves; indeed, 2025 marks exactly 15 years since the track notched up 18th spot in Triple J's Hottest 100. The tune's story didn't end there, though, and not just thanks to that initial wave of love lingering. "Case in point: with the Troye tune, it opens with that and it's just instantly like 'oh okay, yeah, I'm in'. It's just one of those," Stracey tells Concrete Playground. He's referring to fellow Aussie Troye Sivan, who sampled ''Shooting Stars' in his 2023 single 'Got Me Started'. Between Bag Raiders first releasing their song and Sivan's track, the tune also went viral — and global — thanks to a meme that it'll forever be linked to, then rocketed up the Billboard dance charts. "It's been crazy. I mean, it's been good. There's nothing to complain about. But it just feels like it's total dumb luck in a way. The way the Internet works, you can't really engineer things like that. You just let it do its thing. It's surprising to us that it's continuing to do its thing, but I wouldn't say there'd been too many negative things that have come with it," advises Glass. "It's been amazing," pipes in Stracey. "It's been a lucky and crazy and awesome ride," adds Glass again. "It also had a weird arrangement at the time. It's just basically like verse, verse, verse, verse, chorus," explains Stracey. "And breakdown," reminds Glass. "Whereas most songs would go verse, chorus, verse, chorus," continues Stracey. "I remember that being a comment, that a few people were like 'what is that arrangement? I've never heard a song do that'. And we didn't really know much about writing songs at the time. We were just like 'oh, let's just make it chill and then make it big'. So maybe that hasn't to do with it, but I don't know." Bag Raiders will always be known for 'Shooting Stars', but the song that Flume has also covered with Toro y Moi is just the beginning of the duo's journey — well, after going to the same Sydney high school, reconnecting afterwards and teaming up to make music, forming the band in 2006. It also came after 2008's 'Turbo Love' became a radio favourite, and their remix of 'B.T.T.T.T.R.Y.' by K.I.M. (aka The Presets' Kim Moyes) made the Grand Theft Auto IV soundtrack. Jump to 2025 and two studio albums sit on their discography, 2010's self-titled release and 2019's Horizons, as do collaborations with everyone from The Kite String Tangle to Panama, their own record label and status as a music-festival favourite. Bag Raiders' next fest gig is AO Live, the music lineup that's been accompanying the Australian Open since 2003. Only one Grand Slam around the world pairs tennis with a music event: Melbourne's annual stint in the sport's spotlight. For 2025's AO Live from Thursday, January 23–Saturday, January 25, Bag Raiders sit on a bill filled with big names: Benson Boone headlines the Thursday night, Kaytranada does the honours on the Friday, and Glass and Stracey take to the stage on the final day, as do Kesha and Armand Van Helden. Music lovers who'll be filling the crowd aren't the only ones that are excited. So are Bag Raiders. What gets them pumped about being on any festival bill? "One big thing is who else is on the lineup," says Glass. [caption id="attachment_975224" align="alignnone" width="1920"] Ashlea Caygill[/caption] "I would say in this case, it's such a sick lineup. To be on the same bill as Kaytranada and Armand Van Helden, who's a bit of a hero of ours, is pretty exciting. So that's something that I would say I look to. Also just to be in a cool, kind of weird environment — and this certainly fits that bill as well," Glass also advises, calling out how unique it is to be playing a music fest at a major tennis championship. Adds Stracey: "And also we're doing this one live, whereas the last few thing festivals that we've done, I think we were doing DJ sets — which is also really fun, but we've got this new live show that we've been building and it's been really fun to pop that off whenever we can. And doing it at a festival, and the atmosphere is tip top, is definitely going to be really fun." Glass and Stracey are indeed still having fun with Bag Raiders. Chatting through their career — how they started, their early influences, the 'Shooting Stars' experience, the path that's led them to here — they sound as inspired as ever, in fact. As for what the future holds, "I think just keep doing what we've been doing the last couple of years, which is making dance music, and going out and DJing it. I think we're in a good moment. So, more of the same please," notes Glass. Fingers crossed that their current idea of a dream collaboration comes to fruition, too: "We meet so many people along the way and then we just kind of go 'oh, you know what, it'd be fun to do a track with that person'," explains Glass of their process. "Actually, we were hanging out with the guys from ONEFOUR at Ability Fest. That would be quite a good collab. Those guys are cool as hell," adds Stracey. We also spoke with the pair about what they love about playing festivals, what audiences can expect from that aforementioned new live show, what they've learned along their journey, how the Australian dance music scene has changed and plenty more. [caption id="attachment_975226" align="alignnone" width="1920"] Ashlea Caygill[/caption] On Bag Raiders' Favourite Part of the Festival Experience as an Artist Jack: "Being outdoors is kind of sick. We're so used to playing in sweaty clubs at like two in the morning. There's something very fresh and nice about being outdoors. And just the energy that people bring to festivals is different to a club. I don't know, it seems to be a bit more ... " Chris: "Like a one-off concert." Jack: "People are just like — the vibes are high." Chris: "Yeah, it's more, more, more, more — more of everything. More fun, more people usually." Jack: "More bands." Chris: "And that's also what's so fun for us, too. We've met a lot of really good friends in music now through playing at the same festivals, and just kicking it side of stage and watching their shows. That's really fun." On What Audiences Can Expect From Bag Raiders' New Live Show Jack: "Our new show is pretty turbo actually. It starts pretty hard and fast, and then continues to get harder and faster for the course of an hour." Chris: "So the journey will be from high energy to higher energy." Jack: "Yeah, kind of a take-no-prisoners live show that we've built." Concrete Playground: "That suits being at a sports event." Jack: "I think so." Chris: "Yeah, high intensity. Those people are used to watching the hectic stuff at the highest level, so we've got to also bring it." Jack: "We're all athletes, you know what I mean?" On How Influential 'Shooting Stars' Has Been in Putting Bag Raiders on the Path to Where They Are Today Chris: "We were just making tracks and putting them out, I guess, and we didn't really think that it would do what it did. We had no expectations of it, really. We were just working on a bunch of music, and then we just kept going and did the album it. It's been something that the outside perception of it is kind of bigger than the importance that we hold on it. We've never tried to do another version of that song or anything like that. It's just one of those funny things where you're making one thing in your bedroom, basically." [to Jack] "It was half in your spare room in your house, and then in our studio, the first studio that we moved into. And it's just incredible that you can do something like that and then it takes off." Jack: "But I think it's only looking back where you realise how weird and crazy that journey was. I think as it's gone, it's all felt pretty natural and normal. And then the internet stuff, like I said, has been kind of wacky but cool. But I don't think there's really ever been a moment where ... " Chris: "That's informed the new music that we've made." Jack: "Yeah, exactly." On the Original Dream When Bag Raiders Formed in 2006 — or Before That, When Glass and Stracey Knew Each Other in High School Jack: "I think just to be able to do that — and do that as a job." Chris: "Yep." Jack: "I didn't really dream much bigger than that." Chris: "Me neither." Jack: "But that's also not that easy to do. We've been lucky and we've worked hard and we've been able to do that. It's still a dream. It's like a good dream that we've kind of reached, I guess. I don't think either of us ever wanted to be global superstar DJs or in the gossip magazines. It wasn't anything like that. It was just to keep being able to make music which we both love, and to do that as much as possible, basically." On the Moment When Glass and Stracey Knew That Bag Raiders Was Their Job Now Chris: "I quit my cafe job, where I had to wake up at 5am and open the cafe. I was like 'I'm not doing this shit anymore'. It's because around when we started getting booked, after we get got some radio play on Triple J and we started getting booked to DJ, we're traveling. So we go to Melbourne and we go to Brisbane and we go to Newcastle, and we're like 'oh, cool, so people are paying for us to go to these other cities and then also paying us fees'. And for the amount of work that you do — I mean, there's a lot of travelling and you're doing work on music behind the scenes — but in terms of hours, a DJ gig is like two hours. And I'd been putting in eight- hours shifts, getting up at 5am or 4.30am or whatever. And I was like 'this has gotta go'." Jack: "Yeah, totally." On Bag Raiders' Diverse Range of Initial Influences That Started Them on Their Music Journey Jack: "I think at that time we were making all kinds of different music. We both had interest in electronic music, but it wasn't necessarily club music and dance music. And then at around the time when we started in Sydney, our friends are throwing these parties and we were attending them, and we were buddies with the DJs. And then I guess slowly the music we were making went from more-ambient stuff into more club-focused things, and then we would turn up at the club and give it to the DJs and they would just play without even … " Chris: " … Listening to it. It's actually insane." Jack: "Yeah, they trusted us enough to press play on CDs, which could've been anything. And I guess it was through the influence of that, the parties were called Bang Gang and the Bang Gang DJs were really big." Chris: "They also played all over the place. You would hear Daft Punk, you would hear kind of techno stuff and then you would hear … " Jack: "Fleetwood Mac." Chris: "Yeah, Fleetwood Mac. Bon Jovi. They were playing all over the place. It was that real anything-goes sort of vibe. And I think, also because we've always been into so much different kind of music — the first thing that we did as Bag Raiders was that mix CD that we called Bag Raiders, which was sort of the same, was all over the place, had a couple of our edits, but it had The Cure, it had 50 Cent, it had dance stuff. It had Cream, like Eric Clapton." Jack: "Outkast." Chris: "Yeah." Jack: "It was wild." Chris: "And I think we've just always tried to have that — we've never really been people that are just into one thing. All of our releases have kind of been all over the place, apart from recently, where they're a bit more geared towards the club world again. But it's definitely been that we've been influenced by loads of different stuff." Jack: "I feel like that's the ethos of Bag Raiders as well, to just raid from all these different genres and just put them all together in a big washing machine and see what comes out." On What Bag Raiders Takes Inspiration From Now, Almost Two Decades On Chris: "Since COVID really, I think both of us have been re-energised in making club music. It's been really fun to, because we had a couple of years and no shows at all, and it seemed like when DJ gigs started happening again, the energy from the people was just way more." Jack: "Yeah." Chris: "It was like a really hardcore kind of thing, like people are way into letting loose, it seems. So it's been really fun to just make the kind of music that we would be putting in our DJ sets anyway." Jack: "Or that we would want to hear if we were out in a club, for sure. And I think that's one thing we've probably gotten better at is understanding how clubs work and how to DJ and stuff. For sure 15 years ago, we had no idea for our first DJ sets — they were like absolute shitshows." Chris: "Train wreck." Jack: "Train wreck after train wreck. So we've finally learned how to DJ, I would say." On Whether the Success of 'Shooting Stars' Came with Pressure — and How Bag Raiders Handled It Chris: "Pressure to make another 'Shooting Stars'? A little. We definitely had a moment where we did an album that we thought was pretty cool and we loved it, and then the label's a little bit like 'oh, we need another 'Shooting Stars'-style thing. Like: 'well we're not – that's not what we do, bro'. It's funny, because labels will sign you because you did something that you liked for yourself that worked. And then as soon as it comes around to the second time around, they suddenly are like 'oh, we know what's going to work — you should do this thing that worked before and keep doing it'. And that's never been in our interest at all. But I mean, we've been out of a label deal for four years now or something like that." Jack: "Yeah, yeah." Chris: "And so for us it's just been so freeing, and you realise you really don't need labels these days. It doesn't take a $1000-a-day studio to make a record anymore. You can do it with a laptop in the library. And then barely anyone does music videos anymore as well. It seems like they just stick it up on social media or something, and that's it. It's kind of been really freeing and really fun to enter that world, too. Because especially in dance music, you do something and you're playing it out as you're working on it. And so as soon as you've gone 'oh, this is finished, it's ready to go, let's just put it out', the fact that there's no red tape anymore, to just be able to do something and then like suddenly it's out in the world, that's ... " Jack: "A good feeling." Chris: "Yeah, very good feeling." On Glass and Stracey Starting Their Own Label Jack: "It's been awesome. So far, I think we've only just put out our own music on it, right? It would be cool in the future to put out music of friends and music that we really like. But it's exactly like what Chris is just talking about. It just feels very freeing. And it's not even that no one's telling us what to do, because even had they done that in the past, we kind of wouldn't listen anyway. But it's more like there's no big machine. There's no bureaucracy. There's no like red tape. There's no waiting around for a label to get its ducks in order before something comes out. It's just all very immediate, and we can move really quickly. That stuff feels really freeing, I think." On What Glass and Stracey Have Learned Over Their Bag Raiders Journey So Far Jack: "I certainly know a lot more about how the music industry works now, and who the evil players are — who to avoid and who to buddy up with. And then in terms of music, I don't think our approach is that different to what it was back then, to be honest." I would like to think that's one of the secrets of our longevity and success. We never try to make music for anyone except ourselves. Whatever makes us feel good or happy in the moment in the studio, that's what we're going to make. Chris: "And I suppose we've been lucky, we haven't had any overbearing labels or managers or whatever forcing us in certain directions, so we've free enough to just do whatever feels good. And I think probably people can sense that or something, like audiences. I think people have much better radars than what some people think. They can tell if something's being forced or tailored, or tried to be created in some direction — and people want to listen to stuff that just makes everyone feel good." On How Glass and Stracey Have Observed the Australian Dance Music Scene Changing Since They Were Starting Out Jack: "When we came up and especially in Sydney, the scene was so strong and there were so many clubs. Right now we're in King's Cross at my studio, on a road where there used to be like six clubs — and there's none here now. So it's a bit sad. I feel like there's maybe less enthusiasm for clubbing from young people, and less people seem less convinced about its importance. You go to Europe and cities like Berlin, and it's such a big part of the fabric there, and it's recognised by everyone as a really important form of expression or art even. And I think we've lost that a bit in Australia. So that's a bummer. Having said that, the amount of good music that still comes out of here is very inspiring and sick, considering the constraints of what I was just saying. There's so much good stuff. A lot of what we DJ is Australian music from friends or people we like here. So yeah, I feel like the scene is really strong kind of against all odds in a way, with lack of support." Bag Raiders play AO Live on Saturday, January 25 — with the full event running from Thursday, January 23–Saturday, January 25 at John Cain Arena, Olympic Boulevard, Melbourne. Head to the Australian Open website for more details and tickets. In New Zealand, Bag Raiders are playing Gardens Music Festival on Saturday, March 1 at Auckland Domain, Park Road, Parnell, Auckland. Head to the event website for more details and tickets.
Since Euphoria last hit screens in 2022, 2023 added Saltburn to Jacob Elordi's resume, then 2024 Down Under brought Priscilla. In 2025, viewers will be watching the Australian star in The Narrow Road to the Deep North. The Australian-made five-part miniseries was initially announced a couple of years back, then unveiled a few sneak-peak images last year. Now, Prime Video has locked in the show's streaming debut for April. Put Friday, April 18, 2025 in your diary, and consider your Easter long-weekend viewing sorted. The Narrow Road to the Deep North will premiere at this year's Berlinale first, getting a rare cinema showing, before bringing its page-to-screen tale to streaming. Before all of the above projects, and also before the three Kissing Booth films helped boost his career first, Elordi scored his initial on-screen acting credit beyond short films in Aussie movie Swinging Safari. Since then, however, the Brisbane-born talent has largely focused on working overseas. So The Narrow Road to the Deep North is a rarity of late on his filmography, with the actor returning home to make the drama. The series adapts Richard Flanagan's Booker Prize-winning novel of the same name. Also featuring among the show's starry lineup of talent: Olivia DeJonge (Elvis), her The Staircase co-star Odessa Young (My First Film), Limbo and Boy Swallows Universe's Simon Baker; Heartbreak High's Thomas Weatherall, Love Me's Heather Mitchell and Belfast's Ciarán Hinds — as well as Show Kasamatsu (Tokyo Vice), Charles An (Last King of the Cross), Essie Davis (One Day), William Lodder (Love Me), Eduard Geyl (Born to Spy) and Christian Byers (Bump) The project's impressive talent extend behind the camera, with The Narrow Road to the Deep North hailing from Snowtown, True History of the Kelly Gang and Nitram collaborators Justin Kurzel and Shaun Grant. Kurzel directs, while Grant is on adaptation duties — and both are also executive producing. [caption id="attachment_927127" align="alignnone" width="1920"] Jon Kopaloff/FilmMagic for HBO via Getty Images, supplied by Prime Video.[/caption] Elordi shares the role of Dorrigo Evans with Hinds, playing the younger version of the character in a tale that jumps between different time periods. The Narrow Road to the Deep North's protagonist is a Lieutenant who becomes a prisoner of war on the Thailand-Burma Railway. His story encompasses becoming a surgeon and war hero, and a life-changing stint of falling in love with Amy Mulvaney (Young). DeJonge and Baker feature with Elordi and Young in the show's 40s-set segments, where World War II obviously casts a shadow. Hinds hops in when the series gets to the 80s, which is where Mitchell, Weatherall, Kasamatsu and An will pop up as well. [caption id="attachment_947836" align="alignnone" width="1920"] HBO[/caption] [caption id="attachment_919075" align="alignnone" width="1920"] Saltburn[/caption] The Narrow Road to the Deep North will stream via Prime Video from Friday, April 18, 2025. Images: Prime Video.
Never Mind the Bollocks, Here's the Sex Pistols should never be far from anyone's ears — but there's listening to the iconic 1977 punk album, the only studio record from Sex Pistols, and then there's hearing it played live in full. Down Under in 2025, Australian and New Zealand music lovers will be treated to that very experience, with the group locking in a tour. Band members Paul Cook, Steve Jones and Glen Matlock are heading this way in April, as part of a project dubbed Sex Pistols Featuring Frank Carter. As the band's moniker makes plain, this is a case of punk figures joining punk figures, as first happened back in August 2024 for fundraiser gigs in London. Clearly the setup worked. This will be Sex Pistols' first trip this way in almost 30 years, since 1996 — this time pairing drummer Cook, guitarist Jones and bassist Matlock with Gallows, Pure Love and Frank Carter and the Rattlesnakes alum Carter on vocals. The group have announced seven stops, starting in Auckland in Christchurch in Aotearoa, before playing Aussie gigs in Melbourne, Adelaide, Sydney, Brisbane and Fremantle. John Lydon, aka Johnny Rotten, the band's well-known former lead vocalist, was last part of their lineup in 2008 — which is when Sex Pistols last toured before 2024. Hearing Never Mind the Bollocks live and in full almost five decades since its original release means hearing 'Anarchy in the UK', 'God Save the Queen', 'Pretty Vacant', 'Bodies', 'Holidays in the Sun' and more. If this feels like an incredibly rare chance to experience a slice of music greatness, that's because it is — and if you need any more motivation, Sex Pistols Featuring Frank Carter's UK gigs earned rave reviews. [caption id="attachment_986909" align="alignnone" width="1920"] Henry Ruggeri[/caption] Sex Pistols Featuring Frank Carter 2025 Australia and New Zealand Tour Wednesday, April 2 — Town Hall, Auckland Thursday, April 3 — Town Hall, Christchurch Saturday, April 5 — Festival Hall, Melbourne Sunday, April 6 — Hindley Street Music Hall, Adelaide Tuesday, April 8 — Hordern Pavilion, Sydney Wednesday, April 9 — Fortitude Music Hall, Brisbane Friday, April 11 — Fremantle Prison, Fremantle Sex Pistols Featuring Frank Carter are touring Australia and New Zealand in April 2025, with ticket presales from 11am on Tuesday, January 21 and general sales from 12pm on Thursday, January 23. Head to the Australia and New Zealand tour websites for more details.
Early in We Live in Time — early in the film's running time for watching audiences, but not early in its central romance thanks to the movie's non-linear storytelling — Florence Pugh's Almut reacts to significant news about her health by delivering her own to Andrew Garfield's Tobias. Years after a meet-cute involving a hospital (and also a car accident, with her behind the wheel and him lightly struck by the car), they're again at one. Their relationship has never been much of a stranger to them, in fact. This time, however, as the chef and the Weetbix employee stand in the carpark after an appointment, they ponder a question that lingers over everyone but never as much as those forced to reckon with the knowledge that their future might not be guaranteed: is life best lived for quantity or quality? Charting a decade in its characters' existence, from a surprise encounter to falling in love, weathering heartbreak, starting a family, pursuing professional dreams, navigating challenges and facing mortality, We Live in Time isn't a strict two-hander in terms of casting. Still, it's so intimately a double act between Pugh (Dune: Part Two) and Garfield (Under the Banner of Heaven) that it feels like one. See: this crucial moment, which conveys everything about Almut and Tobias' dynamic. She speaks carefully but passionately. He listens devotedly. Nothing else could be more important to either of them. Pugh's performance simmers with raw emotion. This interaction isn't about him, but Garfield turns in some of cinema's most-moving reaction work as Tobias takes in what he's being told. Asked how important that scene is for him, Garfield is quick and decisive: "very pivotal," he tells Concrete Playground. It also cuts to the core of exactly what helps make We Live in Time so affecting. This is a heartfelt romance dealing with the fleeting nature of life — and in other hands than Garfield and Pugh's, and director John Crowley (Brooklyn) and screenwriter Nick Payne's (The Last Letter From Your Lover), it'd risk being dismissed as a weepie — but it's always about who Almut is regardless of anything that she can't control. It's about how people endure, create a life together and cherish their time together, while the hourglass empties, too. The impact that a person has beyond just being someone's parent, someone's partner or someone's child also sits at the centre of the film as much as Almut and Tobias' relationship. And, as it delves into weighty topics for its genre while stepping through Almut and Tobias' tale, We Live in Time firmly never falls into the common trap of heroing what Tobias is going through over Almut's experience — as a person, not just as someone with an unwanted diagnosis. It doesn't dream of defining her or them through the worst thing that they'll ever confront, either. In some features, letting time jump around can be a gimmick, but here it is done with touching purpose. As the movie flits between the duo's first weeks and months together, one specific day spent in the bathroom of a service station and also their well-established romance, the non-linear structure ensures that the full wave of life and love — not specific pieces of news, or coping with their aftermath — are always pushed to the fore in an immensely well-rounded narrative. For Garfield, Tobias is the role that brings him back to the screen. 2025 marks 18 years since his film debut in Boy A, another empathetic and sensitive film directed by Crowley — as well as a feature that earned its star a BAFTA TV award — and he's rarely been far away the viewers' gaze since, until 2022. Before half a decade had passed from his first movie, he'd made an imprint in three-time Oscar-winner The Social Network opposite Jesse Eisenberg (A Real Pain) and slung webs in a comic-book blockbuster in The Amazing Spider-Man. Another five years later, he had his first Best Actor Oscar nomination for Hacksaw Ridge. Before, in-between and afterwards, Garfield kept adding interesting projects to his resume, the page-to-screen Red Riding crime saga, dystopian romance Never Let Me Go, housing-crisis drama 99 Homes, the Martin Scorsese (Killers of the Flower Moon)-helmed Silence, LA-set neo-noir Under the Silver Lake and Lin-Manuel Miranda's (Hamilton) Jonathan Larson biographical musical Tick, Tick... Boom! — the source of his second round of Best Actor love from the Academy Awards — among them. Two more stints as Peter Parker also eventuated, including in the Marvel Cinematic Universe. Then, after television's Under the Banner of Heaven, he took some time off. One of the things that made We Live in Time a must-star for him: a memorable birth scene that Garfield likens to an action sequence. What did it mean to join forces with Crowley again after the filmmaker gave him his initial movie role? And to dive into the meaning of life and what truly matters in We Live in Time — and to create such a deep sense of intimacy with Pugh, too? Over a cup of tea, we chatted with Garfield about all of the above, the film's efforts to avoid the tearjerker label and two key instances, one off- and the other on-screen: the "this is it!" moment that made him know he wanted to make this movie, and that carpark scene. On Reteaming with John Crowley on We Live in Time After Boy A — and Collaborating with the Director on Empathetic and Sensitive Films "It's quite natural because John is naturally that, and I think I'm quite naturally that, and I think it just works. There's nothing better than on a film set feeling like you have room to take ownership over a moment, to breathe as the character, to not feel like you have to get it right — and it's an important thing for me to feel when I'm on a set. John is one of those filmmakers that provides that for his actors. He creates a lot of space for breath. He creates a lot of space for exploration and nuance, and interior life and subtlety, and for life to unfold. I felt that when I was first working with him and then it's remained now." On Diving Into Weighty Notions Such as How People Create a Life, Cherish Their Time Together and Have an Impact in a Romantic Drama "I love these ideas and I think that you said it perfectly — they are weighty and they are about the meaning of life, and they are about what matters and what doesn't, and how we keep our attention and our hearts trained on that which is nourishing and that which is mysterious and meaningful. So I love these ideas, and I love being able to hang out in them and to ask questions within them, within the question. And to explore these themes with great artists and collaborators is a dream, and with such great writing. I think that these are the questions that I ask myself on a daily basis anyway. So it felt very natural to slide into this character's skin, and all of the difficulty and beauty of the experience he was having." On What Excited Garfield About Starring in We Live in Time as His First On-Screen Project Since 2022's Under the Banner of Heaven "I think while I was reading the script, and I was reading how this dynamic was unfolding and how it built particularly to the birth scene, I thought 'my gosh, this is such an epic action sequence in domesticity'. I thought: 'oh, man, I want to see this, and how this plays out'. And there were a few scenes of just deep beauty and tenderness, and funny — they were just so sweetly funny within such pain. And I thought 'that just feels like a balm'. It feels like a balm for me, as a person that's been through his own grief. But also it will feel like a balm for other people in the audience who are going through their own version of what these people are going through in this film. So it felt like an act of service. It felt like a real act of service to make this film for myself, but also for an audience, hopefully." On Building Deep Intimacy with Florence Pugh as Tobias and Almut "So the writing is very good. The writing was the jumping-off point and thank god it was a great script, otherwise I don't think we'd be talking — I don't think the film would have been made. So that was the beginning. And then it was me and Florence just finding this natural trust and depth of intimacy and nakedness and vulnerability together. And joy and play together. We can go from being feeling like two childhood friends to feeling like parents. That's a really important thing, I think, for this film. That was rather easy for us to find together. I think we're both just up for it. We're both just two actors and two people who are just like 'what are we doing today, and how do we make it as fun and as silly and as real and as deep as possible?'. That's what we came into every day looking for — and not just for ourselves, but for the other, too. We were two actors who really, really loved being a part of the other person flying. And that's a really special thing." On Ensuring That The Film Tells a Well-Rounded Story That Reflects Life and Is Never a Weepie, Even as It Deals with Love and Mortality "We didn't want it to feel sentimental or saccharine. We didn't want it to feel imbalanced. We didn't want it to feel manipulative. We wanted it to feel, as you say, like life. We wanted it to be very, very rich, diverse experience that felt like watching life unfold for these two people — in all of the agony and all of the ecstasy and all of the complication. What's amazing about Florence's character is she's not this lionised, idealised survivor/victim. And I think the same thing with Tobias, he's not some overly soppy, wet, sympathetic, sentimental character. They both have flaws. They both have fallibility. And they're both deeply human. So that was very, very important for us to keep our eye on." On What Garfield Was Hoping to Express in the Movie's Pivotal Carpark Scene "I was hoping to convey just an impossible contradiction in impulses. I think there's no easy path in that moment for these two characters. And for Tobias, I wanted to convey a thousand things at once. I wanted to convey overwhelm. I wanted to convey being unable to offer anything concise or rational or useful. I wanted to convey deep understanding of where she was while also wanting to kick and scream — and I wanted to convey, on top of that, 'all I've got to do right now is not make this about me. I've just got to listen and I've just got to support and let this moment be this moment, not have an answer'. Just the humility of 'I don't have anything to say here and I'm not going to force it' — like I think most of us want to do in those situations, we want to have a fix-it answer. We want to have some kind final solution. But I think Tobias, in that moment, is humble enough or overwhelmed enough to be able just to stand there, not having anything to offer apart from comfort." We Live in Time opens in Australian cinemas on Thursday, January 16, 2025 and in New Zealand cinemas on Thursday, January 23, 2025.
