After more than a couple of false starts due to the pandemic, Brisbane's Nine Lives Festival finally returns this weekend, taking place at The Tivoli on Saturday, March 5. But it's obviously a difficult time for the city, and West End record store Jet Black Cat Music, which is behind the fest, knows it — so it's hosting a recovery gig the next day that doubles as a flood fundraiser. We can tell you when the show is happening: from 1pm on Sunday, March 6. As for where, that's a secret for now. It will take place on a driveway somewhere in West End, we know that — but for any other details, you'll need to buy a $20 ticket and wait for an email with location to come through the day before. We can also advise who'll you'll be listening to: Girl and Girl, plus Moreton. Get ready for an ace afternoon dancing to their tunes, wherever it happens to occur. And, because this is a fundraiser, all proceeds from the gig are being donated to Loop Growers, who've been flooded out during the wet weather. View this post on Instagram A post shared by Jet Black Cat Music (@jetblackcatmusic)
When Lady Susan Vernon (Kate Beckinsale) scolds a man for approaching her in a courtyard and threatens to have him whipped, she thinks nothing of it. After her friend and confidante Alicia (Chloë Sevigny) seems shocked, she advises that she actually knows him well; "I would never speak to a stranger like that," she laughs. Slinging sharp words is what the recent widow does well, along with scheming to secure herself a new husband while also trying to find someone suitable for her teenage daughter Frederica (Morfydd Clark). How better to battle for the important things in life, such as a wealthy partner, being able to live comfortably, and escaping a scandalous reputation? Yes, all's fair in love, marriage and the war that accompanies the pursuit of both, as this comedy of manners, money and match-making aptly demonstrates. Adapted by writer-director Whit Stillman from Jane Austen's unfinished, letter-based novella Lady Susan (but renamed after one of her other short stories), the fast-paced film is the comedic gem you probably didn't know the 18th century author had in her. Indeed, Love & Friendship is a sparkling satire that's as insightful as it is amusing, anchored by the kind of protagonist that might not be entirely sympathetic, but is still both relatable and entertaining. When Lady Susan sets her sights on the young and handsome Reginald DeCourcy (Xavier Samuel), she won't let his meddling relatives derail her future happiness — though Frederica's courtship with the buffoonish Sir James Martin (Tom Bennett) might just get in the way. That said, Lady Susan hasn't been labelled "the most accomplished flirt in England" without good reason. Whether her character is telling off passersby, spouting insults with a smile or choosing to remain oblivious to the response she causes whenever she enters a room, Beckinsale is in career-topping form as Lady Susan, oozing the perfect combination of charm and calculation. While she's surrounded by an excellent cast — Samuel, Bennett and a brief appearance by Stephen Fry are the standouts — there's never any doubting that she's the star of the show. And yet, though Beckinsale commands attention every moment she's on screen, it's Stillman who proves the film's most important figure. The material isn't just an ideal fit for a filmmaker who has previously found humour in interconnected sections of society in movies like The Last Days of Disco and Damsels in Distress. It's also the feature the lifelong Austen fan was clearly fated to make. At home in the period setting, he takes every opportunity to survey the sumptuous production design, while still furnishing the film with a sense of intimacy, peppering it with hilarious reaction shots, and finding joy in the wordplay that drives the dialogue. In short, it's a delicious blend of Stillman and Austen at their comic best.