Survival is an ongoing process. If the first season of The Last of Us didn't already make that clear, the second season of the HBO series is set to arrive in 2025 to stress that message again. How does humanity endure in the aftermath of the Cordyceps virus, and the global devastation caused by it? What does it mean to persist? Also, who do we become in the process? Audiences will find out again from April. At the end of 2024, the US network confirmed that The Last of Us would return sometime in autumn Down Under. Now, it has locked in a month. An exact date is still to be revealed, but the show's comeback is getting closer. Also revealed: a new teaser trailer for the hit TV show that's based on the hugely popular gaming series, following prior sneak peeks — including as images and in promos for the network's full upcoming slate, plus an earlier season two teaser trailer. Prepare for a time jump. Prepare for a guitar. Prepare for hordes of infected. Prepare for a haunting feeling, too. Also, prepare for sirens, flares and a stern warning: "there are just some things everyone agrees are just wrong". In season two, it's been five years since the events of season one. And while there has been peace, it clearly isn't here to stay. Yes, Joel and Ellie are back — and, in their shoes, so are Pedro Pascal (The Wild Robot) and Bella Ramsey (Chicken Run: Dawn of the Nugget). This time, however, part of the conflict comes from each other. In season two, the show's main duo also have company from both familiar faces and a heap of newcomers. Rutina Wesley (Monster High) and Gabriel Luna (Fubar) return as Maria and Tommy, while Kaitlyn Dever (Good Grief), Isabela Merced (Alien: Romulus), Jeffrey Wright (American Fiction), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law), Danny Ramirez (Black Mirror) and Catherine O'Hara (Beetlejuice Beetlejuice) are the season's additions. The two teasers for the second season so far give fans a glimpse of plenty of the above new cast members, including Dever as Abby and Wright as Isaac. The Last of Us made the leap from video games to TV in 2023, and was swiftly renewed after proving a massive smash instantly. The series gave HBO its most-watched debut season of a show ever — and its first episode was also the network's second-largest debut of all time. Locking in a second season was also hardly surprising because the 2013 game inspired a 2014 expansion pack and 2020 sequel. For first-timers to the franchise on consoles and as a TV series, The Last of Us kicked off 20 years after modern civilisation as we know it has been toppled by a parasitic fungal infection that turns the afflicted into shuffling hordes. Pascal plays Joel, who gets saddled with smuggling 14-year-old Ellie (his Game of Thrones co-star Ramsey) out of a strict quarantine zone to help possibly save humanity's last remnants. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey. As a television series, The Last of Us hails from co-creator, executive producer, writer and director Craig Mazin, who already brought a hellscape to HBO (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Check out the latest teaser trailer for The Last of Us season two below: The Last of Us season two will arrive sometime in April 2025 — we'll update you when an exact date is announced. Season one is available to stream via Binge in Australia and on Neon in New Zealand. Read our review of the first season. Images: HBO.
A drug kingpin disappearing into a new life, clashing cousins, voting popes, a veteran actor trying to reclaim her career with the help of a mysterious liquid, Adrien Brody surviving history's horrors again, fierce tennis competitors: films about all of the above have earned Golden Globes in 2025. Stressed-out chefs, stand-up comedy greats, Japanese warriors, Gotham villains, determined detectives: TV shows about them are all also in the same category. And, they each have a heap of company. Held on Monday, January 6 Australian and New Zealand time, this year's Golden Globes ceremony started with host Nikki Glaser cracking gags about everything from Dune: Part Two's running time to Nicole Kidman making awards-nominated work to get away from Keith Urban's strumming and Adam Sandler pronouncing Timothée Chalamet's name. It then threw in excited shouts and enthusiastic speeches aplenty among the winners. Picking up the first award of the night — but not the only award for Emilia Pérez — Zoe Saldaña (Special Ops: Lioness) delivered both alone. Other highlights from the hijinks: Catherine O'Hara (The Wild Robot) and Seth Rogen (Mufasa: The Lion King), co-stars in upcoming streaming series The Studio, making up a whole lot of accolades for fake Canadian projects; The White Lotus favourite Jennifer Coolidge being Jennifer Coolidge; Emilia Pérez songwriter Camille calling the whole shebang "such an American experience"; and Vin Diesel (Fast X) starting his presenting stint with "hey Dwayne". And more standouts among the awards: gorgeous Latvian independent animation Flow taking out its category, in the first time that a movie from the nation has been at the Golden Globes; Kieran Culkin winning the supporting actor Succession battle for A Real Pain over Jeremy Strong for The Apprentice; Shogun's well-deserved swag of gongs; Demi Moore's touching sentiments about believing in your own value; A Different Man winner Sebastian Stan demanding that tough films still get made; and also Feranda Torres emerging victorious for I'm Still Here over Nicole Kidman (Babygirl), Pamela Anderson (The Last Showgirl), Angelina Jolie (Maria), Tilda Swinton (The Room Next Door) and Kate Winslet (Lee). Not every ace nominee could snag a statuette, of course. Not every worthy movie and TV series even made the roster of contenders. They're truths that everyone should remember at every awards ceremony. Still, the rundown of newly minted 2025 Golden Globe winners spans an array of deserving folks and projects — and comes in less than a fortnight before the Oscars joins in, announcing its nominees on Saturday, January 17 Down Under time. Will the Academy Awards follow in these footsteps? And the Emmys later in the year, too? What else received some love? Here's the full list of 2025's Golden Globe winners and nominees (and you can also check out our rundown of victorious films and TV shows to watch right now): 2025 Golden Globe Winners and Nominees Best Motion Picture — Drama The Brutalist — WINNER A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez — WINNER A Real Pain The Substance Wicked Best Motion Picture — Animated Flow — WINNER Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked — WINNER The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez — WINNER The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here — WINNER Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance — WINNER Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man — WINNER Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist — WINNER Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave — WINNER Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers — WINNER Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez — WINNER 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun — WINNER Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks — WINNER Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer — WINNER Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun — WINNER Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun — WINNER Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks — WINNER Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country — WINNER Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin — WINNER Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer — WINNER Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun — WINNER Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady — WINNER Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes were announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
Filmmakers frequently trade in dreams and reality, plus the space where the two meet, clash and contrast. Directing a movie that's steeped in the daily actuality of being a woman in Mumbai, Payal Kapadia does exactly that with her first fictional feature. In All We Imagine as Light, three nurses go about their lives in India's most-populous city — big-smoke existences that appear independent, but are dictated by patriarchal societal norms, class and religious stratifications, and the growing gentrification of the nation's financial capital. Making the leap from documentary to narrative films after 2021's A Night of Knowing Nothing, Kapadia sees her characters' plights with clear eyes. Her 2024 Cannes Grand Prix-winning picture isn't afraid to embrace their hopes and desires, however, or to be romantic and poetic as well as infuriated and impassioned. Head nurse Prabha (Kani Kusruti, Maharani), her younger colleague and roommate Anu (Divya Prabha, Family), and their elder co-worker Parvaty (Chhaya Kadam, Snow Flower) all seem to be enjoying their own paths. In everything from where they live to who they love, though, their choices aren't completely their own. Hailing from Kerala, Prabha is married to a husband that she barely met before they wed, and who now works abroad in Germany. As she tends to the wounds and helps with the woes of others, the life that she so desperately wanted has failed to come to fruition. While fellow Malayali nurse Anu is carefree and in love, her boyfriend Shiaz (Hridhu Haroon, Mura) is Muslim, so their romance plays out in secret — and simply finding somewhere to be intimate is a constant mission. Maharashtrian Parvaty faces moving back to her Ratnagiri village due to Mumbai's changing skyline, with her chawl earmarked for demolition in favour of a high-rise, and her rights to her home given little consideration. For spending time with Prabha, Anu and Parvaty in this character- and mood-driven rather than story-driven gem — for juxtaposing the perceptions and the truths about their existences, too, and of women who head to Mumbai to forge their careers in general — Kapadia cemented herself as one of 2024's cinematic revelations. Awards and nominations have kept following. When it received Cannes' second-most prestigious annual prize after the Palme d'Or, so coming in behind Anora, it did so after becoming the first Indian film in 30 years to play in the renowned festival's official competition. From there, All We Imagine as Light earned two Golden Globe nods, with its guiding force a Best Director nominee. Oscar buzz lingers, even if the film wasn't selected by India as its submission for the Best International Feature category. Another tick of approval, among many, came when Kapadia's picture was named as one of Barack Obama's ten favourite movies for 2024. Is this response all that the writer/director dared to imagine when All We Imagine as Light first sprang to mind as a student project? "No, of course not," Kapadia tells Concrete Playground. "I took some time to raise the funding for this film. It was raised using a lot of funds from public institutions all over Europe, so it was a long process that they have there, and you just want to be able to make the film. That's your main priority. So we were just slowly, slowly building the budget to be able to shoot it. For us, everything has come as such a bonus — the making of the film itself was such a great, great thing for us that we, at points, would think 'are we going to be able to do it?'. Because it really takes time and that's fine. I appreciate the process. But you don't really think of what will happen. You hope, of course, that it'll do well and people will see it. But this was quite unexpected, I have to say." "I'm really so grateful," Kapadia also advises, while recognising that the fact that she's still just one of two women contending for the Best Director Golden Globe at 2025's ceremony — alongside The Substance's Coralie Fargeat — should be a relic of the past, as should cinema's poor history of appreciating female filmmakers. "And it's not just about women and a gender thing, but representation in all ways. There is diversity that needs to be there in representation, which is people of all races and castes and class. If selection committees were more diverse, I think this problem would not exist," Kapadia notes. All We Imagine as Light isn't just helping to push diversity in filmmaking accolades to the fore, but also the diversity of Indian cinema with audiences outside of the country itself. "I think in India, we have a very self-sustained ecosystem of cinema." Kapadia says. "I think that the West needs to start looking more at Indian cinema and accepting that there are different ways. There are different ways of acting. There are different ways of performance. We come from a very theatrical, sometimes melodramatic background, and that is also a way. So I think that the diversity of Indian cinema is not restricted to Bollywood. There is Tamil cinema, which is absolutely incredible; Malayalam cinema, which is really doing very avant-garde stuff; and, of course, Telugu cinema has now travelled with RRR and things like this." What did it mean for All We Imagine as Light to break a three-decade drought for Indian films in Cannes' competition? How did the film evolve from an idea for a graduation film? Kapadia also chatted with us both — as well as what influenced the movie's narrative elements, and inspires the filmmaker in general; the many layers to the script, and how to balance what is told visually versus what's conveyed in dialogue; how the writer/director's non-fiction filmmaking background had an imprint; bringing a different vision of Mumbai to the screen; and more. On All We Imagine as Light Being the First Indian Film to Play in Competition at Cannes in 30 Years "I think it was really great that we were in competition. It's also a bit scary, because it's your first fiction movie and it's competing with all these big directors who you've admired and who you studied at film school. So you're a bit nervous, like 'oh my god, what is it going to be?'. So I think for for me it was a lot of nerves, and I was a bit like 'will I be, will it …', about standing up to all these expectations of this thing about 30 years. But the truth is that in India, we do have — like this year, there was an Indian film in every section in Cannes. And that's really great because I think that having not having a film in 30 years is a bit of a disappointment for us as Indian filmmakers. I think that Indian films have been doing really well in other festivals. And a lot of competitions, in Venice and Locarno, there's more or less always an Indian film. So I think this 30-year pressure was a bit overdue, in that it should have had more Indian films. But yeah, I was nervous that I hoped that the film would be accepted and wouldn't feel like it was not worthy of being there." On the Movie's Evolution From Student Project to Earning Global Attention and Accolades "I had to make my what we call a diploma film at the Film and Television Institute of India. I had a very two-page thing about two two women who are friends, roommates, but have two different ideas of morality, and this was the starting point. But it was a very short 20-minute thing. And I had already thought that they should be nurses. So I was spending a lot of time trying to do more research about nursing. That's when I realised that I couldn't have done this in 20 minutes. I knew nothing. I needed more time to to think about all these things, to really explore this subject. I felt that 20 minutes was not enough. So I put it aside. But at that time I already got in touch with Kani Kusruti, to play the younger nurse at that time because it was eight years ago. And then I stopped the project and I did something else for my diploma. And I had put it aside for some time, and then I thought I should get back to it. A few years later, I got back to it and I started doing more research, meeting more people, spending a lot more time working on the details of the script. I was also making another movie at the same time, A Night of Knowing Nothing. So it was an on-off thing that I was doing, coming back to this film from time to time. And as I met more people, I got more stories that made it into the film, with all the interviews that I did and all of the young women I spoke to — and some part of myself, growing older also, because I went from being from the younger nurses age to the older nurse's age in the span of all this time. And I think that as you grow older, your perception of things also changes, of course. So my gaze also began to change a bit. And finally, this is the film that you see." On Where the Movie's Main Narrative Elements Sprang From, Including Focusing on Three Women Across Generations, Classes and Languages "I was thinking a lot about this question of friendship, and how certain friendships are very big city-driven. These people probably couldn't or wouldn't have met, or wouldn't have been friends, if it wasn't for Mumbai. For example, when you live in a city like Mumbai, you have to have a roommate — because it's really expensive, and sometimes you just have the roommate because you need to fill up the slot of the bed next to you because you need somebody to pay half the rent. So that's an odd kind of relationship, because you might not get along with this person. You don't want to be their friend. But now you're stuck with them for the 11-month lease. So that's a unique friendship. So Prabha's Anu's boss, in a way. She's the head nurse. But now she's stuck with this girl who is very different from her — and they are age-wise also different from each other, and their perspectives to life are very different. I was interested in this juxtaposition of two people who are so different in their way of thinking, but have to share a room, and what could come out of this relationship. And even Parvaty, who works with Prabha now, she's Maharashtrian and she speaks a different language. And they would not have met if it wasn't for Mumbai, because she would never have gone to Kerala. And there's nowhere else that Prabha would have probably gone. So that friendship is also unique because, again, it's a very Mumbai friendship between a Maharashtrian woman and a Malayali nurse. So I wanted to kind of have these unique friendships, which are, for me, very Mumbai friendships, in the film. And the character of Parvaty wasn't really that important when I started writing the film, but as I began to do more research into the housing situation — which for me was something that I had seen, but I hadn't delved into in a big way — I felt that it was something that I had to really address in the film." On Layering the Impact of Societal Expectations, Cultural Clashes and Gentrification Upon the Film's Characters Into the Script "It was quite a balancing act, because if you have three different trajectories, it's always a bit difficult to balance. And what we shot was a lot more than than you see in the film, of course. But I think we had a good editor, and along with him, we were finding that balance between the three stories and how they reflect on each other. How Parvaty doesn't feel lonely, even if she doesn't have a family — she doesn't want to go live with her son. While Prabha is somebody who's been so obsessed with the idea of a family, of a husband, and how that reflects on her — and how Prabha sees how free Anu is. And Anu is just a young girl, and she just wants to have sex with her boyfriend. It's a very fundamental thing. And the city doesn't really allow that. So I was thinking of it that it's not individual stories, but how they reflect on each other and what they gain from each other's interactions with them. It was a difficult thing — and I also feel sometimes that I could have had a longer film, but my producer was like 'two hours is good enough'." On Drawing Upon Kapadia's Background in Non-Fiction Filmmaking "The way that we shot the film has a lot of non-fiction process to it. When I was writing the script, my same cinematographer shot my previous movie also, which was the documentary. So while I was writing the script, we would go out into the city and we would both shoot. Then we would come back and we would analyse what we chose to shoot, as if we were making a documentary — because in a documentary you can shoot a lot, and then you can come back and edit it, but in fiction, everything is fixed. So we have to understand how we want to look. So we did a lot of tests of how our gaze should be towards the city. How do we feel about the lensing, and the camera movement, the feeling of space? So we thought a lot about these things, and that came from documentary, because we were shooting like documentary in our research. And we also, I spoke to a lot of people at this time, like 100, 200 people, at least. Some people, I thought I will cast them in the film, so I would call them for screen tests, but then that ended up just being long conversations and no possibility of acting, but just conversations in the afternoons. So I wanted to keep some sense of that in the film, those interactions somehow, to keep them as well. So we came up with this thing of putting a small, short documentary-like footage in the beginning and in the middle of the film — and giving it a sort of sense of a city symphony. And just talk about how diverse Mumbai really is. It's a city that is made by people who come from outside. There was nothing there. It was a bunch of islands. Only the Koli people lived there, and the British came and they reclaimed the land, and invited people to come to live and work there to create a new port. So the fundamental idea of this city is that it's made up of people who are not from there, and I wanted to highlight that somehow." On What Was Most Crucial for Kapadia to Convey About the City That She Was Born in, Then Came Back to as an Adult After Going to School Elsewhere "The multilingual quality of the city. And also one of the things that is very important to me was the trains. Because it's what you end up seeing the most, because you spend a lot of time in the transport. And they become a space for a lot of different interactions — or relationships of the ladies compartment, where you make friends. You see the same people, you don't know them but you always nod because you know you'll see them tomorrow. And you try to think about their life outside of that compartment. But for those two hours, you are in that journey together. And all these things, I think a lot about. Maybe I'm too romantic about it, but I don't know, it's how I feel. Also this question of gentrification was important to me, and the right to people owning property, and who has this right. I feel I could have made another whole film about it, because it's so complicated and there is so much anger that one feels towards this situation. I wanted to also in a visual way talk about that. So you always see the buildings and then also the smaller houses and the slum area all together in a frame, and I wanted to give a visual sense of what the city is." On Knowing What to Convey Visually and Where to Let Dialogue Tell the Story "This is a real struggle. It's something that, as a filmmaker, you think about a lot because you don't have the visuals exactly on paper. You can't exactly say what they will be. And you have to rely a bit on the writing of the visuals and of the dialogue for the person who's giving you the grant to be able to understand it. But for me, I can put an image of the city and I know what I'm thinking. So this is a big, big issue for me, about finding that balance. And finally, when I'm editing, it's when I actually realise the balance and I can let go of a lot of information — which is being, I hope, conveyed visually and it doesn't need to be told in lines. But its a big balancing act and I hope to get better and better at it because sometimes I feel — it's complicated, I have a complicated relationship with this." On the Guidance That Kapadia Gave Her Cast When They're Tasked with Revealing Complicated Characters Via Actions and Expressions as Much, If Not More, Than Dialogue "We we did a lot of rehearsals before shooting. For three weeks, we we all stayed together. We did it like a theatre workshop. So we worked on each of the characters' body language, on how silences are — and we did a really fun exercise, which was that we did many scenes where the actors would play the characters, but between dialogues say what the character is thinking. So if there was silence, you would hear what Anu's mind is going on, thinking to herself about — let's say how she's planning something or how she's bored or whatever. So we would do these exercises where the thoughts were all spoken out, so we all know how to think about it. And the actors are really, really great, and they brought in a lot of their own thoughts about this, and I think it was way beyond what I had even thought. It was really collaborative and rich process for me." On What Inspires Kapadia as a Filmmaker "Everything inspires me. I think that that's the privilege of being a filmmaker, that life seems more interesting than cinema, and I want to make films about everything all the time. It's crazy. I feel, I think just being in the world and seeing the world around you, really everything is so inspiring. And for me, my films are also about very daily things, so that is why daily life for me is is my inspiration." On the Importance of Conveying Prabha, Anu and Parvaty's Ongoing Fights for Agency "It was really what you're saying, that it is these tentacles of this patriarchal society that still hold you down, and in spite of being financially independent and physically away from the family, it is something that is for me, certainly, a real pity. It's a matter of genuine anger. Because I've seen it in people in my family as well, and girlfriends around me, and it's something that always just makes me very frustrated. So I wanted to bring out that frustration in the film and say that at least if this society is failing us in so many ways, if we could find some utopian-like space where we could all connect, at least in a way that is beyond our immediate identity and beyond our immediate morality, to at least be supportive of one another — it's a small move, but it's, for me, a big one." On How the Film's Sometimes-Romantic, Sometimes-Clinical Aesthetic Adopts Its Characters' Different Gazes "I wanted to shoot the film from the gaze of the characters. So for Anu, whenever we see her and Shiaz, the city seems very nice. They're walking through the Mohammed Ali Road and eating kebabs and the beautiful lights, and the smoke coming out. Because I think cities are better when you are with a friend or when you are with a lover. If you are in that mood, then somehow things look better. They might not be, but it's how it is. You don't mind sitting in a really crowded public bus — you don't mind that there is traffic because it means you'll have a little bit more time together. And these very normal things that would annoy you suddenly become okay. So I wanted to have that kind subjectivity to the film, whenever we are with Anu and Shiaz, then we also feel delighted at everything. And if you see the city through the wet droplets, that all looks so. Then with Prabha, it's more about the daily grind. She's not going to look at how beautiful it is, but just go from one place to the other, and it's a functional look. And for Parvaty, there is a sense of this complete injustice, feeling that she's going to be thrown out of a place that she's been calling home for 22 years. So I was trying in some senses to have a different gaze to the city, because I think it is all these things. It is a place of freedom for a lot of young women. It is a place of anonymity and that anonymity gives freedom. But it's also a harsh reality and a difficult city. So I was hoping that through these different gazes these layers came out." All We Imagine as Light opened in cinemas Down Under on Thursday, December 26, 2024.
Let them entertain you: with Better Man, the Robbie Williams biopic that takes its name from one of the British singer's tunes, filmmaker Michael Gracey and actor Jonno Davies have a clear mission that's shared with the man in the spotlight himself. The Australian-made, 16-time AACTA-nominated movie tells the warts-and-all tale of the boy from England's Midlands who has become an international superstar. It charts Williams' path through a complicated childhood, teen boy-band fame, relentless press attention, struggles with drugs and alcohol, tabloid-fodder relationships, a well-publicised reputation for partying, going solo, huge hits, sizeable scandals and plenty of reinvention — and, while never shying away from the tumultuous times that its subject has endured, it matches its unflinching view of his ups and downs with his love of monkeying around and putting on a show. The simian aspect of Better Man is literal. More than 20 years after 'Me and My Monkey' was a track on Williams' fifth studio album Escapology — a record that skewed personal to explore his experiences with pop stardom, and made hits out of 'Feel' and 'Come Undone' — his story reaches the screen with the former Take That member portrayed by a CGI chimpanzee. The approach renders Williams both a cheeky monkey and a performing monkey, and also reflects a journey that's had him swinging from limb to limb in life's jungle. The conceit was Gracey's choice, but based on the musician's own descriptions when chatting the Australian filmmaker through his existence. Better Man's helmer and subject first met when the director needed the singer's assistance with the former's debut feature. One of The Greatest Showman's original tunes won a Golden Globe and was nominated for an Oscar; however, star Hugh Jackman (Deadpool & Wolverine) had doubts about the songs going in — and, because the actor kept referencing Williams as a touchstone for his lead portrayal in the movie, Gracey hit him up for his thoughts and powers of persuasion. From there, the pair kept talking, then started recording Williams recounting his life story in the latter's studio. Next sprang the idea to make Better Man, which is how an Aussie talent came to craft a homegrown flick about one of the UK's biggest music figures of the past three decades. The film was initially announced in 2021, and news of Davies playing Williams arrived in 2022. That Better Man was going ape remained a secret until initial viewers cast their eyes on the flick at its world-premiere at the 2024 Telluride Film Festival, which was no easy feat. "I was astounded, because we really didn't want people to see any images from the film, and it blew me away that we managed to keep that under wraps for so long — just because we did scenes where we had 2000 extras, so at any point someone could've even given away shots of Jonno in the motion-capture suit. Or some image from the work that Wētā were doing could've found its way online. And it just didn't," Gracey tells Concrete Playground. "We tried really hard to make that the case because we wanted it to land in a way that was a very unique way to lens this story. And also having pitched it unsuccessfully for many years to financiers, I also knew that it would never make sense until people got to watch it," the filmmaker continues. "So there was really no point having chatter about an image and the conversation of whether that looks like Robbie or doesn't look like Robbie. I think that the most overwhelming response has been from people who are even sceptical about the conceit, that once they watch the film, they understand. And so I just desperately wanted to get in front of people before the conversation about 'why the monkey?'." [caption id="attachment_985602" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] A decade on from his screen debut in British TV's Casualty, Kingsman: The Secret Service and Hunters alum Davies has notched up what might prove the most-unique role of his career: playing Williams via motion-capture, and also voicing him in his younger years (Williams lends his own vocals to the movie, too). For his efforts, he's among the AACTA contenders for Best Actor. A fan going in of the man that he's portraying and of The Greatest Showman, Davies was instantly keen to take on the part, and has been revelling in the reactions that the movie has been earning since. "What's brilliant is seeing different audiences respond to the movie, whether that's an age thing, whether it's different continents, people that are Robbie Williams fans, people that have never heard of Robbie at all, and seeing how different people respond to it in different ways," Davies shares. "And seeing it being universally accepted — I think that was something we always wanted to focus on, is that Robbie is an everyday man. There's something in him, whether it's the relationship he has with his nan, whether it's his fear of imposter syndrome, there's something in him that anyone can relate to. There's something there that people connect [to]. I know Michael's had people coming up to him and saying 'I spoke to my dad for the first time in seven years' or people watch it and go 'you know what, it's made me want to ring my mum more or get in touch with the people I love'. Having those different connections and different responses is why you want to make cinema, why you want to make a film — is to affect people. It's been a joy." Down Under, Better Man was already making a splash before it reached Aussie cinemas on Boxing Day 2024; breaking the record for the most AACTA nods in a single year will do that. In a country with well-known fondness for Williams — if a biopic wasn't going to come out of Britain, Australia always seemed the next logical place for it — its main man has been popping up headlining the ABC's New Year's Eve coverage and doing a free gig in Melbourne's Federation Square, helping to give the movie a push, too. For viewers not instantly enticed by its subject or approach, the flick's biggest enticement sits within the feature itself, though. When 'Rock DJ' breaks out in a sequence filmed on London's Regent Street, it's a spectacular movie-musical moment. Gracey and Davies are relaying the tale of another great showman, after all, although that standout scene almost didn't happen. We also spoke with Better Man's director and co-writer, plus its star, about that unforgettable segment of the film, stepping into Williams' shoes — or a chimpanzee's feet, to be more accurate — and why monkeying around was the best way to tackle Williams' tale, as well as fandom, resilience and the full impact of Hugh Jackman's Williams obsession on The Greatest Showman. On Davies Playing the Man Responsible for One of His First Music Memories Jonno: "I was definitely a fan growing up. I saw him concert when I was nine with mum and dad. It's one of my earliest music memories, really. And when you're a child, you have no idea what your identity is, you're just in for a good time — and seeing this rock star on stage, peacocking about like he does, connecting with an audience, seeing how he's there to entertain the crowd rather than entertain himself. So then to 25-odd years later to be the one to play him is quite a pinch-me moment. I think it helped being from the UK, understanding the peak of his fame, how heavily, heavily documented his life was — much to his detriment, the lack of privacy there when he was suffering — I think that was a nice insight to have. But then also meeting in-person when we were in Melbourne when we first started, and then getting the rest of the story and sitting down with him, and him sharing some of his more vulnerable parts of himself — because he wants to make sure that this was an honest depiction. It takes someone very brave to allow themselves to be painted in quite a bad light a lot of the times in the movie. And so the fact that he then gave us his trust to collectively tell his story in a very honest and truthful way, I think it shows a calibre of a person." On How The Greatest Showman and Hugh Jackman Helped Bring Better Man About Michael: "It all stems back to working on The Greatest Showman with Hugh Jackman. Whenever we would talk about PT Barnum and what it was to be a great showman, he would always reference Robbie Williams — which used to make me laugh, and then after a certain period of time really annoyed me, because it was just always his go-to reference. Whether he was talking about music, whether he was talking about his swagger, or his charisma, or whether we were talking about choreography, he's like 'you know, the way that Robbie sort of moves' and I was like 'you know, every reference can't be Robbie Williams'. So at a certain moment when we were close to going into production, Hugh had a lot of voices in his ear about the music not being good enough, and he started to question the music. And at that point, we'd been working on the film together for six years, so I'd lost a lot of weight in my voice — because I was always the boy who cried wolf, who was like 'no, it's going to be great. This'll be the year we make it'. After six years, people start losing faith a little bit. So in a moment where Hugh felt that we should start again on the music, and I knew that that would mean the end of the film — and this is the music that is in the final film that Benji Pasek and Justin Paul wrote — I got in touch through my lawyer, because his daughter is friends with Ayda [Field], who is married to Robbie Williams. You know how you're always just like three people away from the person you want to get to? So I got a meeting with Robbie on a Sunday at his house, where I told him the story of The Greatest Showman, and then I played him the music. And at the end of the meeting, I said 'look, the only thing more bizarre than me showing up at your house on a Sunday is what I'm about to ask you now. It's one thing for me to tell Hugh Jackman what you think of the music. It's another thing for you to tell him entirely. So if you don't mind, can I just video you and you just talk into the camera as if you're talking to Hugh Jackman?' And that's what he did. He did this video message, which, to this day, if I'd written the script and said 'can you please read this to convince Hugh that this music is going to be great?' — what he did off the top of his head with ten-seconds' notice is why he is such an amazing showman. He was so compelling, the way he spoke about the music, he basically said to Hugh 'I've spent the last year working on my new album. I would scrap that album to sing these songs'. He literally was that effusive about how great the music was for The Greatest Showman. And he was right. The music was great. And history went on to prove that. But in that moment, that's exactly what Hugh needed to hear to have the confidence to move forward and make the film. So in many regards, there would be no Greatest Showman if there wasn't that video message from Robbie Williams. That's how we started then talking, and I just really enjoyed whenever we would talk, when he would tell me stories about his life. And with no intention to make a film — because unlike Jonno, I didn't grow up a Robbie Williams fan. Obviously growing up in Australia, you can't escape him. He's everywhere, but it's not like I listened to him. [caption id="attachment_985603" align="alignnone" width="1920"] Monica Schipper/Getty Images for Paramount Pictures[/caption] But what I really did love is I loved the way in which he talked about his life — and not just the events, but actually his delivery. I really enjoyed the manner in which, whether he's writing lyrics as a storyteller or telling you a story, he's a great storyteller. So I then just asked, knowing that he had a recording studio, when I was in LA, I would just drop over to his house and we would just sit in his recording studio and just chat. And those conversations took about a year and a half, and at some point during that, I started thinking 'wow, I could probably chop these up and make a radio play'. Then I went from there to 'actually this could make a really powerful film'. And in fact, those some of those recordings are in the actual voiceover of the film — those original recordings. But it was never the intention to make the film. It all stemmed from him and me just sitting in a studio just talking." On Why Portraying Williams as a Chimpanzee Was the Right Way to Tell His Story Michael: "I think that creatively, I just wanted to come at it with a unique angle. And also, I knew that narratively I wanted to explore both his internal life and his external life. So it was trying to find a device that would allow us to step between those two worlds, the world of the imagination and the world of reality. I think in a musical you're already in a heightened reality, because people are breaking into song, but I wanted something creative that would allow us to see more of Robbie than if it was just an actor playing him. And when I went back to those original recordings and I was listening to them, just time and time again Rob would refer to himself as a performing monkey. He would just say things like 'I was just dragged up on stage to perform like a monkey' or 'I'm up the back dancing around like a performing monkey'. And he said enough times that I was like 'there's definitely something to this performing monkey'. And when I looked at his story, whether it's him pretending to be tougher than he is in front of the kids in Stoke-on-Trent, where he grew up, or whether it's jumping up in front of the TV hoping that his dad would look at him the same way that he looks at Sinatra, there were just all these moments within the story that I was like 'he's always been that little performing monkey'. And the moment that I framed the entire film in that conceit, it just made me smile. I just thought 'this is going to work and it's going to work unbelievably well'. Convincing other people of that was the difficult part, but not convincing Rob. Rob was onboard in two seconds. I literally went to him and said 'if you're an animal, how would you see yourself?'. And he immediately said 'lion' and looked very proud. Then I sort of went 'really?'. And after about 30 seconds, he went 'nah, more of a monkey'. On Davies' First Reaction to Such a Unique Part Jonno: "There are so many challenges in this thing for an actor that every one is like 'oh my god, another reason to do it, another reason to do it'. One: motion-capture. Two: you are telling someone's story that's still alive, and someone that has many predetermined opinions on them, and so it's kind of up to you to try to shift those things. And I think that's what's useful about the monkey, is it separates people from Robbie Williams, and you follow this monkey story rather than necessarily this global superstar that people think they already know. But I was blown away by the concept. And I was I was blown away by the dream of it really. That's one of Michael's best assets, is he sells you the dream — but unlike many others, you get to actually go along with it. You get to join it. I was a massive fan of The Greatest Showman. I have always loved musicals. I love dancing, I love singing, but never thought I really had the chops to be a part of that world — certainly not a Broadway or a West End singer. So to be able to have Rob do the singing and me do the dancing, I was like 'how could I possibly not try to make this mine?'." On the Film's Celebration of Resilience and Persistence — and What That Concept Means to Davies and Gracey Jonno: "Resilience certainly comes in with the life of an actor. You are told 'no' many more times than you are told 'yes.' And you often value yourself on your last job, or the last job you did not get. I think it's about trying to stay resilient and trying to remember that you are authentically you, right? And so even though you're getting your nos, it doesn't mean you're crap, it means that you're just not right for this opportunity. It's a hard memory to keep inside, but I think it's one that is premier above all else. Otherwise you start to lose your identity. If you start thinking that 'I'm getting nos because I'm not good enough' or 'I'm not the right person', you start shifting your identity. Then you don't become what makes you, and that's essentially your best asset. And so resilience for me is about staying true to yourself, and if you're going to do something — Guy Chambers says it in our film, he says 'own it'. If it's crap, make it your crap. And I think that's a form of resilience that we can all take onboard." Michael: "Resilience is my entire life, because you have these grand ideas and it's up to you to continue to believe in them year after year after year. Showman took seven years to make, and at one point or another every single person involved in that project gave up hope — and you as the director cannot. Everyone else can lose faith, and you just have to keep on, you have to stand in that burning building and tell everyone it's going to be okay. This took six years. It was a high-concept idea that scared a lot of people, because the concept of the monkey immediately doubled the budget of the film. It made it a much more risky prospect. And it scared a lot of financiers away. The number of meetings that I had to do where people would just flat-out, the moment the monkey was mentioned, were like 'what are you talking about?' — and 'this is the end of the meeting'. That was the much more common response to that idea. And yet, I knew if there was a way to bring it into reality, it would be unique and it would be something that I'd be incredibly proud of. And so resilience is my entire career, and I would not be a director if I did not have that resilience. I think the joy you get as a director is finding other people to believe in that impossible dream, who stand alongside you and make it a reality, and that is the greatest privilege that you have as a director." On What It Took to Make the 'Rock DJ' Scene a Reality Jonno: "A lot of pogo-stick practice. It was the pinnacle of joy, right, in the film. It's the one moment that Robbie and the audience gets to really just live in dreamland, and there's no darkness that encases it, there's no version of himself telling him telling him he's rubbish. And so we were determined that when we arrived on Regent Street, that would be the feeling that we would feel. And, of course, you can only have that joy if you've put in the graft beforehand. And that's not just Michael. It's every department. It's Ash and Jen [Ashley Wallen and Jenny Griffin, both returning from The Greatest Showman], the choreographers, making sure that not only us, the Take That boys, but the 500 dancers were drilled so that we were never getting a bad take because of the dancing. You only have a set amount of time on Regent Street, so everyone had to just be shit hot, for want of a better term. We taped out a hangar, so the minute details, so every bush, every lamp post, was in its exact spot, so that when we arrived on the street, we were ready to go. It wasn't figuring out any proximity, etcetera. But it was a joy. It was one of my favourite experiences on set. I think you see it on our faces when we when we do Regent Street. I think you can probably see it in our pupils as well. There's kind of joy, combating a bit of 'we've got to get this done'. But it's such an iconic street, and it demanded an iconic routine — and I think Michael has delivered with that. Michael: "The practicalities of pulling that off were enormous. It was a year and a half in the planning. As Jonno mentioned, we rehearsed in a hangar the week before with the entire cast and crew, and double-decker bus and taxi, all those elements — only because the moment we got on the street, we had to start shooting, and we had very limited time overnight where we could lock down the entire street and film. It was shot over four nights, but after that week of rehearsal in the hangar, literally the day before we were about to start filming, the Queen passed away. And so we got shut down. There's ten days of mourning after the death of the Queen. Regent Street is crown land. So it was devastating because we paid out all of the costs to shoot. We'd locked down all those stores for those dates. We'd booked all of those dancers. So we lost all that money. There was no insurance for the death of the Queen. At that point, there were a lot of very serious conversations about cutting the number from the film. And I was like 'we've got to go out, we've got to raise that money again, we've got to get back onto Regent Street and we have to shoot this number — it is absolutely a cornerstone of this story'. It took another five months to find a window where we were allowed back on the street, and to raise the money again. And so every time that number plays, I just go in my head 'we were this close to that never happening' — but that comes back to your question about persistence. Better Man opened in cinemas Down Under on Thursday, December 26, 2024. Michael Gracey will chat about the film at the 2025 AACTA Festival, which runs from Wednesday, February 5–Sunday, February 9, 2025 at HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise, Gold Coast.
Can logic and science co-exist with the metaphysical and supernatural? "I think that's what I'm exploring in all of my work," says Robert Eggers. A decade on from making his first feature, and marking himself as one of horror's spectacular new voices at the time, the acclaimed writer/director has the filmography — The Witch, The Lighthouse, The Northman and now Nosferatu — to prove it, of course. "And I think that the difficulty with this stuff is if you believe it, it's true. So I think that's why I explore it in the safety of cinema rather than diving into the deep end and ending up in the madhouse." Whenever Nosferatu sinks its teeth into the silver screen, be it in FW Murnau's 1922 original, or when the inimitable Werner Herzog (The Fire Within: A Requiem for Katia and Maurice Krafft) followed in his compatriot's footsteps with 1979's Nosferatu the Vampyre, or now that Eggers has crafted his own take, it unfurls a tale of gothic obsession. Fixation and passion also sits at the heart of how this icon of horror cinema keeps flickering through picture palaces. It all started with an unofficial adaptation of Bram Stoker's Dracula, which is why the narrative is so similar but the names have been changed. When Herzog gave it a spin, it was because he considered the first movie to be "the greatest German film". Eggers himself has been drawn to Nosferatu since childhood, even directing an iteration of it as a play in high school. (He also appreciates that for the generation that grew up with SpongeBob SquarePants, so kids from 1999 onwards, that might now be commonplace given that discovering Nosferatu can spring via the animated show.) As Dracula clearly is as well, Nosferatu is easy to be passionate about. The OG film is a masterpiece — of silent cinema, of German Expressionism, of horror and just in general. Count Orlok, as initially played by Max Schreck, is a hauntingly unforgettable screen presence. There's no missing the fervour that Eggers has for all things Nosferatu in his movie, or how lovingly that he regards the original. But while there's a packed coffin full of nods backwards in his feature, an Eggers film always feels distinctively like an Eggers film. He's been embracing period-set horror from the get-go anyway, and he repeatedly demonstrates again and again that he's only ever interested in realising his own meticulous — and stunning — celluloid visions. Willem Dafoe (Saturday Night), a veteran of The Lighthouse and The Northman before becoming Nosferatu's Professor Albin Eberhart von Franz, knows all about Eggers' way of working. Asked to describe the director's work, the actor who earned a Best Supporting Actor Oscar nomination for portraying Schreck in 2000's Shadow of the Vampire — a riff on the making of Murnau's Nosferatu — notes that the filmmakers' oeuvre is "contact with stories from another time that have a relevance to now. Beautiful shots. Very detailed, not-conventional cutting. Great art direction. Great shooting. Hopefully good actors. That's kind of the checklist." Dafoe continues: "obviously I've worked with Robert three times and I want to work with him some more. I enjoy it so much, because for an actor it's a dream. He gives you fun things to do, and you're sent to a world that is so rich that it's far easier to pretend and entertain a new set of conditions, thoughts, feelings. And for me, as an actor that's always what I'm interested in — to make contact with stuff that's beyond my experience." There's absolutely no 'hopefully' about Nosferatu's excellent cast. After playing Pennywise in IT and IT: Chapter Two, Bill Skarsgård (Boy Kills World) is Eggers' Orlok — and he's a force to behold. The object of his obsession: Lily-Rose Depp (The Idol ) in a physically committed and entrancing performance as Ellen Hutter, who is newly married to real-estate agent Thomas (Nicholas Hoult, Renfield). The latter is dispatched from the couple's home in Wisborg to Transylvania to assist Orlok with purchasing a property. As Ellen remains in Germany — and as her connection to Orlok begins to fester and torment — she stays with Thomas' old pal Friedrich Harding (Aaron Taylor-Johnson, The Fall Guy), his pregnant wife Anna (Emma Corrin, A Murder at the End of the World) and their children. Taylor-Johnson couldn't have been more eager to be involved. "Sometimes I feel like when you get a filmmaker like Robert — firstly I admired his work and was like 'I'll do anything to be a Robert Eggers movie'. And then all of a sudden, you get this this invitation, this letter and a call saying he's doing something and would like you to be a part of it. You can't quite believe that's happening. You can go 'great, I don't even need to read a script — whatever you want me to do'," he advises. Corrin shares enthusiasm for the experience, and for jumping into horror. "I guess it's fun because it's a unique set of challenges. I've certainly found it interesting, how you craft a scene — I think it's a very specific way that you obviously approach shooting scenes to make them have that suspense, and especially if there's a jump-scare onboard." For them specifically, however, a particular gauntlet awaited: rats. "I remember reading that in the script early on, and texting Rob and being like 'hey, man, wondering if the rats are going to be CGI or are they going to be real? Just curious'. He was like 'definitely real, no CGI'. And yeah, it was intense. I had about 20–30 rats on me. I was also topless, which was interesting. It was bleak, if I'm honest. I tried to be quite brave about it." Why Nosferatu fascinates Eggers, what excited Dafoe about collaborating with the filmmaker, digging into tested beliefs and internal conflict, acting opposite Depp's can't-look-away portrayal: all of that also spanned Concrete Playground's chat with Eggers, Dafoe, Corrin and Taylor-Johnson. So did Count Orlok's look, Dafoe's own history with Nosferatu, Eggers' exacting way of working, giving a century-old film a modern lens and more. On Why Nosferatu Has Fascinated Eggers Since Childhood, Including Turning It Into a Play When He Was a Teenager Robert: "It's very hard to say. I think certainly the Murnau film had a major impact on me, and initially it was Max Schreck's performance and just the power of the simple fairy-tale adaptation that Murnau made of the Dracula story. But as I have grown older and learn more about the occult, and vampire folklore from Eastern Europe — and hysteria and 19th-century medicine — the more that I found that it was a story that I was able to really embrace and put many of my interests in, and to use the framework to explore the things that were exciting to me creatively." On What Excites Dafoe About Working with Eggers After Collaborating on The Lighthouse, The Northman and Now Nosferatu Willem: "Just the personal nature of what he does. The detailed nature of what he does. The kind of investment. It's not work, you know. He's playing to his pleasure and his interests. And then I just like being around him. He inspires me, gives fun things to do. I get a little self-conscious — he's sitting right here. Number one, obviously I'm all in. But check the boxes. He's everywhere on the set. The thing that's really impressive, and I know other people that do this, but it's really impressive that on the set there's such detail, that nothing is there for decoration. It's all function. It's all functional. It has a place. It has a history. And when you can feel the origins of things and where they're placed in the world, that really gives you a reality that's easy to enter. It's a reality that you're not covering anything — you're living in it. And it's very easy with a little willfulness to say that our world drops away and you're in that world. It's an exercise in pretending, and he makes it very simple by giving you a very rich world to exist in." On What Corrin Was Keen to Dig Into in the Film, Including Tested Beliefs and Internal Conflict Emma: "I think Anna has an interesting journey, because she is constantly fighting between her love of Ellen and her own beliefs. And there's a lot of conflict between those two things, because she's very devoutly religious and doesn't believe in a spiritual world — especially a spiritual world based on the occult and folklore — and obviously all of everything Ellen's experiencing points to the existence of that world, which would remove the very foundation of her worldview, everything about how she's been raised, and all of her beliefs. And yet she really loves her friend and wants to be there for her. So I think that experience of Anna, of being with Ellen in such close proximity and witnessing this, it gets to the point where she can't — I think for both Anna Friedrich, actually, they can't not see it anymore. It becomes so obvious what's happening, and then it's so confronting. And you see all of their own beliefs and whatever sort of falling away before their eyes, which is a very scary and vulnerable place for them to be in, especially with kids. I think that I, as an actor, I guess I enjoy complexity and internal conflict in a person. It's very interesting to portray." On How You React When Such a Physical Performance, as Lily-Rose Depp Turns in as Ellen, Sits at the Heart of a Film Emma: "You can't help have a really quite visceral reaction to watching someone who, as you say, who's doing such a committed physical piece of acting. It constantly, I think, blew our minds how she was contorting her body, and the choreography and the stamina that she needed to have as a performer to do that take after take after take — and offer so much. It was incredible. It was a real gift to act opposite because we didn't have to — there no acting required. It was very easy to imagine what these two people, how they would react to what they were seeing." Aaron: "It's definitely extraordinary. I feel very privileged to have been in the room witnessing a performance like that, that felt very raw and with no vanity, and it just felt it was disturbing in real life — and I knew it was going to be shocking on film." On Finding the Right Aesthetic for Bill Skarsgård as Nosferatu's Count Orlok Robert: "Bill is playing a folk vampire. He's an animated corpse, and not Frank Langella in a tuxedo. And that was very enjoyable to create. The look of a dead Transylvanian nobleman, we have certain nods, certain details that remind the audience of Max Schreck, because we have to also be respectful of that. But it was really nice. And while the look was completed by myself and David White [who also worked on The Northman], the prosthetics designer, we also had a Transylvanian folklore expert, Florin Lazarescu [Aferim!], who reminded me 'you know, Robert, a lot of times they talk about the strigoi being a red face'. And so if you'll notice, there are moments when you can see blood pooling under the skin after he's been feeding and stuff like that, which are some fun details." On Returning to the World of Nosferatu After Being Nominated for an Oscar for Max Schreck in Shadow of the Vampire Willem: "They're so different, the films, the intentions, what kinds of films they are. That was very important to me. First of all, I love the Murnau film. I had known it before working on Shadow of the Vampire. Shadow of the Vampire was basically a comic performance. And it leaned heavily on the Murnau because, basically, to find the character I copied a lot of what I saw in the Murnau. That was the starting point. So it was a great lesson in working with a mask, because I had extreme makeup, and that's the first time that it really — maybe not the first time, but it reminded me that if you look different, you move different, you start to feel different and you really have a possibility that becomes a trigger for pretending that's very potent. And you can even do things that you couldn't imagine before because you're drawing on something that's intuitive. It's not shaped, it's not indicated, it's not something you control, it's in your imagination. So that was very important. So then when Rob talks about doing Nosferatu, of course he's not talking to me about playing Nosferatu, but he tells me about this fantastic character that I always felt like is the role he would play if he were in the cast of this movie. So I've been working with him before, knowing his interests and having him give me all this rich material to research, to prepare for the role, that was the connection. It all connected to that other experience, but at the same time, you can't force a relationship between those two films because they're so different and when you finish one, you make room for the next." On the Meticulous Detail and Structure — and No Room for Improvisation — That Comes with Working with Eggers Emma: "I think we were lucky because our characters aren't explored very much in the original. But Rob definitely brought them to life in a certain way — in a very particular way — that was important for this film, because they represent this beacon of light against this darkness that envelops everyone. And in that way, we had a bit of carte blanche, I suppose. But then Rob is so specific in the way he creates characters and the backstory — he's very meticulously thought-out back story for everyone, which I think I find really helpful. I don't know if I'm a big fan of freedom. I think I like specific notes and specific ideas." Aaron: "Structure." Emma: "Yeah, structure." Aaron: "Honestly, I agree. He was so thought-out on everything. I mean, the only thing I probably could have brought was that I was allowed to like [ask] 'can I have mutton chops and some a great big moustache'. And I think that was it. That was allowed." Emma: "Was that you?" Aaron: "Well I wanted some kind of facial hair. I think he wanted something distinctive because they'd already started working with Nic, and he wanted me to have a big twizzly moustache, so that grew and grew. I think there's a little bit of conversation about that. I wanted to improv and he was like 'absolutely not'. So I was like 'okay, well I'll just do what you say'." On How Eggers' Nosferatu Brings a Modern Lens to a Century-Old Classic Aaron: "This story is 100 years old, but yet it's still very relevant today. And I think originally that movie came out, came off the back of the Spanish flu, and it became this metaphorical piece of art reflecting, mirroring reality. And being that we've just come through a global pandemic and we've all been through this feeling of this wave of fear that comes through a city and disrupts everybody in such a panic and a way, it felt very much — I remember reading it and being 'whoa, this seems like, it feels like this'. And then Robert goes 'well, that's originally what it was for 1921'. But then at the fundamental core of it, there's a theme throughout that's about love and battling with your demons, and having shame with this deepest, deepest darkest secret that you've carried from a childhood into your adult life — and how it's going to affect your relationship, and all this sort of stuff. So it's very powerful. I think for our characters, when you're saying this modern element, it's like it was the missing piece to the puzzle. So the original one, our characters aren't involved in that, and so Robert created this next three-dimensional world — this family that lives in Wisborg, and Ellen is staying in this household that is very much this beacon of light, and they're a loving family. They've got children. They've got everything that Nicholas' character aspires to be. And so it's just Robert building upon that world and making it more contemporary, and making it more relatable. They're a very grounded family and arguably they are far more loving than you probably would find in that kind of period. They're very passionate. There's a lot of eroticism throughout the movie, and Emma's character is pregnant with their third child. It's interesting." On the Allure of Period-Set Horror for Eggers Robert: "I just enjoy learning about the past. That's how I like to understand who we are and where we're going — by where we came from. It's what has always excited me, even as a kid. And if I wasn't a filmmaker, maybe I would be an archaeologist. This is just what I enjoy, but also, for making these genre films, I think it's easier to tell — like if you're talking about witches and vampires and things like that, it's easier to make them scary if you are in a period where everybody believed in them, more or less. And obviously in this film, in Wisborg, that's not quite the case, but you get my point." On Dafoe's Experience Working with the Rest of the Cast Willem: "I enjoyed it so much because they're so turned on. Sometimes with older actors, they're comparing their experience that they're having to something in the past. While I find younger actors — now, keep in mind someone like Nic and Aaron, actually many of the actors, are very experienced, so let's not get crazy here; they aren't so young and inexperienced, to tell you the truth — but there's just an excitement. There was an excitement that you could feel for them working with Rob. You're just there. You don't make those distinctions. You're playing characters. You're all on the same footing. You're all trying to fold into the story and help each other, and disappear into the story. So I was looking today, we were shooting pictures, and it's a very special group to a person. Really, there's not a stinker in the group. So the simple answer is: I was very happy to work with this cast, because seldom do you have a cast that's so uniformly strong, not only in performing, but also I remember we took portraits in the costumes and everybody had a look that was very believable and very credible. There was no flourish. The look was very rooted. Robert cast them very well, not only for their look, but also for their talent." Nosferatu releases in cinemas Down Under on Wednesday, January 1, 2025. Images: © 2024 FOCUS FEATURES LLC.
In A Real Pain, as two cousins make a pilgrimage to walk in their dearly departed grandmother's shoes, the concept of alternative possible lives arises. Jesse Eisenberg's second film as a writer/director after 2022's When You Finish Saving the World doesn't hop between timelines science fiction-style; rather, when different pasts or futures come up, it follows a relatable Sliding Doors-esque train of thought about the events and decisions that've shaped David (played by Eisenberg) and Benji Kaplan's (Kieran Culkin, Succession) existences. They're in Poland, where their Grandma Dory grew up, and where they might've too if the Holocaust hadn't occurred. On their guided tour, Benji muses with David about their parallel-universe selves, where they're Polish with beards and everything that they've ever known is completely different. A Real Pain itself is the product of a comparable journey; it could've been a different movie and, originally, it was meant to be. Eisenberg was endeavouring to bring another project to the screen, adapting a short story that he'd penned for Tablet magazine. It was about two friends, not cousins, and instead of Poland they were travelling to Mongolia together. But the Oscar-nominated The Social Network actor, not to mention star of everything from the Zombieland and Now You See Me movies through to TV's Fleishman Is in Trouble, had himself been to Poland. He'd paid tribute to his own family history, visiting the house that his aunt Doris had lived in. He'd also been inspired by that trip to write 2013's off-Broadway play The Revisionist, about a young American man with an older Polish cousin who had survived the Second World War. An ad for "Auschwitz tours, with lunch", which Eisenberg randomly spotted online, helped him pull together influences from all of the above — the screenwriting task that he'd actually set himself, his prior play, his personal experiences and history — into A Real Pain. Audiences should be grateful that it did. Awards bodies have been so far, including via four Golden Globe nominations (for Best Film — Musical or Comedy, Best Best Performance by a Male Actor in a Motion Picture — Musical or Comedy for Eisenberg, Best Performance by a Male Actor in a Supporting Role in Any Motion Picture for Culkin, and Best Screenplay — Motion Picture, again for Eisenberg), plus love from the Gotham Awards and Independent Spirit Awards. At Sundance, where A Real Pain premiered, the dramedy took home a screenwriting accolade. Eisenberg isn't just filtering elements of his family's past into the movie, or recreating a trip that he took with his now-wife two decades back. As he did with the Julianne Moore (May December)- and Finn Wolfhard (Saturday Night)-starring When You Finish Saving the World, he's also tapping into his own IRL anxieties. What he's digging into is right there in A Real Pain's name. As he tells Concrete Playground, "I'm trying to examine and ask the question that I ask myself every day: is my pain valid?". When there's such bigger struggles, troubles and atrocities haunting the world beyond the everyday woes of a person with a largely comfortable life, how can someone feel angst and hurt while also confronted with the bigger picture? In A Real Pain, David and Benji were born mere weeks apart and were almost inseparable as kids, and now make a chalk-and-cheese pair — as is immediately evident while the former leaves a series of messages about meeting up at the airport, where the latter has already been contentedly for hours — but both have their own tussles. In their interactions one on one and with others, one is a ball of tension and apprehension, while the other is laidback and charming. (Based on casting, it's easy to pick which is which before even watching, although Eisenberg initially planned to play Benji.) Where David has also settled into adulthood while grappling with his stresses, however, Benji is in a state of arrested development. Their grandmother's passing hasn't helped. At a pivotal moment, chatting over dinner with the pair's tour group — which includes Will Sharpe (The White Lotus) as their guide, plus Jennifer Grey (Dollface), Kurt Egyiawan (The Agency), Liza Sadovy (A Small Light) and Daniel Oreskes (Only Murders in the Building) as fellow travellers — while Benji is in the bathroom, David unburdens his feelings in a powerful torrent. "I love him and I hate him and I want to kill him and I want to be him," he notes, getting to the heart of the cousins' complicated relationship. Earlier, they'd been at Lublin's Old Jewish Cemetery. The next day, they'll visit the Majdanek concentration camp. A Real Pain sees its titular emotion in micro and macro, then, and knows how awkwardly that the two clash. Just as with questioning the legitimacy of routine trials versus all of the worse things in the world, Eisenberg drew that crucial monologue from his own emotions and experiences. "It's also the most-personal part of the movie — and this is a movie that is very personal," he told us. We also chatted with the Rodger Dodger, The Squid and the Whale, Adventureland, The Double, Batman v Superman: Dawn of Justice, Vivarium and Sasquatch Sunset star about how A Real Pain came together, working with Culkin — including Emma Stone's advice as one of the film's producers that he shouldn't play Benji himself — and what he makes of his career 25 years after his screen debut in TV series Get Real. On What Keeps Drawing Eisenberg to the Question of 'What Pain Is Valid?' as a Writer/Director, First in When You Finish Saving the World and Now in A Real Pain "I've been in the arts since I'm a kid, and I married somebody who works in social justice. And so anytime time I feel I'm doing well or something, I'm reminded that my wife is maybe working with people in more immediate need than I am. And my mother-in-law ran a domestic violence shelter for 35 years, and was unimpressed that her daughter had been married to somebody in movies. So in that first movie, Julianne Moore plays a woman who runs a domestic violence shelter, and she's kind of unimpressed with her kid, who's her family, not doing anything of social value according to her. And then in A Real Pain, the characters are experiencing this very personal pain. My character has OCD, but medicates it away. And my cousin's character has very dark, dark demons inside of him, but it's on an individual level. And so I thought it would be interesting to put these guys against the backdrop of real historical global objective trauma, like the Holocaust. Because in both movies I'm trying to examine and ask the question that I ask myself every day: is my pain valid? I live in a comfortable apartment with a nice wife and kid, and work, I have a nice job. But yet I still feel miserable all day. And why do I have those feelings? So both movies are exploring that exact question. Questions of privilege versus pain — questions about how is it possible that we could feel bad for ourselves when there are so many worse things in the world? In the case of the first movie, it's about domestic violence, and in the case of this movie, it's the Holocaust. And that's just my preoccupation, which just comes from a very self-centred question of 'why do I deserve to feel self-pity?'. On A Real Pain Coming Together From First Trying to Write a Different Film, Then Seeing an Online Ad for Auschwitz Tours "with Lunch", and Also a Past Off-Broadway Play, Plus Eisenberg's Own Personal History and Trip to Poland "It's funny, my friend and I, he's a writer too, we write next to each other at the library every day, and he always says 'once you're on the downslope of the script, you know it's going well'. 'The downslope' in our lingo is basically just once you get past the point of setting everything up and the things are in motion and everything feels right, kind of resolving everything or maybe it's not resolving anything, but that downslope to the end is really smooth. So the last ten pages of this movie, I wrote, I think, in like five minutes, because my wife was texting me I'm going to be late to pick up my kid, and I was like 'I know, but I know the ending, I just have to..'. [caption id="attachment_985500" align="alignnone" width="1920"] Photo by Agata Grzybowska. Courtesy of Searchlight Pictures © 2024 Searchlight Pictures All Rights Reserved.[/caption] So I just wrote it really quickly and all this great stuff came out about me hitting him in the airport, and then this just sad ending of me going home to my family and him stuck at the airport, and it just happened because everything had been set up. And it was in my mind, as you mentioned, throughout several other plays and short stories and stuff, and a real trip with my wife. So once I was at that point, where the dominoes were all falling, I knew, 'oh, this is a story that feels complete'. And then I sent it to my parents and they had no idea what they were reading, because I sent it to them, I don't write in screenwriting programs, so I sent them an e-mail with no names above the characters. Anyway, they said 'this is terrible, what did you what did you do?'. And then I made it more official." [caption id="attachment_985499" align="alignnone" width="1920"] Photo by Agata Grzybowska, Courtesy of Searchlight Pictures, © 2024 Searchlight Pictures All Rights Reserved.[/caption] On What Eisenberg Was Excited About with Working with Kieran Culkin — and Casting Him in a Role That He Was First Planning to Play Himself "I was originally thinking I would play the role of Benji. And our producer is Emma Stone, and she is obviously a very successful producer/actress, and she told me just it would not be a good idea to play a character like that, who's so kind of unhinged and spontaneous, while also trying to direct the movie where I had to be in my other side of my brain of managing a crew. So once I decided I wasn't going to play that role and I was thinking about who could play it, the only person that seemed to me — it's strange, because he's not a Jewish actor — but the only person that seemed to me of my ilk is Kieran. [caption id="attachment_985496" align="alignnone" width="1920"] Tim P. Whitby/Getty Images for The Walt Disney Company Limited[/caption] I don't know what it is, that we're both from New York and speak in this kind of way, and have an energy about us that is similar, but I needed somebody similar and different to me. And Kieran is like me in so many ways and then completely the opposite of me in so many ways. He doesn't feel anxiety about acting. He doesn't think about it. He just wants to get to the set and to just perform. He doesn't want to talk. He does want to analyse it. He doesn't even sleep the night before, and he never wants to rehearse. And he's just comfortable in his own skin. He's now winning, like today, he just won two major awards for the role. I think he doesn't even care. I sent him a congratulations message. He's never going to get back to me. He just takes care of his kids and doesn't care about ambition, fame, success, any money, anything. He lives a really unusual life and it's exactly what I needed for the character. So what we were experiencing on set as colleagues was quite similar to what they're experiencing on set in character." On Capturing the Relatable Dynamic of Loving Someone But Also Hating Them in a Powerful Monologue — and How Pivotal That Moment Was for Eisenberg "Oh, very strangely pivotal in the sense that I was so conscious of the fact that I, as the writer/director, have a monologue in the movie. And I was so panicked about filming it, because I thought I would screw it up, and then I thought 'I don't want the other cast to be sitting there all day while I do this shot of myself'. So the cinematographer and the producer Ali Herting [I Saw the TV Glow, The Curse] basically forced me into doing this long shot that pushes in. We did one take and I was too embarrassed to do it again, because it just seemed indulgent. It's the only take we got. And because I knew I only wanted to one take, I put all the eggs in the basket of it, and so it was very lived in, so to speak. It's also the most-personal part of the movie — and this is a movie that is very personal. We film the movie at my family's house in Poland and it's about my family's history, and yet the most-personal part of the movie is where I say that stuff. Because I guess what I'm talking about is just the way I've felt in my relationships with other guys growing up, just finding people that I'm in awe of — not just guys, also women and family members and all sorts of people — where I have these dual feelings of wanting to be them and kill them at the same time, and loving them and hating them at the same time. I'm living in the shadow of Benji, but in some ways my life has greater stability than his. In most ways, my life has more stability. And so I understand that I've created the life I want, and yet still every time I'm with him he brings up those childhood feelings of envy." On What Eisenberg Makes of His Path From His Screen Debut in TV Series Get Real 25 Years Ago to Everything That's Come His Way Since, Including Writing and Directing "When I was like 16, I got my first professional acting job, which was acting in this TV show. And I'll never forget the audition, all the executives were there, and I remember I was just trying to be funny in front of them. And I was not thinking of myself as a funny person at that point. I was trying to be funny, and people were laughing, like adults were laughing. And I thought 'oh, that's interesting, I wonder if I'm allowed to just be funny the way I want to be funny — it can translate'. I didn't have to be funny like Adam Sandler or something. I could just be funny like myself. So that TV show allowed me to explore, let's say, my own voice as an actor. So that was a really, really lucky experience that no one watched. And since then, I've been very lucky to play roles where I can bring myself to it or bring my own sensibility to certain things, especially in a movie like A Real Pain, which is like my story, and I'm always surprised that anybody likes it. Because when you think of something that's your own, and that's private or artful or creative or something that's funny in your head, you never expect to have any kind of public reaction. But now I've found myself in this very weird position where I get to write stuff and can produce it, and it just feels quite strange because it all still feels very personal." A Real Pain opens in cinemas Down Under on Thursday, December 26, 2024. Images: Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.
It's a movie. It's the big-screen beginning of an entirely new franchise. It's Superman. And, ahead of the first film in the DC Universe reaching cinemas in July 2025, James Gunn's latest step into the world of superhero movies has unveiled its debut teaser trailer. Come for an initial look at David Corenswet (Lady in the Lake) as the Man of Steel, as well as Clark Kent — and at Rachel Brosnahan (The Marvelous Mrs Maisel) as Lois Lane and Nicholas Hoult (Nosferatu) as Lex Luthor. Then, also get excited about a glimpse of Gunn regular Nathan Fillion (Deadpool & Wolverine) as Green Lantern and Anthony Carrigan (Barry) as Metamorpho. Superpowered dog Krypto makes an appearance, too, and viewers will hear a familiar theme tune. "Krypto, home. Take me home," Superman says to his trusty pooch in the sneak peek at a flick that's bringing its namesake back to picture palaces for the first time since Justice League — for the first time in eight years, then, as that's when Zack Snyder's film initially arrived in its theatrical version (Zack Snyder's Justice League, aka the Snyder Cut, debuted on streaming in 2021). Gunn's iteration of the character is seen looking bloody and worse for wear in his familiar outfit to start with, which sparks that need for help from his canine sidekick. This is a movie that isn't afraid of Superman being vulnerable, then, alongside his saving-the-world antics. That line is a favourite of Gunn's, the filmmaker told select press from across the Asia Pacific — including Concrete Playground — at a Q&A about the feature's first footage. "There's the one really potent line to me in the trailer, that moves me, which is when he says 'Krypto, take me home' — and Krypto starts dragging Superman home. And that's, at the end of the day, what this is for me," he explained. "It's about bringing the innate goodness of Superman, bringing it home, bringing this character home — bringing our battered world to a brighter place of healing and bringing that home. And hopefully Superman can be a symbol of that as well. I think that this is the right time for this movie, and I'm excited about people seeing the trailer," the Super, The Suicide Squad, and three-time Guardians of the Galaxy writer/director continued. He's even more enthusiastic about audiences watching the full flick, of course, come mid-2025. "The trailer is really just about being a good representation of the film — and I think it is an authentic representation of what the film is, and I just can't wait for people to that in July." Story-wise, the preview doesn't reveal much of the narrative. "I wanted to create a teaser trailer that gave the essence of what this movie is without giving away too much of the plot," Gunn advised. As for what viewers can look forward to from the eponymous figure, Gunn notes that "I think that we can expect a Superman who is about the compassion of the human spirit; a Superman who is about kindness, love and compassion, while also being a very strong character. So I think he is the best of humanity, even though he is an alien from outer space." [caption id="attachment_985434" align="alignnone" width="1920"] Erik Drost via Flickr[/caption] "It's a little bit different than some of the other Superman movies — it's about Superman's external struggle, but it's also about his internal struggle. It's about who he is as a person, where he comes from, his parents — both his Kryptonian parents and his human parents — and we get to know who this guy is on a real elemental level," Gunn also shared. Co-starring Milly Alcock (House of the Dragon) as Supergirl, as part of a cast that features Isabela Merced (Alien: Romulus), Frank Grillo (Tulsa King), Skyler Gisondo (The Righteous Gemstones), Wendell Pierce (Elsbeth) and, as always in the filmmaker's work, Gunn's brother Sean (Creature Commandos) as well, Superman kicks off a new franchise that Gunn is overseeing in his role as co-CEO and co-Chairman of DC Studios. Supergirl: Woman of Tomorrow is set to follow in 2026, as directed by Dumb Money's Craig Gillespie, then Clayface will release in the same year, working with a script from Doctor Sleep and The Fall of the House of Usher's Mike Flanagan. Gunn also chatted about casting Corenswet, conveying the character's humanity, the approach to the movie's score, the DC Universe's handling of tone, how Superman stands out from the filmmaker's past superhero flicks, the new versions of Lex Luthor and Lois Lane, and more. On How Corenswet's Superman Differs From Past Versions of the Character — and What the Actor Brings to the Role "David both has that optimistic boy scout quality that Superman has, both on-screen and in real life, frankly, and a real down to earth-ness — besides the fact that he's this incredibly good-looking guy, he doesn't have any sort of arrogance or ego in that way. But also he is a really phenomenally trained actor who went to school at Juilliard and is just one of the best actors I've ever worked with. Incredibly nuanced, incredibly questioning all the time, trying to figure out how can he give his best performance. There's never a take I look at after the dailies where I go 'he isn't fully authentically Superman'. He is Superman every moment he's in the movie. Even the stuff that, where I'm cutting together the best performance as possible, even his worst is still great … I said to David when he got hired — he went through a very, very long and arduous audition process in which hundreds and hundreds of people auditioned for the role of Clark Kent/ Superman. David won it, and I said to David, I said 'you've got to work on two things. You've got to work on your shoulders, and you've got to work on your vulnerability'. And those were two things that he then spent the next six months getting bigger and also working on elements of being vulnerable on-screen, which I think was a little bit more difficult for him, as it is difficult also for Superman." On Exploring Clark Kent's Humanity "I think that's all the movie is about. This movie is about Clark Kent's humanity. Yes, he's an alien from another planet who's super powerful, but he is also deeply, deeply human. He has emotions and feelings. And every day he wakes up and tries to make the best choices he can, and sometimes he fails. And that's what this movie is about. This is about a complex character. And I think that's the thing that audiences are going to be completely surprised by, they can't really see in the trailer, is these complex relationships between Clark and Lois, and Lex and Clark, and how they interact and the different values they have, and how they strengthen each other and make each other weaker." On the Approach to the Film's Score — and the Iconic Superman Theme "John Murphy [The Suicide Squad, Guardians of the Galaxy Vol. 3] is the guy who composed the score. He's an incredibly talented guy who I love working with, with a great spirit. As soon as I finished the script — he was one of the first people I gave the script to — I said 'start thinking of music'. I said: 'the one thing I'll say is I do want to use the classic Williams score, but I want you to turn it and mutate it, and turn it into your own thing that'll represent this film and this story'. So there's a very powerful thing about it. There's also a slightly melancholy thing about it. And I think those are both parts of this very emotional and touching story that we're telling through the movie. And John not only wrote that theme, but he put together so much music for the movie that we then play on set and shoot to, so that we know exactly what the score is. And that score is baked into the movie. This was a very different movie because music is always very important to me, but a lot of times I've used a lot pop songs of various types throughout the movie, and this is not the case for Superman. This is basically about the score, and so it has an incredibly important role in this film. I can't wait for people to hear the whole thing, because it does go into that whole Williams thing, and then it transforms into something else, and then it becomes something else again. And it is a stunning piece of music." On How Audiences Can Expect the New DC Universe, and Superman Within It, to Navigate Tone "Well, the one thing they can expect from the DCU is that every film and TV project will have its own vision. And some are going to be family-oriented, like Superman. Other ones are going to be a little bit more adult-oriented, like Creature Commandos, which is now playing here in the States and in some other places, a lot of other countries. And so they're all going to be very different. But I do think that in Superman, it's interesting because it's not as if there's not a lot of darkness in the film. I think to be truly optimistic, and to truly be hopeful, if everything's going great and everything is perfect, it's a lot easier — then Superman isn't as strong of a character. So this isn't Superman dealing with hope and optimism in light times. He's dealing with hope and optimism in very difficult, hard times, dark times. And that's what the movie is facing. " On How Gunn's Work on Superman Differs From His Past Superhero Movies "I think it's very different. I don't think of Guardians or The Suicide Squad, really primarily as comedies, but certainly comedy was a big part. And it's not that there's no humour — there's plenty of humour in Superman — but at the core of it, it really is something different. It's a different sort of story. And it's vulnerable for me to make that, because the honest truth is when I make a movie, and then you show the movie to an audience, you've got to sit with an audience watching the movie, and the easiest way that you know people like your movie is when they're laughing — or if you're telling a horror movie, if they're screaming. And then also if they're crying, which I got a lot of people to do with the last Guardians movie. So I like those external things, and then in this one I really had to be sort of strict with myself when I was writing it, filming it. It's all about the character. It's about the action, which is a big deal, shooting flying in a different way. And so it's just tonally different from the movies that I've done in the past." On Why Superman's Red Trunks Are Back "There was a time when I was developing the costume, the outfit — uniform is the macho way to say it, the Superman uniform — with David Corenswet and Judianna [Makovsky, a Guardians of the Galaxy alum], our costume designer. And I came in and it was coming together, but it had the red trunks, it had the whole thing, and we really went back and forth a lot about the red trunks. I even talked to Zack Snyder about it. He's like 'I like tried a billion versions, but the trunks, it just never got there'. And I see how that's the case. I don't know about the trunks, and I wanted to use the trunks but I couldn't, I kept taking them off. And I come in, it's very colourful, the trunks are on and I'm like 'oh god, I don't know. It's just so colourful. David, how do you feel?'. He's like 'I love it'. And I'm like 'really, that colourful?'. He's like 'I'm an alien from outer space who can fly and lift buildings and I shoot laser beams out of my eyes that can dissolve things. I want kids to not be afraid of me. So what am I going to wear?'. I think that was really part of where the costume came from. And I saw the character in a new way. This was before we started shooting, of course, and this showed me how David Corenswet really took everything, every moment, very seriously in all of his choices of what he would do. And he wants to not be scary to kids. I thought that that was a a pretty cool thing that really I've kept in mind for the character ever since that moment." On Superman's Latest Battle with Lex Luthor "One of the things that was really important to me was to make a Lex Luthor who was absolutely his Superman's equal. Maybe more than — you've got to be scared of [Lex]; this Lex is scary. And it's not just because he is a bad guy, because he's pretty bad, but he has his reasons for thinking what he thinks, which you get into, and it's a lot of ideological things about what Superman represents versus what he represents as the world's most-intelligent man. And so I think that it really is this battle of ideologies between the two of them and how they look at the world. One of them is very generous in his point of view, which is Superman, and one of them is not very generous in his point of view, which is Lex. But also his intelligence and his way of dealing with the henchmen that Lex has around makes him incredibly dangerous to Superman. And when you're willing to fight and there are no rules, you always have an upper hand over the person who's willing to fight and has a lot of rules, such as Superman." On Rachel Brosnahan's Version of Lois Lane "I think Lois is a journalist of the highest order. She believes in the truth pretty much at almost any price. And that makes her a real force to be reckoned with. And one of the things, I love the romance between Lois and Superman in the original Donner film [1978's Superman starring Christopher Reeve], and think it was really beautiful, but also in a way, it was a little bit Lois 'goo-ga' over Superman, right? Because he flies around, he can pick up planets — pick up buildings at least. I wanted to really see 'why does Superman love Lois so much?'. And so from the beginning we did chemistry reads with Superman and Lois, and David and Rachel got these roles not because they were just individually great as those characters, but together as a couple they bounced off of each other in an incredibly dynamic way. I think you know from the very beginning, you start to see why she is as strong of a force as Superman is, just in a different way — and why someone as cool and as good-looking and powerful as Superman would be in love with her, and he's the one who's lucky." On the Challenges of Rebooting a Superhero That Almost Everyone in the World Knows "I think the biggest challenge is that because everyone in the world knows who Superman is and where he came from, some of that's a benefit. We don't go into origin stories in this. Everybody knows, practically everybody knows, that Clark Kent came here in a rocket as a baby sent by his Kryptonian parents, and a farm couple adopted him and brought him in. So we don't have to go through all that. That's a benefit in a way. But also so many people in this world are so intimately attached to Superman, Batman, Wonder Woman, the big three, they have specific ideas about what that character is to them. Most people have come up to me and say 'I never really related to Superman because he's just too powerful. I can't. I relate to Batman because he's like the underdog, right? I never related to Superman because he's just too powerful'. So that's something I took into account from the beginning, that a lot of people don't relate to him. I think it's a little bit to do with what we see at the beginning of the trailer — the beginning of the movie, too. And other people like Superman because he can punch planets in half. That is not really this Superman. But that's also, you've got to deal with all these different people have different ideas of what Superman is supposed to be. And you have to deal with all of them and hopefully people are able to go and say 'well, okay, I like my idea of what Superman is, let's see what this idea of Superman is. Let's sit down for two hours, watch this movie and see what it is'. I think that's what you've got to do with the DCU, because things are going to keep changing, evolving, characters aren't going to be the same as people imagine them. A lot of people keep telling me 'oh my god, you made this trailer just for me, I can't believe it'. And other people are going to feel differently about it, but they can still enjoy the story and enjoy how our view of Superman is, or whatever other DC character there is." Superman releases in cinemas Down Under on Thursday, July 10, 2025.
We teamed up with McDonald's to round up six music festivals popping up in Auckland and Wellington that will make for an unforgettable summer. From pop princess Charli XCX to 80s legends Orchestral Manoeuvres in the Dark, hip-hop icons Ludacris and Akon, and homegrown stars Stan Walker and Lee Mvtthews, these festivals have stacked lineups that are sure to include at least one of your favourites. Juicy Fest Start the year off with some hip-hop and R&B bangers this January. Juicy Fest is bringing the nineties and noughties back with a lineup that includes music superstars Ludacris, Akon, Fat Joe, Jeremih, Ray J, Jay Sean and Montell Jordan. The one-day festival will take over Wellington's Hutt Park on Friday, January 10 and the Auckland Showgrounds on Saturday, January 11. Only final release tickets are left, so you'd better book your tickets 'Right Now (Na Na Na)'. Golden Lights Music Festival If pumping beats are more your thing, head to Golden Lights Music Festival at Trusts Arena in Auckland on Friday, January 10. With a lineup that features artists and DJs from both around the world and closer to home, such as Becky Hill, Luude, Jyoty, Sachi and Girls Don't Sync, you can be sure you'll be dancing the afternoon away. Auckland Folk Festival Keen for something more laidback? The long-running Auckland Folk Festival will return for yet another year from Friday, January 24–Sunday, January 26 at the Kumeu Showgrounds, a half-hour drive from Auckland. The weekend event has been running for over 50 years, bringing contemporary folk tunes to Aotearoa, along with food stalls, craft and clothing vendors, and music and dance workshops. The lineup for this year includes Adam McGrath, BB & Alex, the Basant Madhur Ensemble, Charm of Finches, Rennie Pearson and Pony Baby. [caption id="attachment_974757" align="alignnone" width="1920"] Charlie Hardy[/caption] Laneway Festival Brat summer has officially arrived — the hottest artists from across the globe will land down under for this year's Laneway Festival on Thursday, February 6. Charli XCX, Clairo and Beadbadoobee will be joined by Barry Can't Swim, Djo, Remi Wolf, Olivia Dean and many more at this one-day extravaganza at Auckland's Western Springs Stadium. First release tickets are already sold out, but you can still get your hands on second release or VIP tickets. Sounds Series From electronic synth to pop and classic rock, get ready for some 80s throwback bops at the Auckland Sounds and Hutt Sounds festivals in February and March — neon clothing optional. On Thursday, February 27, Orchestral Manoeuvres in the Dark, the Thompson Twins' Tom Bailey, Jon Stevens (formerly of INXS and Noiseworks), Diesel and The Narcs will all take the stage at the Eventfinda Stadium in Auckland, followed by Brewtown, Upper Hutt (less than an hour's drive from Wellington) on Sunday, March 2. Homegrown Festival Though it's great to be able to catch international artists on this side of the world, Aotearoa's own music scene shouldn't be overlooked. Celebrate local artists at the Homegrown Festival on Friday, March 14–Saturday, March 15. With five stages dotted across the Wellington Waterfront, ticket-holders can curate their own lineup — performers include Stan Walker, Lee Mvtthews, Sir Dave Dobbyn, Sons of Zion, The Upbeats, Mitch James and Lady Shaka — and are welcome to come and go as they please throughout the day. Discover what else is happening around New Zealand this summer with our guide.
There's a stacked lineup of artists touching down in Aotearoa this summer, from local and Aussie names to huge global acts. Make the most of the long balmy nights ahead and catch one of your favourite groups or discover a new artist at one of the many gigs around Wellington and Auckland. Ahead of the New Year's Eve launch of the remixed iconic McDonald's 'Make It Click' jingle at Rhythm and Vines summer festival, we've teamed up with McDonald's to round up some of the top concerts you need to catch this summer. Auckland January to March will be a bustling few months of music in Auckland, with everyone from rock legends of the 80s to homegrown heroes and American country stars performing across the city. Nothing says summer quite like belting along to some country hits, so kick things off in January with Luke Combs. The American multi-platinum star will take over the massive Eden Park for two nights on Friday, January 17 and Saturday, January 18. Follow this up with frenetic beats from British DJ Nia Archives. The popular producer and singer will be performing at Auckland Town Hall on Sunday, January 26, with tickets starting at $79.90. At the same venue, fellow Brit and hip-hop hotshot Dizzee Rascal will make the crowd go 'Bonkers' on Thursday, January 30 with his We Want Bass tour. Then, relive the 'Summer of '69' when Canadian rocker Bryan Adams touches down in February. The 80s superstar is performing at Spark Arena on Tuesday, February 4, supported by English crooner and X Factor alumni James Arthur. Enjoy a full day packed with tunes on Thursday, February 6. Bring a picnic blanket to Parrs Park for the free Waitangi at Waititi festival from 9am–4pm, featuring Aotearoa's own Mark Williams, Stan Walker, Ladi6, Che Fu and The Kratez, and Corrella. In the evening, pull on your cowboy boots and make your way to Spark Arena for American country and folk artist Tyler Childers' Mule Pull tour. Close out March with Kehlani's smooth, soulful tunes. You can catch the American singer at Spark Arena on Sunday, March 23 — an ideal farewell to summer as we slip into the cooler months of autumn. [caption id="attachment_881652" align="alignnone" width="1920"] Oliver Crawford[/caption] Wellington Go from grunge rock and jazz and reggae to electrifying beats and genre-bending rap in Wellington this summer. Start your season of music off strong with a throwback to the 90s as rock icons Everclear grace the stage at San Fran on Tuesday, January 21. Tickets are a steal at only $69.90, so throw on some flannel and baggy jeans, and get ready for some head-banging. Embark on a hour's drive out of the city to Brewtown, Upper Hutt, on Saturday, January 25 for an idyllic day of sunshine, dancing and icy bevs. New Zealand notables Fat Freddy's Drop will be showcasing their reggae, soul and jazz tunes at the sprawling outdoor venue, which is home to nine eateries, breweries and a distillery, as well as an adventure park, escape room, putt-putt golf course and axe-throwing course. Los Angeles rapper Lil Darkie will bring his contemporary, genre-melding style of hip-hop to San Fran on Wednesday, February 12. A few days later, UK-based DJ Dimension will take over Wellington's largest indoor venue for a rousing set that's sure to have you cutting some shapes. Nab a final release ticket while you still can for the gig at TSB Arena on Friday, February 14. Squeeze in one last groove as Irish hip-hop trio Kneecap venture down under for the first time in March. In the past year, the Belfast group have seen a rapid rise to stardom with the release of an acclaimed second album and a biopic film that premiered at the Sundance Film Festival. Kneecap will perform at the newly opened Meow Nui on Wednesday, March 5. Discover what else is happening around New Zealand this summer with our guide.
Aunty Donna have been busy over the past few years. Since 2020, they've brought both Aunty Donna's Big Ol' House of Fun and Aunty Donna's Coffee Cafe to the small screen. They've played corpses in Dungeons & Dragons: Honour Among Thieves, and also dropped a $30 bottle of wine that's literally called $30 Bottle of Wine, too. The Australian comedy troupe embarked upon a world tour in 2023 as well, selling 90,000-plus tickets. If you're keen to see Mark Samual Bonanno, Broden Kelly and Zachary Ruane live, your next chance arrives in 2025. Aunty Donna have announced that they're hitting the stage again, not only in Australia and New Zealand, but also in the UK, Ireland, the USA and Canada. So far, only dates for the first four parts of the world have been locked in, kicking off in August in Hobart, then hopping to Brisbane, Sydney, Wellington, Christchurch, Auckland and Dublin before September is out. October brings gigs in the United Kingdom, while Adelaide, Perth and Melbourne get their turn in December. Audiences will enjoy the Drem experience, with Aunty Donna unveiling their brand-new live sketch show. Will everything be a drum again? Will morning brown get a tribute? How much room should you leave for Christmas pud? If you're instantly thinking about these questions, you're clearly already a fan. In the trailer for the tour, Bonanno, Kelly and Ruane are promising big things in their comedic usual way. "In 2025, Aunty Donna will be touring the greatest live comedy show ever seen by human beings," the trailer advises. "You have asked 'is it funny?'," it continues. "Leading experts in the field have made it perfectly clear that it is the best comedy show ever made." [caption id="attachment_866548" align="alignnone" width="1920"] ABC[/caption] In a statement announcing the tour, Kelly builds upon that sentiment. "We're very excited to show Drem to the world. Performing live is what we do best and we can't wait to bring this show out to everyone," he says. "It's the best thing we've ever made and it's the best thing that anyone in the world will see. It's better than anything anyone else has ever done or seen." Check out the trailer for Aunty Donna's Drem tour below — and the full Down Under tour dates, too: Aunty Donna's Drem Tour 2025 Dates Friday, August 22–Saturday, August 23 — Odeon Theatre, Hobart Monday, August 25–Thursday, August 28 — Fortitude Music Hall, Brisbane Monday, September 1–Thursday, September 4 — Enmore Theatre, Sydney Tuesday, September 9 — Opera House, Wellington Thursday, September 11 — James Hay Theatre, Christchurch Saturday, September 13 — Kiri Te Kanawa Theatre, Auckland Monday, December 1–Tuesday, December 2 — Thebarton Theatre, Adelaide Thursday, December 4–Friday, December 5 — Regal Theatre, Perth Friday, December 12–Sunday, December 14 and Wednesday, December 17–Thursday, December 18 — Palais Theatre, Melbourne [caption id="attachment_791048" align="alignnone" width="1920"] Netflix[/caption] Aunty Donna's Drem tour kicks off Down Under in August 2025. For further information and tickets, head to the Aunty Donna website.
A new batch of travellers is checking in, and a third The White Lotus hotel is ready and waiting. As Lisa from BLACKPINK says in both the initial look at footage from season three in a broader HBO trailer and in the anthology hit's just-dropped first teaser, "welcome to The White Lotus in Thailand". Viewers mightn't be packing their bags to head to an exclusive Thai resort, but you can mark your calendar: the acclaimed series returns in mid-February 2025. A getaway at a luxurious hotel is normally relaxing, but that isn't what vacationers find in this show. It was true in the Hawaii-set first season in 2021, then in season two in Sicily in 2023, each with a largely different group of holidaymakers. Based on the sneak peek at season three, that's of course accurate again in the eight-episode run that arrives from Monday, February 17 Australian and New Zealand time. Walton Goggins (Fallout), Carrie Coon (Ghostbusters: Frozen Empire), Jason Isaacs (The Crowded Room), Michelle Monaghan (MaXXXine), Leslie Bibb (Palm Royale) and Parker Posey (Mr & Mrs Smith) are among the folks checking in this time, alongside Sam Nivola (The Perfect Couple), Patrick Schwarzenegger (Gen V), Sarah Catherine Hook (Cruel Intentions) and Aimee Lou Wood (Sex Education). Families, couples and friends on getaways: they're all covered by the above cast members. And as Monaghan exclaiming "what the fuck is this place?" indicates, they're in for some chaos. Bad feelings, seeking pleasure but finding pain, threatening to drink oneself to sleep: alongside guns, dancing, judgemental pals, missing pills, snakes, monkeys, ambulances, complaints about gluten-free rice and a body bag, they're all featured in the teaser as well. From season one, Natasha Rothwell (How to Die Alone) is back Hawaii spa manager Belinda, who advises that she's there on an exchange program. Season three also stars Lek Patravadi (In Family We Trust) and Tayme Thapthimthong (Thai Cave Rescue) as one of The White Lotus' owners and security guards, respectively. Where the Mike White (Brad's Status)-created, -written and -directed satire's first season had money in its sights and the second honed in on sex, eastern religion and spirituality is in the spotlight in season three, which also co-stars Nicholas Duvernay (Bel-Air), Arnas Fedaravičius (The Wheel of Time), Christian Friedel (The Zone of Interest), Scott Glenn (Bad Monkey), Dom Hetrakul (The Sweetest Taboo), Julian Kostov (Alex Rider), Charlotte Le Bon (Niki), Morgana O'Reilly (Bookworm) and Shalini Peiris (The Ark). Check out the first teaser trailer for The White Lotus season three below: The White Lotus returns on Sunday, February 16 in the US, which is Monday, February 17 Down Under. At present, the series streams via Binge in Australia and on Neon in New Zealand. Images: HBO.
Is the 21st century Middle-earth's golden age? For viewers, that keeps proving the case. The 00s had barely begun when The Lord of the Rings franchise started its journey to becoming one of the global box office's biggest-ever film sagas — it currently ranks 12th — by first arriving between 2001–2003 as Peter Jackson's initial trilogy based on JRR Tolkien's beloved and iconic fantasy novels. After The Fellowship of the Ring, The Two Towers and The Return of the King met such adoring cinema audiences and earned accolades, of course The Hobbit next made the leap to the silver screen under Jackson's direction, from 2012–2014 and again as a trio of flicks. A decade has now passed since An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies as 2024 wraps up. The lack of Middle-earth at the movies also comes to an end via The Lord of the Rings: The War of the Rohirrim. Jackson has focused on documentaries since The Hobbit films, courtesy of the First World War-centric They Shall Not Grow Old, plus TV series The Beatles: Get Back and accompanying movie The Beatles: Get Back — The Rooftop Concert. Since becoming almost as synonymous with all things LoTR as the author who created it, however, he's still attached to the saga. In the live-action realm, planned Andy Serkis (Venom: The Last Dance)-directed and -starring 2026 release The Lord of the Rings: The Hunt for Gollum boasts Jackson as a producer. First, though, he has executive-produced The War of the Rohirrim, the franchise's new anime instalment. One of his greatest choices from The Two Towers and The Return of the King still echoes here, too, and literally, with Miranda Otto reprising her role as Éowyn. The 21st century's original LoTR pictures were a massive deal everywhere, but the wealth of Australian actors among the cast didn't go unnoticed across the ditch from where New Zealand's green hills earned their most-famous movie use yet. While Otto, David Wenham (Fake), Cate Blanchett (Disclaimer) and Hugo Weaving (How to Make Gravy) weren't strangers to the screen by any means at the time, The Lord of the Rings remains one of the projects that they'll each forever be known for. Playing elves, Blanchett and Weaving were each able to return for The Hobbit flicks, but popping up at different times in the saga isn't as easy when you're portraying a human. In Otto's case, The War of the Rohirrim has found a way to bring her back as Éowyn. Like streaming series The Lord of the Rings: The Rings of Power, but unrelated to it, the new film is set before the events of the LoTR movies, but is told as a tale relayed by Rohan's best-known noblewoman and shieldmaiden. Imagine Éowyn "coming back and telling this story to her children"; that's what Otto did, she tells Concrete Playground. The narrative that the character unfurls from 183 years prior to her time has another Rohan heroine at its centre, explaining why she's someone that Middle-earth's kingdom of men, as well as its famed horsemen, should champion — even if her deeds don't furnish Rohan's songs and haven't been mentioned to audiences before. Héra (Gaia Wise, A Walk in the Woods) is the daughter of king Helm Hammerhand (Brian Cox, Succession), whose reign and house are threatened by a marriage proposal. When Wulf's (Luke Pasqualino, Rivals) hand in matrimony is rejected, so sparks the battle that gives filmmaker Kenji Kamiyama's entry into the LoTR franchise its moniker. With episodes of Blade Runner: Black Lotus, Star Wars: Visions, Ghost in the Shell: Stand Alone Complex and Ghost in the Shell: SAC_2045 on his resume, Kamiyama is well-versed at stepping into existing and already-adored worlds, and at giving them the anime treatment — a task that awaited with The War of the Rohirrim, and that the director handles with ease. That said, in connecting a tale that wouldn't be so resonant if viewers weren't familiar with Éowyn paving the way in the saga first with its on-screen past, Otto's voicework couldn't be a more crucial part of the movie. Returning to the role, she understands how the pair are mirrored, and also Éowyn's impact on the page and on the screen so far. "This character was really significant to a lot women growing up," she notes. Reteaming Otto with Philippa Boyens — who shared a Best Adapted Screenplay Oscar with Jackson and Fran Walsh for The Return of the King, then penned the story for The War of the Rohirrim's script and also produces the new film — the latest LoTR movie adds to a busy few years for an actor who last graced cinemas in 2023 hit Talk to Me. On the small screen, she's also brought her talents to everything from Wellmania and Koala Man to The Clearing, Ladies in Black and Thou Shalt Not Steal of late, expanding a filmography that has taken her through War of the Worlds, Cashmere Mafia, Blessed, South Solitary, I, Frankenstein, The Homesman, Rake, The Daughter, Homeland, 24: Legacy, Annabelle: Creation, Downhill, Chilling Adventures of Sabrina, True Colours, Fires and more in the past two decades. We also chatted with Otto about what excited her about a Lord of the Rings comeback, reprising the role solely as a voice actor and the responsibility of portraying Éowyn — as well as whether the diversity of parts that she's been enjoying was the original dream back in her pre-The Two Towers days in The Last Days of Chez Nous, The Nostradamus Kid, Love Serenade, The Well, Doing Time for Patsy Cline, What Lies Beneath and Human Nature, plus what she makes of her journey across her career so far. On What Excited Otto About Returning to the World of The Lord of the Rings, and to Playing Éowyn, But This Time in an Animated Film "I was really excited by the idea that it was anime. I thought it was so interesting to go back into this world of Lord of the Rings and Tolkien and tell the story as an anime, and all the things that that gives you licence to do. The films have always done so well over there, and I feel like there's something in Japanese mythology that really has some kinship with Tolkien's mythology in some ways. So it just sounded like a great fit. And the idea of coming back as a narrator was really lovely. It made utter sense to me the way that Philippa put it forward to me when she wrote to me about doing it. I could understand the concept, that it was Éowyn coming back and telling this story to her children. I just really liked that idea." On How Otto Approaches Not Only Reprising the Role of Éowyn, But Solely Doing So as a Voice Actor "The first time I came back to do the recording was, I think, in 2022, and I'd just had COVID and my voice was croaky — and I thought 'oh they'll like it, because I sound kind of husky and deep and mature'. And then they were disappointed because they wanted me to have the same voice. They really very much wanted to hear the Éowyn voice from 20 years ago. So when we came to do the second recording in Wellington, it was great to actually be in the studio with Philippa and with Kenji, and to actually get to see more of the film. And I worked with Roisin [Carty, The Agency] again, who had done a lot of the dialect work on the original films. So that was a great way of really fully getting back into the character. And just being back in Wellington, and being back with a lot of the same people, really took me back to that feeling of Middle-earth." On Whether Returning to Éowyn Was Something That Otto Could Imagine Two Decades Ago When She First Played the Part "It's just amazing — you think 'my gosh, that much time has passed, wow'. No, I never. I very much knew when we made the films, I remember the first time coming over and seeing some of the footage, and going to the costume fittings and seeing the footage, I remember that night I did not sleep because I was so excited to be a part of it. I felt like I knew in that moment that these films would last a really long time, and it's exciting as an actor to be a part of something that will actually last for people. But I never thought at the time about being able to come back in any way. I know when they made The Hobbit, many of the Elvish characters got to come back. But me being a mere human, I wasn't involved in that story. So I never envisaged that I would get the call, but it was very lovely." On Héra's Story Following in Éowyn's Footsteps, Even If the New Tale Is Set Before the Original Films "I think it's really lovely that there's that mirroring of those two characters. To me, it also felt like in Lord of the Rings, Éowyn holds this legacy of the women of Rohan, the shieldmaidens. And she speaks about the women of Rohan, and you get a sense that there's this this lineage of women who have come before her, the people she looked up to and formed her. So when you go into this film, you get to see the women that she admired. She is telling the story because she admires Héra and finds Héra inspirational, and so it's really lovely to get a sense of that history." On Otto's History of Playing Influential Women Beyond Éowyn "I think it's the way the interesting roles have come my way. I think I just gravitate to women like that. It's really to do with the writing of the character, and whether it speaks to me — like sometimes I can read something and think 'that's really good, but I don't have any emotional connection to it' or 'I haven't got that spark'. In a rational sense, I know it's really good, it's probably going to be a great project, but I just don't have that launch point within myself in my gut that tells me 'I want to do this'. So I think I just respond to what's on the page. I don't make tactical choices of thinking 'I need to play influential women' — it's more just that I'm drawn to those characters. They're interesting to me." On the Sense of Responsibility That Comes with Playing Éowyn "It does come with responsibility. When you're a returning to a film, I think you have the responsibility, you're carrying the mantle of the history of those trilogies into this film. And I certainly feel when I meet people who are huge fans of film, that this character was really significant to a lot women growing up. Really, really significant, Éowyn's story. And I'm just the person holding that role. The character was written by Tolkien, invented by Tolkien and brought to the screen by Peter Jackson, and I'm just the conduit of it. But it is a responsibility when I meet people to understand their stories and how significant Éowyn was to them." [caption id="attachment_983393" align="alignnone" width="1920"] Thou Shalt Not Steal[/caption] On Whether the Diversity of Otto's Roles From the Past Few Years, Including Talk to Me, The Clearing, Thou Shalt Not Steal and Ladies in Black, Was What She Hoped for When She Was Starting Out "I definitely hoped that I didn't get stuck in the girlfriend roles. I sensed, in the scripts I would read along the way, there was a lot of female roles where you were just the girlfriend and they didn't have a lot of character written on the page. I prefer playing characters that are strongly written on the page, that I can leave myself and become someone else. And it's not just relying on my personality — that I can be somebody else. So I definitely didn't want to, from the beginning, be typecast into any particular thing. I really didn't want to be boxed in. And that's probably why I do tend to choose really different things, because I just don't want to be in any kind of cage, I guess." On What Otto Makes of Her Journey as an Actor So Far, Including Returning to Lord of the Rings "I feel really lucky. I have to say, Lord of the Rings was a really significant part of my career because I think it's given me that longevity in some ways. To have been a part of something that was so beloved has definitely helped my career. I feel really lucky that that I'm working, and that I still get to work with really interesting people. I've worked with a lot of younger, like first-, second-time directors in recent years, which has been really great. I feel really blessed. It's been really nice coming back to Australia, where I've felt like I've been able to jump around and do lots of different things. I've felt like in recent years in Australia, in film and particularly in television, there's a lot of different genres happening now, a lot of different styles, which has been so great and so inspiring to see. Dylan's [River, Robbie Hood] work in Thou Shalt Not Steal is so different to Gracie's [Otto, Seriously Red] work in Ladies in Black, and they're so different to Danny and Michael's [Philippou] work in Talk to Me. So it's just been really nice to work with all those different energies, I think." The Lord of the Rings: The War of the Rohirrim opened in cinemas Down Under on Thursday, December 12, 2024.
On Steve Zahn's 2020s-era resume, there's no place like Maui resorts and buried silos that house 10,000 souls across 144 underground levels. The actor has been calling both home, or home away from home, in two of the best television series of this decade. In the process, he's also been giving some of the finest performances of his career. An Outstanding Supporting Actor in a Limited or Anthology Series or Movie Emmy nomination came his way for The White Lotus, an accolade won by his co-star Murray Bartlett (The Last of Us). More awards attention deserves to arrive now that Zahn is among the cast of Apple TV+'s page-to-screen sci-fi dystopian thriller series Silo in its second season. The Minnesota-born and -raised actor has been a screen mainstay since the 90s, when he starred in one of the defining movies of the period: alongside Winona Ryder (Stranger Things), Ethan Hawke (Leave the World Behind), Ben Stiller (Nutcrackers) and Janeane Garofalo (The Apology), he was part of Reality Bites' core quintet. From there, everything from That Thing You Do! and Out of Sight to You've Got Mail and an episode of Friends followed before the 00s even hit — and his Independent Spirit Award-winning performance in Happy, Texas as well. Zahn has since voiced a Stuart Little character, acted for Werner Herzog in Rescue Dawn and played Bad Ape in War for the Planet of the Apes, alongside parts in Riding in Cars with Boys, Dallas Buyers Club, Treme and plenty more. [caption id="attachment_984317" align="alignnone" width="1920"] Mario Perez/HBO[/caption] In The White Lotus, he portrayed a husband (to Dear Edward's Connie Britton) and dad (to Immaculate's Sydney Sweeney and Gladiator II's Fred Hechinger) endeavouring to escape his worries in Hawaii. One such concern: his character's health. Joining Silo sees Zahn go from one extreme to another, then. Instead of opting for the tried-and-tested route of a vacation to avoid your everyday life — not that that ever works out well in The White Lotus, either in the Zahn-starring first season in 2021 or the anthology series' second in 2022 — he's now locked in with his woes. Zahn's Solo dwells in a new setting for the show: Silo 17, where Juliette Nichols (Rebecca Ferguson, Dune: Part Two) ventures after leaving her own. As streaming via Apple TV+ since mid-November 2024, dropping its ten-episode season weekly, Silo opens its second run with a glimpse of how life can go awry drastically and devastatingly when human existence is confined beneath the earth. That's been one of the series' throughlines overall anyway, but the situation in Silo 17 has left Solo alone behind a locked door after a revolution cleared out his fellow residents. He's wary of newcomers, unsurprisingly, but Solo is also curious about the world beyond his vault and empathetic to Juliette's need for help. After the events of season one cast her outside the only walls that she'd ever called home, she's eager to return back to her own silo to stop Silo 17's fate repeating there. So unfurls a season split across two places, and hopping between the aftermath of Juliette being sent out to clean — as being forced outside a silo is dubbed in the series' parlance — and her and Solo's efforts in the other bunker. In one of season two's locations, rebellion festers among the masses. In the other, two people attempt to survive. Chatting with Concrete Playground, Zahn compares his portion of Silo to a play. Since its 2023 debut, this has always been a TV must-see that feels the intimacy of creating societies beneath the ground, but that sensation earns a new dimension when it's just Solo and Juliette in Silo 17. How did Zahn approach portraying someone who is rediscovering what it's like to have company after being on his lonesome, and is clearly traumatised by his experiences while also eager to do the right thing by assisting Juliette? What was he excited about digging into as Solo? And what make he make of his jump from The White Lotus' beaches to Silo's subterranean levels? We talked with Zahn about the above, and also about how shooting their scenes in order helped him and Ferguson build their characters' rapport organically, what excites him about new projects more than three decades into his career and more. On Going From Playing Someone Trying to Escape Their Worries on Holiday in The White Lotus to a Man Locked in with His Traumas in Silo "Lately I've been lucky enough to do the extremes. And this character is definitely — the world is extreme but also the character. I've never played anything quite like this. And it was it was daunting, but it was also quite simple. I think because of Rebecca and the story, I really love it. It's daunting to play a character like this. It's hard. Day one is really difficult, because you're so self-conscious, right, when you play characters like that. Day one of playing Bad Ape in War for the Planet of the Apes was unbelievably hard, because that character that you establish goes to the end, whether it's good or bad, compelling or not. So you just hope your instincts are right. And you get addicted to playing people like this. I'm a proud character actor, put it that way." On Zahn's First Take on Solo in Silo, and What He Was Excited About Bringing to the Character "I found his childlike vulnerability to be fascinating, and I thought that was something that spoke to me and that I could tap into. That was compelling to me. I loved the story under a microscope, compared to the rest of the story. In season two, you've got chaos happening in volume, and then in this world you have water dripping and quiet and calm. And those two worlds together are insane." On Portraying Someone Who Is Dutiful to His Task to Protect His Vault, But Also Curious About the World — and Lonely and Yearning to Connect "It was a constant balancing act. There are times when he's a child — kids wear their emotions on their sleeves, they don't know the boundaries, they haven't learned all these things that we learn from other people. So at times he can be very scary, almost violent, and then in the next breath it turns on a dime and he can be this kid again. So you don't know how he's going to act in any certain situation. I felt like, and Rebecca and I felt like, we were doing a play — like we are doing some Beckett or some Pinter play in the West End. And every day we just got to explore these two individuals. And we shot it into order, which was actually really unique. We had a controlled environment. We had all these sets. And it was just her and I. So we could actually go in order. So the first week of shooting, you didn't see me. It was just really unique. It just doesn't happen." On How Filming in Order Helped Zahn Unpack Solo and Juliette's Relationship with Rebecca Ferguson Basically in Real Time "It absolutely helps, especially when it's incremental like this. It's these tiny steps that they take towards each other — and away from each other, depending. Honestly, if we had to shoot this out of order, it would have been really difficult to track all that. We would have had to spend a lot of time talking about that, where we didn't have to because it was a natural progression. We learned to trust each other as human beings, as actors, at the same time — it paralleled our characters, which was interesting. And so we could actually live in moments and let them breathe, and let that story evolve on its own. And so dialogue changed and intention changed, because of what we were doing, which is really cool. It happened. So much of the time you feel preoccupied with what you're doing that you don't live freely in moments. And when you're an actor and you get lost in a moment, that's the goal. I mean, I always joke like 'god, we were almost acting'. Which is a real compliment to the show, because it's rare when you're really just acting and everything else goes away. Usually it's in a play that you're doing. You get lost in that. This is all heavy actor shit, but you know, it was really fun, man. It was really fun." [caption id="attachment_984315" align="alignnone" width="1920"] Mario Perez/HBO[/caption] On What Gets Zahn Excited About a New Project After More Than Three Decades On-Screen "Story. Being a part of a really cool story. That's what, day one, that's what compelled me. Being in a really good play was awesome, that people liked. And then character and all that stuff, but for me it's the story. And I've been lucky enough to be approached by people that are good storytellers. I've been able to work with so many great, amazing people. And now Graham Yost [Silo's creator], he's a legend. And I worked with him a long time ago on From the Earth to the Moon back in the 90s. It's funny, when I'm walking around, I think of myself as 25. And it's weird to be the guy that people are calling 'sir' on set. It's weird. It's weird, it's bizarre, getting older. Because it's not a bank. We don't have that kind of hierarchy in our business. If I'm working with a 15-year-old, they're my peer. Fred on White Lotus, he's the same age as my son, we're like pals — because we did a show together." Silo streams via Apple TV+. Read our review of season one.
When it comes to forming habits, three weeks is often bandied about as the right amount of time to cement a new part of your routine. With annual massive music, technology, screen and gaming festivals, perhaps three years is a better fit. After initially making its debut in 2023, then returning in 2024, SXSW Sydney will be back again in 2025. Mark your calendar accordingly. You can now call the huge event a fixture of not just the Harbour City's cultural calendar, but also Australia's. The dates for its third iteration: Monday, October 13–Sunday, October 19. Although there's no lineup details as yet, attendees can expect big things again after 2024's fest built upon 2023's successes. The second-ever SXSW Down Under featured 1400 conference sessions, 95 screenings, 315 performances and 150 games. It also hosted more than 92,000 unique visitors, with folks attending from 56 countries. In terms of total visits, the seven-day festival notched up 300,000 — including 190,000-plus people heading along to the 163 events as part of the free programming in Tumbalong Park. Darling Harbour, Chippendale and Broadway will be among the places playing host to SXSW Sydney in 2025, but more details there are still also yet to be revealed. "SXSW Sydney 2024 was a great success on all fronts, and was bigger than its debut year in attendance numbers and sessions throughout the week," said SXSW Sydney Chair Geoff Jones, announcing the 2025 dates. "We look forward to paving the way for more innovators across the tech and innovation, music, screen, games and creative industries by providing these creators with an opportunity on a global stage." Whatever graces the bill in 2025, it'll follow on from Black Mirror's Charlie Brooker, Chance The Rapper, Future Today Institute founder and CEO Amy Webb and Nicole Kidman in 2023, plus The Kid LAROI, human rights lawyer Jennifer Robinson, author Johann Hari, The New Boy filmmaker Warwick Thornton, The Babadook composer Jed Kurzel, Grace Tame and Tim Minchin in 2024 — and heaps more. SXSW Sydney 2025 will run from Monday, October 13–Sunday, October 19 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Paul McMillan, Jess Gleeson, Brendon Thorne/Getty Images for SXSW and Nina Franova/Getty Images for SXSW Sydney.
The zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (The Fall Guy), Ralph Fiennes (The Wonderful Story of Henry Sugar), Jack O'Connell (Back to Black) and Alfie Williams (His Dark Materials) are dealing with the aftermath of a society ravaged by a horrific infection for decades. Yes, the trailer for the aptly named 28 Years Later is here. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka 28 Days Later from filmmaker Danny Boyle (Yesterday), you'll be watching a new flick from Boyle in the same franchise in 2025. First confirmed at the beginning of 2024, the movie has dropped its first full sneak peek to help close out the year — complete with Teletubbies, towers of skulls and bones, a possibly familiar-looking zombie, and the grim reality after days became weeks and then years of coping with the new status quo. 28 Days Later has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Screenwriter Alex Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War and TV series Devs, wasn't involved with 28 Weeks Later, either. But they're both onboard for the third film in the series, which is the start of a new trilogy. The saga's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out a life on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through the first trailer, complete with stunning imagery — expect Boyle and Garland to dig into the terrors that linger when two of the island's residents venture over to the mainland. With 28 Days Later among the movies that helped bring Oppenheimer Oscar-winner Cillian Murphy to fame, the actor is an executive producer on 28 Years Later. That mightn't be all that's in store for him, though, if you pay close attention to the trailer. In the original film, he played Jim, a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. Marking Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume — and on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies. Set in the aftermath of the accidental release of a highly contagious virus, the film's images of a desolated London instantly became iconic, but this is a top-notch movie on every level. That includes its performances, with then-unknowns Murphy and Naomie Harris (the Bond franchise's current Moneypenny) finding the balance between demonstrating their characters' fierce survival instincts and their inherent vulnerability. If you wondering why 28 Months Later wasn't made, it was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the first trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
First, Emilia Pérez picked up three awards at Cannes. Now, the musical crime comedy from director Jacques Audiard (A Prophet, Rust and Bone) — which stars Karla Sofia Gascón (Harina), Zoe Saldaña (Special Ops: Lioness) and Selena Gomez (Only Murders in the Building) — has made history at the Golden Globes. Earning ten nominations for 2025's ceremony, it has now beaten Barbie's 2024 record for the most nods by a musical or comedy in a single year. Emilia Pérez is also the most-nominated film among 2025's just-announced batch of contenders. Down Under, add the movie to your must-see list for January — plus The Brutalist and Conclave, too, with the former scoring seven nominations and the latter six. So, that's monumental historical dramas and papal thrillers covered. 2024 Palme d'Or-winner Anora and body-horror gem The Substance picked up five nods apiece, while Wicked joins the contenders with four. The Golden Globes not only recognise big-screen highlights but also small-screen excellence, with The Bear topping the TV pool with five nominations. Next comes Only Murders in the Building and Shogun, both picking up four. Nobody Wants This, Baby Reindeer, Disclaimer and Monsters: The Lyle and Erik Menendez Story also earned some love, each collecting three nominations. As always, you can consider the roster of nominees a handy to-watch list ahead of the winners being announced on Monday, January 6 Australian and New Zealand time — which means also getting excited about the upcoming Timothée Chalamet (Dune: Part Two)-starring Bob Dylan biopic A Complete Unknown; appreciating not one but two Sebastian Stan performances, given that he's nominated for both The Apprentice and A Different Man; and catching up with Mr & Mrs Smith, Slow Horses, Abbott Elementary, Hacks, The Penguin, Ripley and True Detective: Night Country if you haven't seen them already. Ahead of dropping on Boxing Day, the second season of Squid Game also scored some attention — if you weren't already keen enough for the Netflix smash. On the homegrown front, Australians are among the nominees thanks to Memoir of a Snail's recognition in the Best Motion Picture — Animated category, plus acting nods for Nicole Kidman for Babygirl, Guy Pearce for The Brutalist, Cate Blanchett for Disclaimer and Naomi Watts for Feud: Capote Vs. The Swans. Although every round of nominations for every awards has its highlights and omissions, the Golden Globes' standout choices include remembering to give Challengers some affection (including Trent Reznor and Atticus Ross for its propulsive score), nominating two female filmmakers in The Substance's Coralie Fargeat and All We Imagine as Light's Payal Kapadia for Best Director, making room for the gorgeous dialogue-free Flow in the animation camp, putting Pamela Anderson among the Best Performance by a Female Actor in a Motion Picture — Drama competitors for The Last Showgirl and Demi Moore in the equivalent musical or comedy field for The Substance, and the supporting actor Succession battle between Kieran Culkin for A Real Pain and Jeremy Strong for The Apprentice. If you're wondering what else is in the running, here's the full list of nominations: 2025 Golden Globe Nominees Best Motion Picture — Drama The Brutalist A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez A Real Pain The Substance Wicked Best Motion Picture — Animated Flow Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes will be announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
Yellowjackets wants viewers to be its bloody Valentine in 2025 — and more cannibalism, more haunting reminders of what it takes to survive in the wilderness after a plane crash, and more hunting in both of the hit thriller series' timelines are in store. In November 2024, not only was a Friday, February 14, 2025 return date locked in for the show's third season, but fans scored a first glimpse. Now comes a proper trailer, complete with chases, the faces of the dead popping back up and pondering who should be eaten (or should've been by now). Two years after its second season, Yellowjackets will make is comeback on Valentine's Day to kick off its latest round, again following its characters both in the immediate aftermath of their traumatic accident and when the past keeps intruding on their present after decades have gone by. As viewers discovered when it debuted in 2021 and became one of the best new shows of that year, the instantly intriguing (and excellent) series follows a New Jersey high school's girls soccer team in the 90s after their plane plummets into the forest, and also checks in with everyone that's made it out alive 25 years later. Across two seasons so far, life and friendship have proven complex for Yellowjackets' core quartet of Shauna (The Tattooist of Auschwitz's Melanie Lynskey as an adult, and also No Return's Sophie Nélisse as a teenager), Natalie (I'm a Virgo's Juliette Lewis, plus Heretic's Sophie Thatcher), Taissa (Law & Order's Tawny Cypress, and also Scream VI's Jasmin Savoy Brown) and Misty (Wednesday's Christina Ricci, as well as Atlas' Samantha Hanratty). The latest trailer for season three puts it this way: "once upon a time, a bunch of teenage girls got stranded in the wilderness — and they went completely nuts." The full setup: back in 1996, en route to a big match in Seattle on a private aircraft, Shauna, Natalie, Taissa, Misty and the rest of their teammates entered Lost territory. The accident saw everyone who walked away stranded in the wilderness — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. Thanks to the new sneak peek at what's to come, get ready for howling, masks, more fighting, ghosts and the present-day crew trying to work out who is after them. After swiftly getting picked up for a second season because its first was that ace, Yellowjackets was then renewed for a third season before that second group of episodes even aired. In Australia, viewers can watch via Paramount+. In New Zealand, the series streams via Neon. In season three, the returning cast — which includes Simone Kessell (Muru) as the older Lottie and Lauren Ambrose (Servant) as the older Van, characters played in their younger guises by Australian actors Courtney Eaton (Mad Max: Fury Road) and Liv Hewson (Party Down) — will be joined by Hilary Swank (Ordinary Angels) and Joel McHale (The Bear). And from season two, Elijah Wood (Bookworm) is also back. Check out the latest trailer for Yellowjackets season three below: Season three of Yellowjackets will start streaming from Friday, February 14, 2025 via Paramount+ in Australia — and streams via Neon in New Zealand. Read our review of season one and review of season two, plus our interview with Melanie Lynskey. Via Variety.
Some workplaces encourage suggestions, speaking up and letting company leadership know if things aren't quite right. As Severance viewers discovered in season one, Lumon Industries hasn't historically been one of them. So what happens when a group of employees attempts to raise issues? In the just-dropped full trailer for the Apple TV+ series' second season, Mark S (Adam Scott, Loot), Helly (Britt Lower, American Horror Stories), Dylan (Zach Cherry, Fallout) and Irving (John Turturro, Mr & Mrs Smith) all find out, as Mr Milchick (Tramell Tillman, Hunters) informs them that they've now become "the face of severance reform" after their actions at the end of season one. The latest sneak peek at season two returns viewers to a world of innies, outies and workplace nightmares — and a sci-fi thriller mindbender with a first run of episodes that deserved all the praise that it received and more. Apple TV+ has released past teasers for the second season, but the latest unveils the most details yet of what's to come. Existence inside and outside Lumon isn't just on a collision course; the two are crashing into each other repeatedly, even if Mark S and co's secretive employer wants otherwise. Audiences will be clocking back in for more Severance come Friday, January 17, 2025, in a case of ideal timing. Thinking about how to best balance your professional and personal spheres, and the time you dedicate to them, is an annual tradition when each new year starts after all. The subject will get a bigger push via this hugely anticipated TV comeback — and so will how work-life balance can weigh on your mind, or not. If you missed the first season, disconnecting from your job come quittin' time — and giving your gig every ounce of your focus during your daily grind — has become literal in Severance in a hellish way. At Lumon, employees agree to undertake the titular procedure, which splits their memories between work and home. But as Macrodata Refinement division employee Mark S begins to learn, nothing about the situation is what it seems. The show dives into the kind of scenario that Black Mirror might've dreamed up, with technology that could've been used if Eternal Sunshine of the Spotless Mind was about punching the clock instead of romance. Mark S willingly signed up for severance, all to help process his grief over the death of his wife. And he was happy with the situation until his work BFF Petey (Yul Vazquez, The Outsider) left suddenly without saying goodbye, then new staff member Helly arrived to replace him — and instantly questioned the insidious setup, the rules and restrictions needed to keep it in place, and why on earth her "outie" (as the outside versions of Lumon employees are known) agreed to this in the first place. In season two, Mark and his work pals will attempt to dig deeper into the consequences of the severance procedure, and trying to escape it. They'll also find out the ramifications of messing with the system — and Lumon isn't just filled with the same familiar faces. Severance's return calls for a waffle party, an egg bar or a melon bar — or at least a big bunch of blue balloons with the face of Mark S on them. Jen Tullock (Perry Mason), Michael Chernus (Carol & the End of the World), Dichen Lachman (Kingdom of the Planet of the Apes), Christopher Walken (Dune: Part Two) and Patricia Arquette (High Desert) are all back among the cast, alongside new cast members including Gwendoline Christie (Wednesday), Bob Balaban (Asteroid City), Merritt Wever (Memory), Alia Shawkat (The Old Man) and John Noble (Twilight of the Gods). Ben Stiller (Escape at Dannemora) returns as a director on five episodes, too, and executive producer across the whole season, with ten episodes on the way. Apple TV+ will drop instalments through until Friday, March 21, 2025. Check out the full trailer for Severance season two below: Severance returns for season two on Friday, January 17, 2025 via Apple TV+. Read our review of season one.
When Pharrell Williams first made contact with Morgan Neville, the Oscar-winning documentarian behind 20 Feet From Stardom, their conversation could've started like this: "it might seem crazy what I'm 'bout to say". The famed producer, N.E.R.D. co-founder, 'Happy' singer, and Daft Punk and Snoop Dogg collaborator's proposal to the filmmaker also behind the Mr Rogers-focused Won't You Be My Neighbour?, then Roadrunner: A Film About Anthony Bourdain and STEVE! (martin): a Documentary in 2 Pieces, was for Neville to tell Williams' life story — a request that doesn't seem out of the ordinary. But Pharrell wanted this journey through his upbringing in Virginia Beach in Virginia, his music dreams as a kid and a teenager, and then the ups and downs of his career to solely be relayed using Lego animation. How do you explore anyone's existence, let alone someone so influential in music for decades, while rendering them, other interviewees and everything else that's seen on-screen only in the style of The Lego Movie, The Lego Batman Movie, The Lego Ninjago Movie and The Lego Movie 2: The Second Part? Just as importantly, why would you? Piece by Piece, the film that results, sits alongside Brett Morgen's David Bowie-adoring Moonage Daydream as recent music docos that know how to expertly takes their cues for their approach, aesthetic and vibe from their subject. In both cases, it's instantly apparent that any other method wouldn't have done the folks at their centre justice. Piece by Piece boasts the childhood details, the stories shared by loved ones and colleagues, the glimpses into the studio and the examples of Pharrell's work, his music and the videos that go with them alike. As the movie's title states so clearly, however, they have all been built piece by piece in Lego animation. This effectively meant making the film twice, first featuring the raw materials, including chats with Williams, his N.E.R.D. bandmates Shae Haley and Chad Hugo, his distant cousin Timbaland, fellow Virginia Beach residents Pusha T and Missy Elliott, and then everyone from Daft Punk and Snoop to Gwen Stefani and Kendrick Lamar — and secondly with that initial cut, which Neville dubs the "radio edit", animated frame by frame in the Lego fashion. Spliced into the initial version were storyboards for scenes that simply wouldn't have been possible to realise without Piece by Piece's unconventional biodoc technique, many of which bring Pharrell's synesthesia to the screen. Music appears to him as colours, and shapes as well. The film not only recreates that sensation for the audience, but does so with exacting detail: when the beats that Pharrell creates appear as pulsating bricks, be it for N.E.R.D's 'Rock Star' or No Doubt's 'Hella Good', or for Snoop Dogg's 'Drop It Like It's Hot' or Williams' own mega hit from the Despicable Me 2 soundtrack — and much more — the forms and hues depicted are exactly what Pharrell sees. In every piece, frame and moment, this is a documentary that's intimately in tune with its subject, then. It celebrates a dreamer by crafting those dreams out of bricks. Yes, it all clicks. It's an ode to creativity and imagination, too, right down to deploying one of the first formats that almost every child uses to make new worlds, because that's what Lego lets us do. While there are tie-in kits available for sale, as happens with Lego-based movies, the medium matches the man perfectly. Indeed, that's so accurate that the feature wouldn't have happened otherwise, including if Lego hadn't be on board with the idea, Neville told Concrete Playground. "We'd thought about it, whether there were other ways of doing it if Lego said no. And I think we all agreed if Lego said no, there was going to be no film," the director shares. "It just felt like Lego itself was actually an important piece, as it were, of what the film was — that it wasn't just a gimmick, that it actually felt part of who Pharrell is in his story and how he sees the world." We also chatted with Neville about how you respond when Pharrell asks you to make a movie about him using Lego — a version of which is seen in the film — plus creating a type of music documentary that hasn't been made before, the added possibilities that come with examining someone's life and career in Lego, heroing creativity, his starting point whether he's making docos about Williams or Bourdain or Martin, and more. On How You React When Pharrell Suggests That Lego Would Be the Perfect Medium to Tell His Story "What happens in the film is a version of what happened in real life. But that was the one moment that I didn't actually record, because the first time I met Pharrell, he pitched me on this idea where he said 'I want you to make a movie about me, and then I want you to throw away all the visuals and do it again in Lego'. And honestly, when he said that I was totally hooked. So that's the difference. I think in the movie I'm a little unsure, but I think in real life I jumped right into it. That was the thing that got me incredibly excited, because I didn't know what it was going to mean. It was a crazy idea, but I love crazy ideas." On Making a Type a Music Documentary That Hasn't Been Made Before — and Whether It Feels Daunting, Freeing or a Bit of Both "I feel like being a film director, there's a kind of wilful amnesia that you have, where you intentionally forget how difficult it is to make films. Because if you remembered, you wouldn't make them. So I vaguely knew that this was going to be climbing a mountain, but I really just looked at this path in front of me and said 'well, this is interesting. What if I do this, and what if I think about this? And, well, let's talk to Lego. They could kill it. It might go away'. We talked to Lego and they said 'we love it'. And then we just kept trying things. And so step by step it came together, but it was five years of work to get there." On How Using Lego Allowed the Film to Explore and Expand Areas and Details That Wouldn't Have Been Possible Otherwise — or in Such an Evocative Way "That was the amazing realisation I came to early on, was that because of the Lego, we could do things you can't normally do — you certainly couldn't do in a documentary and you couldn't do in a lot of films — which is visualise imagination, or visualise things in somebody's head. And so the synesthesia was an important thing because Pharrell sees colour when he hears sound. We wanted to get that right. We actually brought in Michel Gagné, who's a famous animator, who had done the synesthesia in Ratatouille, to work on this — to think 'how do you do synesthesia, but in Lego?'. But then also the idea that we can visualise beats — the beats that Pharrell has made are physical Lego objects. And every beat in the film is actually reflective of how Pharrell sees that song. So the colours and the shapes of the beats in the film are accurate to what Pharrell sees in his head, even though nobody else knows what that is. Every song, we're like 'Pharrell, okay what are the colours? How does this look?'. Because it's interesting, he has a library in his head of every song you mention, he'll tell you what the colours are of that. So things like that you could do in Lego, which I don't know how else you would do that." On the Importance of Connecting Celebrating Creativity and Imagination with One of the First Gateways to Unlocking Both for Children "I think many people, most people, probably grew up with some connection to Lego toys. I did. I was of the era where when I bought a set of Lego, you would just get a big box of pieces. There were no instructions, it was just 'okay, make whatever you want'. I always ended up with a big tub of random pieces and you would just make stuff. I think Pharrell, also Lego he said was a really important toy his parents would give him when he was young. And it's interesting how much it comes up in the creative community. I've talked to architects and artists and designers, and Lego actually is kind of a building block of creativity. It's this thing that I think is just pure imagination in that way. And so imagination is a huge theme of the film. I love making films about creative people and how they think, and Lego just felt like this perfect way of exploring that. And the idea that it was Pharrell's conceit makes it even more organic to why it works in this film." On Neville's Starting Point When He's Making a Documentary, No Matter Who or What His Subject Is "My starting point on every project, I do a couple of things. I start a playlist of music. So for every film, I have a playlist of music, even if it's not about music. I'm a musician and I've made a lot of films about music, and it helps me get a feel for the tone of what a film could be. In this case I had like ten playlists, because Pharrell had done so much music. So I had solo work and produced by, and with the bands he had done and influenced music. And I spent months listening to all of it, waiting for songs to pop out and for me to hear them and say 'oh, I could see this, it feels like this song belongs in a scene' or 'this song has a theme that could work to the story'. So that's a big part of it. Then I gather visuals and references, and all that kind of stuff. So all that just goes into a pod as I start to conceive of what this film might be. But I think all that other stuff, tone and aesthetic, are all things I'm thinking about in the beginning. And then I just talk as much as I can to the subject or other people. I just am trying to take in as much input as I can get. Then it starts to form in my head and little things start coming together." On the Difficult Task of Knowing What to Include and Leave Out When You're Making a Film About Someone with Such a Wide-Ranging Career "It always is. This was difficult because Pharrell has done so much, but I always think about it more like 'what are the things that influenced his life?'. I mean, a big part of this movie is his childhood, which was a huge part of what made him who he is. But it's not his career. So in that way, the career stuff, he had so many more hits that aren't even in the film. He's done so much. But to me it's about the moments where things turn. It's where maybe a failure — failures are as interesting as successes when it comes to looking at a narrative of a person's life, because that's where we learn. So I think it was really identifying the moments where something felt different, or where he learned something, or where something clicked or didn't click. I always try to avoid what I think of as 'the Wikipedia version' of a person's life, because it's not that interesting to just go through everything they accomplished. But to hit the moments that actually meant something to them, that were part of their personal growth or their creative growth, that's what I try to zero in on, and so that helps me cut stuff out unfortunately." Piece by Piece opened in Australian cinemas on Thursday, December 5, 2024. Images: courtesy of Focus Features / © 2024 FOCUS FEATURES LLC.
Here's two ways that 2025 will be better than 2024: The White Lotus will return for season three, as will The Last of Us for season two. If you've been hanging out for more holiday chaos and dystopian tension, you can now start marking your calendar. Neither show has exact return dates yet, but HBO has just gotten more specific about when each will be streaming. In February 2025, it'll be time to check in again. Your destination this time: Thailand. Walton Goggins (Fallout), Carrie Coon (Ghostbusters: Frozen Empire), Jason Isaacs (The Crowded Room), Michelle Monaghan (MaXXXine), Leslie Bibb (Palm Royale), Parker Posey (Mr & Mrs Smith) and Lisa from BLACKPINK are among the new cast of The White Lotus season three, all playing characters that are bound to learn — and the anthology series' on-screen figures always do — that getaways and bliss don't always go hand in hand. From season one, Natasha Rothwell (How to Die Alone) is also returning. HBO is planning to drop big tentpole shows a few times a year — so it'll be in 2025's second quarter, which is autumn Down Under, that The Last of Us will return. There's no exact month as yet, but Joel and Ellie will be back. In their shoes, so will Pedro Pascal (The Wild Robot) and Bella Ramsey (Chicken Run: Dawn of the Nugget), of course. This time around, the series' main duo have company from both familiar faces and a heap of newcomers. Rutina Wesley (Monster High) and Gabriel Luna (Fubar) return as Maria and Tommy, while Kaitlyn Dever (Good Grief), Isabela Merced (Alien: Romulus), Jeffrey Wright (American Fiction), Young Mazino (Beef), Ariela Barer (How to Blow Up a Pipeline), Tati Gabrielle (Kaleidoscope), Spencer Lord (Family Law) and Danny Ramirez (Black Mirror) are the season's additions. The US cable network revealed the timing for both shows during a Wells Fargo-hosted conference, also advising that new Game of Thrones prequel A Knight of the Seven Kingdoms is set to arrive in summer in the US — which is winter in Australia and New Zealand, fittingly. And if you can't wait for more Euphoria, the long-delayed and eagerly anticipated third season is now expected to arrive early in 2026. If you're wondering what else is in store for HBO in 2025 and beyond — or even to close out 2024 — the network dropped a trailer back in November teasing the slate to come. Also on the way, and also debuting never-before-seen footage in the clip: IT prequel series Welcome to Derry, season four of Hacks, season two of The Rehearsal, a new show led by Bottoms and Saturday Night's Rachel Sennott, two-part documentary Pee-Wee as Himself, The Righteous Gemstones season four, Peacemaker season two, The Pitt with ER veteran Noah Wyle, Mark Ruffalo (Poor Things)-led FBI series Task and Tim Robinson (I Think You Should Leave with Tim Robinson) comedy The Chair Company. Season three of And Just Like That... and The Gilded Age also feature in the trailer, albeit without any new material, with each series joining the list for 2025. You can spot scenes from Dune: Prophecy, season three of The Sex Lives of College Girls, the animated Creature Commandos and limited series Get Millie Black, too, all of which are 2024 releases. From 2025's lineup, newcomer Duster with Lost's Josh Holloway and season two of Conan O'Brien Must Go scored a look as well. Where Australians will be watching all of the above is yet to be revealed, however, given that HBO has confirmed that its own streaming service Max will launch here sometime in the first half of 2025. Watch HBO's most-recent 2024–25 roundup trailer below: The shows highlighted in HBO's new trailer will arrive across the end of 2024 and in 2025. At present, the bulk of the network's programs stream via Binge in Australia and on Neon in New Zealand. Images: HBO.
Grief. Asking for forgiveness. Moving forward. Thematically, that's the initial three-season plan for Shrinking, Apple TV+'s Jason Segel (Winning Time: The Rise of the Lakers Dynasty)-, Harrison Ford (Indiana Jones and the Dial of Destiny)- and Jessica Williams (Road House)-starring comedy series about therapists endeavouring to help their patients while rarely having all of the answers to their own problems. Audiences will get to see at least that journey from this kind-hearted gem, which was co-created by TV veteran Bill Lawrence fresh off Ted Lasso's success, teaming up with the soccer-themed hit's Brett Goldstein, aka Roy Kent, as well as Segel. Just as Shrinking's second season started airing in mid-October 2024, the show was renewed for a third season. "That is the beginning, middle and end of this story, without a shadow of a doubt. And I think people know from what I do that there has to be an undercurrent of hope and optimism in there," Lawrence tells Concrete Playground. "I'm not going to say everything would be nicely cut and dried, but I'm not sure people would ever watch my shows again if the end of this was 'Jimmy moved into the mountains and decided to be sad and alone forever'. You know what I mean? 'Don't even bother trying!'." Lawrence, who was also behind Spin City in the 90s, Scrubs and Cougar Town in the 00s, plus 2024 newcomer Bad Monkey, isn't saying that's all there'll be to Shrinking's on-screen journey — there's a way forward if, once season three rolls around, it earns another renewal again from there. "We knew that that was the end of this particular story. I think that's what's fun about television now, is you tell stories with a beginning, middle and end. Doesn't mean that the show can't go on, it just means if we go beyond these three seasons, I treat it like a book," he advises. "Bad Monkey, there's another book by Carl Hiaasen with some of the same characters, at least the ones that aren't dead. It's a completely new story, with a completely new inception point, and I love it just as much as the previous one. So I love the idea of doing that with a TV show like this, hopefully." Since its early 2023 debut, Shrinking has spent its time with Segel's Jimmy Laird, Ford and Williams as his colleagues Paul Rhoades and Gaby Evans, plus Jimmy's teenage daughter Alice (Lukita Maxwell, AfrAId), best friend Brian (Michael Urie, Goodrich), patient Sean (Luke Tennie, CSI: Vegas), and neighbours Liz (Christa Miller, Head of the Class) and Derek (Ted McGinley, The Baxters). When the show began its tale, Jimmy was consumed by loss and pain after the death of his wife in a car accident. With Alice, he'd largely been absent since tragedy changed their lives forever, and his friends had been picking up the slack. With the folks paying him for his professional assistance, Jimmy then began trying to push them out of their comfort zones. "I think one of the things that actually was a real breakthrough for me from participating in the show is understanding that one of the real pitfalls of therapy is getting caught in a weekly loop of talking about your problems, but not actually trying to change them. I hadn't really thought of that," Segel explains. "You have people who've been in therapy for years and years and years, but haven't really made any progress. And so I think that that's one of the things that was frustrating Jimmy, is feeling like his patients were caught in a rut — and 'what do I start doing to change your behaviour? What do we do that's actionable today?'. So that's been really cool, and I think it's been cool for the viewers, too, to think about it in that way." Shrinking is another of Lawrence's series with hug-inducing levels of warmth at its core, as Ted Lasso was so welcomely. As with Scrubs, it finds both deep emotion and humour in healthcare's vicinity. And as everything on his resume since Spin City has been, it's about the families that we make not just through the bonds of blood. Vulnerability sits at its heart, too, which Segel appreciates, especially as the Freaks and Geeks, Forgetting Sarah Marshall, How I Met Your Mother star's concept of what that means has evolved over his quarter-century-plus acting career. "I think that my idea of vulnerability has become more sophisticated as I have gotten older," he notes. "When I was a young man, to me the most-vulnerable thing was doing full-frontal nudity during a breakup, and that's just literally vulnerable. But I think that in this show, I've started to realise more and more that real grown-up vulnerability is saying 'I'm afraid' or saying 'I'm struggling and I need help'. Asking for help, what a vulnerable thing. And so I think that you'll see a lot of characters committing real acts of vulnerability and bravery by asking each other for help." Shrinking's 12-episode second season picks up with Jimmy being confronted with consequences from his new strategy for therapy, and Alice — and everyone else — concerned that he'll return to his self-destructive spiral. As it digs into seeking not just assistance but forgiveness, it also brings Goldstein (The Garfield Movie) in front of the camera, and forces its characters to begin reckoning with what it truly means to even think about allowing yourself to forge a path beyond past sorrows, mistakes and fears. How does Lawrence approach his now-trademark mix of emotional complexity and comedy, including while championing kindness? How crucial is Segel's involvement, especially in conveying details that don't need to be written on the page? And how did Ford come to be onboard? What does Segel learn working beside the acting icon — and how does he tackle a project when he's so intricately involved off-screen? We chatted to Lawrence and Segel about all of the above and more. On Making Sitcoms with Emotional Complexity, Including Ted Lasso and Shrinking Both Heroing Kindness, Self-Belief and Asking for Help Bill: "Everybody that you get to talk to that does what I do, they without a doubt had influences and idolised different shows and writers when they grew up. And for me, I grew up on that type of TV. People forget, because they aren't as old as I am, M*A*S*H was this show that was like the biggest show in America — a sitcom that would be broad and silly and goofy, and it would turn on a dime and you would find yourself sobbing about a patient that passes away or a story that you didn't see coming. You'd just get blindsided. And I always gravitated to TV like that. Even The Office, which I think is so brilliant and silly, and Michael Scott is a ridiculous character, they somehow found ways that he could still turn on a switch and hit you emotionally. I like shows like 30 Rock and Veep, which are a testament to amazing joke-writing, and sardonic and satire, and I wish I could do them — I can't. But I got very lucky. I knew with the show Scrubs that I wanted to try and do this, and see if you could do shows with big comedy that then would maybe sometimes have hairpin curves into emotional depth. And I remember when I tried to sell Scrubs, one of the executives that I sell to said 'I'm not sure you can do broad, silly comedies and then make people care — like, a fantasy, and then make people care if a patient lives or dies or not'. And I used to say 'I think you can, if you just turn the lights down and play some indie music'. I was joking, but it turned out to be right. I think there's a lot of people out there that laugh their way through pain, and I think that's why maybe sometimes these shows work, hopefully." On Shrinking's Focus on a Therapist Trying to Help Others While Needing Help Himself Jason: "I think that just on its face, the premise of somebody practising therapy while they themselves are going through a nervous breakdown is an electric idea. That's what comedy is, right? It's setting up these two opposing walls, and comedy is the space in between. Forgetting Sarah Marshall's about a guy trying to get over a breakup and running into his ex and her new boyfriend. It's these things in opposition to each other. So someone trying to help other people get well while they themselves are not well, it's just a great place to start." On the Balancing Act Between Silly Comedic Moments and Deep Emotion That Touches Audiences Bill: "It could be disastrous. I'll tell you right now, the stuff I've done in my career that's failed, have failed because of our inability to navigate those moments, and it just ends up seeming inauthentic. And without patting myself on the back, because I have very little to do with it, there's a chemistry to a TV show. Shows like this work often because the cast, there's actors and actresses top to bottom on Shrinking and on Ted Lasso and on Scrubs that have the ability to be making you laugh and being goofy and silly one second, and then to literally gather themselves and take a breath, and be pulling at your heartstrings the next. It's a special talent for actors and actresses. One of the great gifts of this stage of my career is getting to watch Harrison Ford do that. I knew what a great actor he was. I didn't know how funny he was. And I certainly didn't know how smooth he'd be at making the turn from one spot to another." Jason: "I think that we try to stay, if this makes sense, as true to life as possible, because my experience of life is it's not a whole bunch of hugging and learning. It's clunky and awkward, and the great thing about having friends you really trust and believe in is, yeah, there's some hugging and learning, but there's also a whole lot of 'get off your ass, we're going out to dinner'. There's a lot of 'dump that guy, he's a you-know-what?', as opposed to sitting around moping. 'Let's get revenge on him', you know. This is the way I think we actually behave — we make each other laugh and we hold each other by the hand and drag each other along. And so I actually think it's easier than it might seem, that the more honestly you write, the funnier it is." On Getting Harrison Ford for His First Main Role in a TV Comedy — and Learning From Him Bill: "I gave him my soul. He's a mystical creature and I signed my soul away. No, he's not. It's still crazy. When I was 25, I created the show Spin City with my mentor with Gary Goldberg, and the fact that Michael J Fox was doing it, I couldn't comprehend it. It was the first big job I ever had and he turned out to be exactly the type of person that you would hope he would be being a fan. And I did not expect to have that experience again as a guy in my 50s. And Harrison, to his credit, he's like 'yo, man, I'm trying new stuff. I've never done a TV show. I've never done a comedy'. A couple months ago he's like 'I've never done a Marvel movie'. I'm like 'you work harder than anybody I know, and you're 82'. It makes you almost feel guilty if you're ever complaining about being tired. It's been a career highlight for me that I did not expect to have at this point in my life." Jason: "Harrison and I both want this thing to turn out great, and we both work really hard and do our prep and all that stuff. But one of the things I learned from Harrison is that I really feel a sense of ownership and stress about it turning out well. And I think one of the things that I've learned from Harrison is 'hey kid, you've earned the right to trust knowing that you're good at this, and it's going to be good. You don't have to be scared until it's good. You know it's going to be good. You've done all the work. You know you're good at this. Do your prep. Show up. Nail it. It's going to be good'. That has been really helpful for me, because I'm sort of holding my breath until the finished product comes out and I like it. And I would enjoy myself a lot more in this job and in this life if I just had a little more ease about it always seems to work out. I still haven't bought that lesson yet. 'What if this time it doesn't?', you know." On the Importance of Segel's Casting — and What He Can Convey with His Face That Doesn't Need to Be on the Page Bill: "We talked a little bit about what the prototypes for my shows are. And he's such an inherently likeable actor. I'll tell you something I haven't told everybody. We made it a joke in the writers' room. He's playing some heavy stuff, and the tendency for writers is to overwrite it, to have characters say 'I'm really sad' or to say 'that thing that you did hurt me'. And Jason, one time, one time only, we said 'do we have to write this line or can you do it with your face?' — and he's like 'oh, I can do it with my face'. That has become shorthand in the writers' room. He's so good that we're like 'do we have to, can we go home, or do we have to write something here? It depends whether or not Jason can do it with his face'. But even though it's a joke, I watch some of these stories play out on his face and see what he's doing. Man, he's so good. He's so good and such a talented writer and just a good guy. Don't tell him I said it, but I really like him." On Segel Co-Creating and Co-Writing Shrinking, as Well as Acting Jason: "It's interesting because that's been actually the majority of my career, is writing something and shepherding it from the beginning, and so I'm very comfortable and familiar with that idea. I think that one of the benefits it has, for this show in particular, is that I get to quarterback the scenes when I'm on set that I'm in, knowing what we're trying to accomplish from a more bird's-eye view than you have when you're an actor for hire. I also love just being an actor for hire on projects where I do that. There's something very relaxing about it, because you're like 'most of this is somebody else's problem'. But I think that when I'm on Shrinking, I feel very protective of it. And I want it to be great and I want to help my castmates shine, and I just love it very, very much." On Families of Circumstance Sitting at the Heart of Lawrence's TV Shows, From Spin City and Scrubs to Ted Lasso and Shrinking Bill: "Found family, definitely. Mentorship, definitely. Oh shoot, I just do the same thing over. No, I'm joking. I cherish it in my own life. I was an only child. I built worlds around me of people that I loved and loved spending time with, and a family as well. And I think one of the things that maybe lay people don't know about Hollywood, because Hollywood's got a bad rap — deservedly so in some cases — but the positives are most people got in due to mentorship, and the best experiences people have involved found family and building a community on a show or a play or a movie. I still spend time with the cast and crew of Scrubs, not because we're working together, but because I sincerely love them. And I'm only good at writing what I know. So it's either writing about that or writing about a guy who's deathly afraid of his wife. She's so good. I'm just kidding. I'm just trying to get a laugh. She's awesome, man." On Segel Always Drawing Upon His Personal Life, Whether He's Writing, Acting or Both Jason: "I would say that everything that I participate in the writing process, or act in, is drawn from my personal life. It's the only way I know how to make art. I don't think we manifest it out of nowhere. I think it's more about transmutation. Like, what comes in and then what do you turn it into? I don't think that the kind of grief that we're exploring needs to be specifically about having lost a partner. I think it's the same kind of grief we experience from a big breakup. I think it's the same kind of grief we felt after COVID when there was lost time, when all of a sudden two years of our lives were gone and we'll never get them back. And so, yeah, there are moments in the exploration of Jimmy getting over losing his wife when I think about breakups, or I think about paths of my life that could have been taken that I didn't take, things that will never be that I really believed were going to happen. So I think it's all personal. That's the only way I know how to do it." On Segel's Favourite Shrinking Character Jason: "It may be surprising, but my favourite character is Derek, Ted McGinley's character, because to me, he is the best of us. He represents being unencumbered by doubt. He's just a guy who wants everyone to be having a good time. Don't sweat the small stuff. I wish my life felt more like that. I wish that my life felt more like how Derek feels on a day-to-day basis. Like 'oh hey great, we get to take a drive today? Oh, hot dogs — great!' What a way to live, right?" On What Gets Lawrence Excited About a New Project After Making TV for More Than Three Decades Bill: "I think that the day that I'm not excited to get paid to write stories for a living, I will go teach and hang it up, because I don't need any extra juice to get me going. I'm so lucky to do this. The only other job I ever had was painting the houses, and I wasn't that good at it. And so I hope people know that I'm grateful every day. I think the thing that makes me excited to do it now is I get to work with young people that want to get into this industry. I get to work with people that still show up and are like 'wow, a TV show!', and it's impossible to be cynical and jaded when you get to be around that. I get to talk to people like yourself that, I would argue, would not be doing this unless they grew up as TV and movie nerds like I did, and wanted to talk about all this stuff. I didn't expect to have a career renaissance in my 50s, but I'm going to ride it out as long as I can, and until people realise that they've made a grave mistake, and just keep having fun and working with friends." Shrinking streams via Apple TV+. Read our review of season one.
Here's the headlines: Drake has announced Australian and New Zealand gigs for 2025; it'll be his first trip this way since 2017; and you're now going to have 'Hotline Bling', 'Too Good', 'Passionfruit', 'Nice for What', 'In My Feelings', 'One Dance' and 'Laugh Now Cry Later' stuck in your head again. The Canadian artist is bringing his Anita Max Win tour Down Under, locking in seven shows in four cities. Melbourne, Sydney, Brisbane and Auckland, this is what's next. The five-time Grammy-winner will head this way in February and March, kicking off on Sunday, February 9–Monday, February 10 at Rod Laver Arena in the Victorian capital. The following week, it's the Harbour City's turn at Qudos Bank Arena across Sunday, February 16–Monday, February 17. After that, Drake will play the Brisbane Entertainment Centre and Spark Arena in Auckland on Friday, February 28–Saturday, March 1. The Degrassi: The Next Generation star last took to the stage in this neck of the woods on his Boy Meets World tour, and eight years will have passed between those shows and his 2025 visit. The platinum-selling singer is fresh off his 2023–24 It's All A Blur Tour, which saw him chalk up over 80 soldout shows in North America. On that last visit, Drake had four studio albums to his name: 2010's Thank Me Later, 2011's Take Care, 2013's Nothing Was the Same and 2016's Views. He's doubled that since, so expect tunes from 2018's Scorpion, 2021's Certified Lover Boy, 2022's Honestly, Nevermind and 2023's For All the Dogs, too. The Anita Max Win tour's announcement isn't new news if you've been paying attention to Drake's social media, where he's been teasing details — but now consider it all officially locked in. And yes, there's plenty of space between his 2025 Aussie and NZ shows — a great sign if you're worried about a huge demand for tickets, because there's room for more concerts to be announced. Drake's 'Anita Max Win' Tour 2025 Australian and New Zealand Dates Sunday, February 9–Monday, February 10 — Rod Laver Arena, Melbourne Sunday, February 16–Monday, February 17 — Qudos Bank Arena, Sydney Monday, February 24 — Brisbane Entertainment Centre, Brisbane Friday, February 28–Saturday, March 1 — Spark Arena, Auckland Drake is touring Australia and New Zealand in February 2025, with various ticket presales from Tuesday, December 2, 2024 at various times — and general sales from 12pm local time on Friday, December 6, 2024. Head to the tour website for more details. Images: The Come Up Show via Flickr.
For viewers, three years have passed since Squid Game became an award-winning Netflix hit. For Seong Gi-hun (Lee Jung-jae, The Acolyte), the same amount of time has elapsed in the show's storyline. Audiences and Player 456 are alike are in for a new round of life-or-death matches when the streaming smash finally returns on Boxing Day 2024 — but only the series' protagonist will be fighting for survival again while on a quest to shut down this chaos forever in season two. No one watching should ever want Squid Game to end; however, the show itself will wrap up in 2025 with season three. First comes the long-awaited second season to end 2024, though, where Player 456 is back in the game with new fellow competitors for company. "We are not trying to harm you. We are presenting you with an opportunity," the guards tell the latest batch of contestants battling it out for 45.6 billion won in the series' just-released full season-two trailer. Another pivotal line in the latest sneak peek: "the game will not end unless the world changes". Netflix has been dropping multiple early looks at season two, including a teaser trailer to kick off November — and its finishing off the month with a new glimpse at what's to come. These games don't stop, clearly, even after three years. As the show's protagonist dons his green tracksuit once more, his new fellow competitors are wary of his motives. Also part of the recent teases: Lee Byung-hun (The Magnificent Seven) as Gi-hun's nemesis Front Man, plus Wi Ha-joon (Little Women) also back as detective Hwang Jun-ho. Squid Game was such a huge success in its first season that Netflix confirmed at the beginning of 2022 that more was on the way, and also released a teaser trailer for it the same year, before announcing its new cast members in 2023 — and then unveiled a first brief snippet of Squid Game season two in a broader trailer for Netflix's slate for 2024, as it releases every 12 months. For season two, Gong Yoo (Train to Busan) also returns as the man in the suit who got Gi-hun into the game in the first place; however, a show about a deadly competition that has folks battling for ridiculous riches comes with a hefty bodycount. Accordingly, new faces were always going to be essential — which is where Yim Si-wan (Emergency Declaration), Kang Ha-neul (Insider), Park Sung-hoon (The Glory) and Yang Dong-geun (Yaksha: Ruthless Operations) all come in. If you somehow missed all things Squid Game when it premiered, even after it became bigger than everything from Stranger Things to Bridgerton, the Golden Globe- and Emmy-winning series serves up a puzzle-like storyline and unflinching savagery, which unsurprisingly makes quite the combination. It also steps into societal divides within South Korea, a topic that wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but has been given a boost after that stellar flick's success. As a result, it's easy to see thematic and narrative parallels between Parasite and Squid Game, although Netflix's highly addictive series goes with a Battle Royale and Hunger Games-style setup. Netflix turned the show's whole premise into an IRL competition series as well, which debuted in 2023 — without any murders, of course. Squid Game: The Challenge has already been picked up for a second season. Check out the full trailer for Squid Game season below: Squid Game season two streams via Netflix from Thursday, December 26, 2024. Season three will arrive in 2025 — we'll update you when an exact release date for it is announced. Images: No Ju-han/Netflix © 2024.
We're going back ... back to see Back to the Future, this time as a musical on the Sydney Lyric Theatre's stage. First floated 20 years ago by the big-screen trilogy's screenwriter Bob Gale, then finally premiering in 2020, the song-filled take on Marty McFly and Doc Brown's exploits has proven an award-winning success in London's West End and on Broadway. In 2025, the DeLorean is finally heading to Australia. The power of Back to the Future isn't really a curious thing. As viewers have known since 1985, the Michael J Fox (The Good Fight)-starring sci-fi/comedy is timeless delight. But as well as making film lovers weep with joy for almost four decades, the iconic movie has been making other folks sing — the casts of the Olivier Award-winning Back to the Future: The Musical, that is. Aussie audiences will get to see the results from September 2025 in the show's Down Under premiere season. Exclaiming "great Scott!" is obviously the only fitting response to this development, and to the production in general — and there's clearly plenty to get excited about. Since initially racing towards clocktowers onstage in the UK since early 2020 (around a pandemic hiatus or two, of course), Back to the Future: The Musical has picked up the Olivier Award for Best New Musical, and then was nominated for two Tony Awards in 2024. And yes, the show does indeed follow the Marty McFly and Doc Brown-led story we all know and adore, but with songs, including renditions of Chuck Berry's 'Johnny B Goode' and Huey Lewis and the News' 'The Power of Love' and 'Back in Time', naturally. Australian fans will now want to speed at 88 miles per hour towards the Harbour City, given that it is the only Aussie city where a season of Back to the Future: The Musical has been announced so far. If you won't be making a visit to the New South Wales capital by plane or DeLorean, start crossing your fingers that the production heads to other Aussie cities — or pop on your own white lab coat, start tinkering around with electronics and whip up your own time machine to try to make it happen. There's no exact date for the show's Down Under opening yet, other than sometime in September 2025, but you can now join the ticket waitlist to find out as soon as more details are announced. Also featuring music and lyrics by OG Back to the Future composer Alan Silvestri and acclaimed songwriter Glen Ballard (Jagged Little Pill the Musical), plus a book by Gale — who co-penned all three Back to the Future film scripts with filmmaker Robert Zemeckis (Here) — Back to the Future: The Musical was nominated for seven Olivier Awards. It only won the big one, but emerged victorious over heavy-hitters and fellow screen-to-stage shows Moulin Rouge! The Musical and Frozen. "I am thrilled to be bringing Back to the Future: The Musical to Australia, premiering at the Sydney Lyric in September 2025. Australian audiences are going to be blown away to see how this iconic story has been recreated for the stage," said Australian producer John Frost for Crossroads Live Australia. "To paraphrase Marty McFly, you guys are ready for this, and your kids are gonna love it (too)! If Bob Zemeckis and I time-travelled back to 1980 and told our younger selves that the script they were struggling to write would become a West End and Broadway musical now making its way to Sydney, Australia 45 years later, they'd kick us out of their office and call us crazy," added Gale. "Well, sometimes, crazy ideas give birth to great entertainment, and now Bob and I are eager to share our musical vision with Sydney audiences. This musical production has exceeded our original expectations on every level. Regardless of whether you've seen the original film, Back to the Future: The Musical, with its incredible stagecraft, will delight and enthrall you, your kids, your parents, and everyone you know!" Check out the trailer for Back to the Future: The Musical below: Back to the Future: The Musical is playing Sydney Lyric Theatre, 55 Pirrama Road, Pyrmont, Sydney from September 2025. Head to the show's Australian website to join the ticket waitlist and keep an eye out for more details. Images: Matthew Murphy and Evan Zimmerman, and Sean Ebsworth Barnes.
If you had plans to see Childish Gambino in Australia and New Zealand in 2025, you were likely paying close attention when he announced in early October that he was cancelling the remainder of his North American tour, and also his UK and European dates. A trip Down Under was meant to follow, and wasn't scrapped at the time; however, it's officially no longer going ahead. There'll be no summertime magic after all, then, after the musician that you also know as Donald Glover first announced four Australian shows for 2025, then expanded his local dates before general ticket sales even started. For the rapper, hip hop talent and Mr & Mrs Smith actor, this was set to be his first trip to these shores since 2019. Dates at Auckland's Spark Arena in January, then at the Brisbane Entertainment Centre, Sydney's Qudos Bank Arena, Melbourne's Rod Laver Arena and RAC Arena in Perth are all now cancelled. When Gambino's shows elsewhere were scraped, he advised on social media that he'd been "to the hospital in Houston to make sure of an ailment that had become apparent" after a show in New Orleans. "After being assessed, it became clear I would not perform that night, and after more tests, I could not perform the rest of the US tour in the time asked. As of now I have surgery scheduled and need time out to heal," the statement continued. "My path to recovery is something I need to confront seriously. With that said, we have made the difficult decision to cancel the remainder of the North American tour and the UK and European dates. Tickets will be refunded at point of purchase." [caption id="attachment_955315" align="alignnone" width="1920"] Eli Watson via Flickr.[/caption] This situation might sound familiar. When Gambino last headed this way — complete with a headline spot at Splendour in the Grass — it was after initially announcing a 2018 Australian tour, then cancelling it due to an ongoing injury. Before that, he performed at Falls Festival in 2016. Gambino mightn't have been on Aussie stages for a spell — and still won't be anytime soon — but Glover had the final two seasons of Atlanta, both in 2022, reach screens since he was last Down Under. Voice work on Spider-Man: Across the Spider-Verse, producing TV series Swarm, the aforementioned Mr & Mrs Smith: they've all joined his resume as well. He'll also be heard as Simba again in Mufasa: The Lion King, the prequel to 2019's photorealistic version of The Lion King, before 2024 is out. [caption id="attachment_955317" align="alignnone" width="1920"] Eli Watson via Flickr.[/caption] Childish Gambino 'The New World' Tour 2025 Australia and New Zealand Dates Tuesday, January 28 — Spark Arena, Auckland — CANCELLED Saturday, February 1 — Brisbane Entertainment Centre, Brisbane — CANCELLED Tuesday, February 4–Wednesday, February 5 — Qudos Bank Arena, Sydney — CANCELLED Friday, February 7–Saturday, February 8 — Rod Laver Arena, Melbourne — CANCELLED Tuesday, February 11 — RAC Arena, Perth — CANCELLED Childish Gambino is no longer touring Australia and New Zealand in January and February 2025. Head to the tour website for further details. Top image: The Cosmopolitan of Las Vegas via Flickr.
For six days each April, the music-loving world's eyes turn to the Empire Polo Club in Indio, California, where Coachella takes place each year. Maybe you're there on the ground. Perhaps you spend two weekends watching along via the festival's livestream. Either way, it's a helluva time — and 2025's festival will feature Lady Gaga, Green Day and Post Malone on headlining duties. The Coachella lineup normally drops in January as a start-of-year highlight, but the details have arrived early for the next festival. Post Malone had jumped the gun, revealing a stadium tour with Indio dates on Coachella's two weekends — and so now organisers have unveiled the full details. [caption id="attachment_972776" align="alignnone" width="1920"] Raph_PH via Flickr.[/caption] Mark Friday, April 11–Sunday, April 13 and Friday, April April 18–Sunday, April 20 in your diaries — including if you you're just keen to check out the livestream. (Remember, Coachella was livestreaming its sets long before the pandemic.) The full bill is impressive, as usual, with Lady Gaga headlining the Friday nights, Green Day doing the Saturday nights and Post Malone on Sunday nights. Also, Travis Scott is on the lineup as well, but without a set day so far. From there, get ready for jam-packed roster of acts that also spans everyone from Missy Elliott, Charli XCX, Megan Thee Stallion, Travis Scott, The Prodigy and Kraftwerk through to Benson Boone, FKA twigs, Basement Jaxx and The Go-Go's — and plenty more. Anyway, let's be honest, you haven't truly read any of those words — you'll be wanting this: View this post on Instagram A post shared by Coachella (@coachella) For music lovers planning to watch along from home, Coachella keeps teaming up with YouTube to livestream the festival. That's no longer such a novelty in these pandemic times but, given the calibre of Coachella's lineup, it's still a mighty fine way to spend a weekend. For those eager to attend in-person, you can signup for access to tickets over at the festival's website — with pre-sales starting at 11am PT on Friday, November 22 (aka 5am AEST/6am AEDT on Saturday, November 23). [caption id="attachment_907691" align="alignnone" width="1920"] Chrisallmeid via Wikimedia Commons[/caption] Coachella 2025 runs from Friday, April 11–Sunday, April 13 and Friday, April April 18–Sunday, April 20 at the Empire Polo Club in Indio, California. Find out more information and register for tickets at coachella.com — with pre-sales starting at 11am PT on Friday, November 22 (aka 5am AEST/6am AEDT on Saturday, November 23). Top image: Raph_PH via Flickr.
February 14 means different things to different people — but if you're a fan of Yellowjackets, that date in 2025 is now all about just one thing. Two years after its second season, the survivalist thriller will return on Valentine's Day to kick off its third round, again following the survivors of a plane crash both in the immediate aftermath and a quarter of a century later. As viewers discovered when it debuted in 2021 and became one of the best new shows of that year, the instantly intriguing (and excellent) series follows a New Jersey high school's girls soccer team in the 90s after their plane plummets into the forest, and also checks in with everyone that's left 25 years later. Across two seasons so far, life and friendship have proven complex for Yellowjackets' core quartet of Shauna (The Tattooist of Auschwitz's Melanie Lynskey as an adult, and also No Return's Sophie Nélisse as a teenager), Natalie (I'm a Virgo's Juliette Lewis, plus MaXXXine's Sophie Thatcher), Taissa (Law & Order's Tawny Cypress, and also Scream VI's Jasmin Savoy Brown) and Misty (Wednesday's Christina Ricci, as well as Atlas' Samantha Hanratty). The full setup: back in 1996, en route to a big match in Seattle on a private aircraft, Shauna, Natalie, Taissa, Misty and the rest of their teammates entered Lost territory. The accident saw everyone who walked away stranded in the wilderness — and those who then made it through that ordeal stuck out there for 19 months, living their worst Alive-meets-Lord of the Flies lives. As well as announcing the show's return date, Yellowjackets dropped a first teaser trailer for season three, although it's brief at just 15 seconds in length. In quick flashes, the sneak peek does feature violent altercations, screaming and mask-wearing figures among the 90s-era group, however. So, business as usual, then. [caption id="attachment_894499" align="alignnone" width="1920"] Colin Bentley/SHOWTIME.[/caption] After swiftly getting picked up for a second season because its first was that ace, Yellowjackets was then renewed for a third season before that second group of episodes even aired. In Australia, viewers will be heading to Paramount+ come Friday, February 14, 2025. In New Zealand, the series streams via Neon. In season three, the returning cast — which includes Simone Kessell (Muru) as the older Lottie and Lauren Ambrose (Servant) as the older Van, characters played in their younger guises by Australian actors Courtney Eaton (Mad Max: Fury Road) and Liv Hewson (Party Down) — will be joined by Hilary Swank (Ordinary Angels) and Joel McHale (The Bear). Check out the first teaser trailer for Yellowjackets season three below: Season three of Yellowjackets will start streaming from Friday, February 14, 2025 via Paramount+ in Australia — and streams via Neon in New Zealand. Read our review of season one and review of season two, plus our interview with Melanie Lynskey. Via Variety.
Some actors have a type. The films change, and the names of their characters as well, but it can feel as if they're always playing a variation of the same person. That sensation doesn't apply to Jackie van Beek's work. Many movie lovers discovered her on-screen as Jackie, the human familiar to a Wellington sharehouse-dwelling vampire in What We Do in the Shadows. In the decade since the hit comedy, she's helped end romances in The Breaker Upperers, which she also co-wrote and co-directed with Deadloch star Madeleine Sami — and then disrobed for Nude Tuesday, this time penning the script solo, alongside portraying a woman who attempts to reignite the spark in her marriage by heading to a couples' retreat where clothes are often optional. Now arrives Audrey, a delightfully dark Australian comedy from first-time feature director Natalie Bailey (Bay of Fires, Joe vs Carole, Run) and screenwriter Lou Sanz (The PM's Daughter, 6 Festivals) that enlists van Beek as a former star. Decades after her Logie-winning heyday, Ronnie Lipsick hasn't given up on her showbiz dreams. The world beckoned when she was at the top of the acting game, but then she had her first daughter and settled into married life; however, she still knows what she wants. Her focus after 18 years of being a mum: ensuring that the movie's eponymous figure (Josephine Blazier, Fires) makes it big as well, whether she likes it or not. Nothing is going to stop Ronnie in this quest — not even Audrey falling into a coma. There's regular second chances, and then there's Ronnie's path. When Audrey can't follow the route to fame and fortune that's been plotted out for her, Ronnie impersonates her instead. There's endeavouring to cope with tragedy, and then there's the Lipsick family's response to Audrey's plight as well — including on Ronnie's husband Cormack (Jeremy Lindsay Taylor, Force of Nature: The Dry 2) and younger daughter Norah's (Hannah Diviney, Latecomers) parts. As keeps proving the case across van Beek's filmography, no one will mistake Audrey for any other movie. After debuting at SXSW in Austin, the blackly and sharply hilarious feature now hits Australian cinemas in what's been a busy year for its lead. Off-camera in 2024, the New Zealand talent was one of the driving forces behind the Australian version of The Office, and also directed an episode of Time Bandits. Audrey appealed to van Beek's love of dark comedy, she tells Concrete Playground. Unsurprisingly, Ronnie stood out as the kind of character that isn't a standard fixture on-screen. When The Breaker Upperers released in 2018, she chatted with us, alongside Sami, about creating roles for the two that didn't exist otherwise. Now, van Beek advises that when she was reading Audrey's script, she thought "oh, she's delicious. She's so challenging to like. I thought as an actor, it'll be such a great kind of joy to try, and to try to pull her off with some degree of charm." "When I read Lou Sanz's script, Ronnie Lipsick is a morally ambiguous, very career-driven kind of obsessive mother, and I just thought 'what a delight'. Because you don't come across these characters — especially as a female — you just don't come across these characters very often. Well, I hadn't," van Beek notes. "I love dark comedy. I think I was probably told the premise, I imagine by Lou or the producer Michael Wrenn before I read the script. So as soon as I heard the premise, I was like 'ooh, this sounds perfectly dark for me'. I love comedy, but I do really like the edginess of this premise. I think someone who prioritises resurrecting her career over nursing her daughter back to health is a very interesting character to play." Also built into Audrey: recognition that being a mother shouldn't mean giving up on your own journey, an adult coming-of-age tale and a woman's quest, albeit by highly questionable means such as pretending to be her teenage offspring, to reclaim her own sense of self. We discussed all of the above with van Beek, too, alongside what she drew upon to play Ronnie, portraying such a tricky character in a heightened story, what gets her excited about a new project, what you learn making a movie like Audrey and more. On the Film's Ability Not Only to Rally Against Traditional Visions of Womanhood and Motherhood, But to Take That Idea to a Comedic Extreme "It was an interesting take, because I think we've seen a lot of films, dramas and comedies, about women who are struggling, as a lot of us do — women who are struggling with that work/life balance, being being pulled one way as a mother, being pulled another way by their career. And I think we're quite used to those stories. I think this film, obviously what I love, really pushes it to a comedic extreme. I mean, I find Ronnie kind of delusionally adorable, but also abhorrent. I hope that I'm a very different woman to her. But it was delightful to play, because pushing the idea that women aren't born simply to reproduce or mother, but are born to bring about your hopes and dreams, through a career or what have you, is fun. I did find Ronnie Lipsick to be quite mentally unhinged, and in need of some professional help, I would say. She's really spinning off the planet. She's such an egotist. She's so vain. And she's really lost sight of what's important in life. But I do love this idea, to the extreme in Lou's script, that she absolutely prioritises her career over her over her daughter's health." On Finding Inspiration to Play Ronnie — and Always Trying to Win the Audience Over "I'm a mother myself. I have three children, so obviously I was able to easily draw on my own life for the harried mum aspect of the character — organising the pickups, all the logistics with the husband, wanting them to do well. So I've drawn on a lot of that. In terms of her being dangerously delusional, I didn't have much to go on from my real life. So what I did was, I came up through theatre, I was in theatre for like 20 years before I got into TV and film, and a lot of my training was about trying to win the audience over. So whether or not you were a hero or a villain, you try to charm the audience so much that you can have them onside. I really thought that would be a fun game to play, just for myself, over the course of production, to see — by finding vulnerability or delusion or asking the audience to sympathise with me in any way — whether or not I could win the audience over to my side, so they would, I guess, forgive Ronnie for some of the choices she made." On Ensuring That Depth Shines Through When You're Playing Such a Tricky Character in a Heightened Story "It was hugely important for me to navigate a truth for the character throughout the story. And, in some scenes that was harder than harder than others, because it is a very heightened story, and a very heightened reality that we were playing within. Natalie Bailey, the director, was fantastic at helping me navigate that — as was Lou, the writer, who was on set the whole time, which was incredibly useful. But it was really important to me that I could feel truth in every single scene. And so some of the more heightened ones, I really had to lean into Ronnie's delusion, I guess — so that I thought if I, as Ronnie, can actually believe what I'm saying, even if it seems ridiculous to everybody else in the scene and in the audience, as long as I can believe it, it should feel like a real human being that's going on a journey. But some scenes are more tricky than others. That's a fun challenge. I love reading a role where I go 'ooh, this is going to be quite tricky'. And it was. It was such a fun challenge to take on that part." On Adult Coming-of-Age Stories Blossoming as a Genre — and Tales of Women Aiming to Reclaim Their Identities "I'm not sure why it's coming up more now. Maybe because more adults have access to therapy and so people are reflecting on these things? Definitely on my to-do list is to carve out time to go to see therapists. I haven't quite managed to do it yet. But I'm really enjoying the stories coming out at the moment, especially with female protagonists, about women around my age — I'm 48 — who have realised that they've lost a sense of self and they are really struggling to find a way to reclaim an identity. I think what interests me is a lot of people, they don't go deep enough, and try to just reclaim their youth through surgery or affairs or whatever. I'm really fascinated by that. I think all women that I know have just read Miranda July's All Fours, which I think is an incredible examination of that kind of reclaiming that sense of self. It's a fascinating subject." On Audrey, the Australian Version of The Office and Time Bandits All Reaching Screens Within Months of Each Other "The momentum of that is quite strange because, of course, these projects all happened at quite different times and it really is coincidence, I think, that everything lands in the same few months. It all depends on how long the post-production is or the distributor. But it's exciting to have things come out. I'm always someone who really itches to get a project in front of an audience to get that response. But I'm also someone who doesn't really dwell on the response, because I've always moved on to a million other things. But I love it — as I said before, I came up through theatre, so it was all about working as hard as you can and then opening night, the curtains open and you give the projects to an audience, you share that. So it's always a relief for me when something finally is out there and you're like 'oh good, okay, actually it's opening night, the curtains are parting, and people can actually now watch it and respond'. I think I do find it hard when you're in development for a number of things, and nothing's on-screen or you're not delivering anything to an audience. You just feel like you're working in this weird, insular bubble, and what's the point if nobody is able to see this thing you're working on and respond to it. And then, of course, with every response you learn so much about what we've created. And I then I take that onto my next projects. I'm very invested in learning, I guess." On What Gets van Beek Excited About a New Project at This Stage of Her Career "The most-exciting element for me with new projects is the team on it. There are so many people from all around the world, of all different levels of experience, that I'm just dying to work with. And so for my own projects, I of course seek these people out to collaborate with — actors, directors, writers. I think that is the driving force. Second to that, well, actually shooting location is quite important for me because I have three kids and my youngest is still only 12. So I am always trying to prioritise projects like Time Bandits that can be made here in New Zealand, so that I don't have to be away from the kids and my family for too long. And then, of course, the project itself — I'm very drawn, and always have been, to projects which will potentially polarise. I kind of find it thrilling to take on a project or be a part of a project that I think could go either way. The Office, for example, it did seem so silly to create the 13th version of The Office. But, of course, I leapt at the opportunity knowing it was going to be the first version with a female lead, and I knew that was quite high-risk because people are so besotted with the UK and the US versions. But it was that risk that really thrilled me. And the same with when I get involved in some local low-budget films here in New Zealand, sometimes it's the project that draws me, like it's something that I've never kind of seen before or they're taking a big risk on something. And I'm like 'ooh, I'd love to be a part of that because I like the thrill of it'. I'm not really drawn to something that feels quite kind of tried and true, I guess." On What van Beek Learned Starring in Audrey "It's interesting. I think when I'm acting in other people's films or projects, I learn a lot about writing and directing. And then I feel like when I'm writing and directing my own projects, I learn a lot about acting. I think I learn a lot from the other people that are surrounding me. And I really enjoy jumping between acting, writing and directing for that. So I'm constantly shifting roles and having these experiences from both sides. But I think with Audrey, I'm a real believer in 'if you say yes to a project, then you really are giving yourself over to that writer and especially to the director'. So once I say yes to something, I'm pretty much like 'what do you want me to do?' — like 'here I am, what do you want me to do? I'll do anything.'. I don't say yes to a project unless I unless I'm prepared to offer up everything." Audrey opened in Australian cinemas on Thursday, November 7, 2024.