If the individual movies a director makes can be seen as chapters from an ongoing book, then consider Noah Baumbach the author of a sharp, sweeping coming-of-age chronicle. Whether dissecting mature malaise in Greenberg, the attempts of a twenty-something to find her place in life in Frances Ha or the clash of the two in While We're Young, he remains fascinated with the process of growing up at any stage. In Mistress America, Baumbach offers another instalment on his beloved topic, all while re-teaming with Greta Gerwig. Almost by design, their previous collaboration — both co-writing, him directing and her starring in Frances Ha, as remains the case here — looms large over their latest effort. Consider Frances Ha the fate that could've befallen Mistress America's teenager Tracy (Lola Kirke) after college if she hadn't crossed paths with her stepsister-to-be Brooke (Gerwig), or the past that might've delivered 30-year-old Brooke to her current predicament. The two are brought together by their parents' impending marriage, with Tracy seeing Brooke as the big sis — and guide to life, both in New York and in general — she's never had. They're opposites: Tracy is quiet, lonely and wants to be a writer; Brooke is confident, constantly talks about herself and has an endless array of future plans. As they spend more time together, the seeming differences between the two become less pronounced. That fact isn't lost on Tracy, who starts to imagine Brooke as 'Meadow', the deeply flawed character in her new short story. While finding commonality in Baumbach's films has become unavoidable, that doesn't make his work any less enjoyable or astute. There's a level of comfort to Mistress America's return to the filmmaker's well-traversed terrain, as well as his trademark intelligence and energy. Here, as in the rest of his efforts, he's fleshing out recognisable ideas and anxieties, but done so with slightly different parts. And while the overall message is starting to sound a little repetitive even as it remains accurate, the individual elements still have plenty of charms. The feature is at its best in its wonderful midsection, where it plunges into a superbly executed farce. When a series of circumstances sends the not-quite-siblings plus some of Tracy's friends (Matthew Shear and Jasmine Cephas Jones) on a road trip to Connecticut to visit Brooke's former boyfriend (Heather Lind) and BFF (Michael Chernus), Baumbach takes his favourite themes into shrewd, smart and incisively funny screwball territory. In some of the best sequences the director has committed to the screen, infectious laughter ensues, as does insight and urgency that the rest of the film can't quite match. Of course, that plays into Baumbach's usual oeuvre: what is a coming-of-age story, and his entire output, if not an examination of how to keep going after pivotal moments and turning points?
After bringing Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber of Secrets and Harry Potter and the Prisoner of Azkaban back to the big screen with a live orchestra soundtrack, the Sydney Symphony Orchestra is giving the fourth film in the franchise the same movie-and-music showcase. Across five sessions between August 15–18, the Sydney Opera House will come to life with the sights and sounds of the Yule Ball, the Triwizard Tournament and the return of He-Who-Must-Not-Be-Named, because JK Rowling's boy-who-lived and his pals are never far away from a theatre — or a concert hall. This time around, viewers can expect something a little different. While the event will run as usual, it's the score itself that'll stand out. After doing the honours on the first three HP flicks, veteran composer John Williams stood aside for the fourth film, with two-time Oscar nominee Patrick Doyle (Hamlet, Sense and Sensibility) in charge of whipping up a wondrous wizarding soundtrack. Tickets for the Sydney shows are now on sale — and if you're a Melburnian or Brisbanite muggle keen to catch the next film in the series, watch this space (or, to be exact, the Melbourne Symphony Orchestra and Queensland Symphony Orchestra websites) . Although screenings haven't been announced in Melbourne or Brisbane yet, they're bound to follow, complete with live scores by each city's symphony orchestra. In fact, that's exactly what has happened with the first three movies to date. Harry Potter and the Goblet of Fire in Concert teams up with the Sydney Symphony Orchestra at the Sydney Opera House from 15–18 August 2018. For more information, head to the SSO website.
It may have dropped the $2 price from its moniker, but there's nothing quite like the Sunnybank Food Trail on Brisbane's culinary calendar. The appeal is all there in the name, with the Brisbane suburb's shopping hubs becoming a diner's delight in quite the affordable fashion. Think of it as the ultimate self-guided foodie adventure, for nothing more than spare change — and, pre-pandemic, with around 22,000 people taking part. The latest time that the Sunnybank Food Trail popped up was in 2019. As many food-focused events were, it was forced to take a break when COVID-19 hit; however, now this southside feast is finally returning. Mark Saturday, July 22 in your calendar and get ready to tuck in from 12–8pm at both Sunnybank Plaza and Sunny Park. How does it work? Attendees walk between a heap of local cafes and restaurants, all at their own pace. The range of eateries taking part is usually hefty — in 2018, more than 45 places served up dishes. From chicken katsu and wontons to mochi ice cream and bubble tea, every participating joint will feature a range of authentic Asian cuisines. You'll feast on Chinese, Japanese, Hong Kong-style, Vietnamese, Korean, Malaysian and Taiwanese bites, with prices starting at $2 per tasting plate. With such an array of steaming soups and sizzling stir-fries on offer, we don't recommend eating lunch or dinner first; in fact, you'd best arrive feeling as hungry as possible. Snacking on signature dishes is the main course — or several — but there's also plenty of non-edible appetisers, too. Enjoy live music, watch traditional lion dancers, and and check out the roaming entertainment as you feast and wander, adding the perfect garnish to every meal by setting the mood. Sunnybank Food Trail will pop up at Sunnybank Plaza and Sunny Park from 12–8pm on Saturday, July 22 — head to the Sunnybank Plaza website and event Facebook page for further details. Top image: Sunnybank Food Trail.
The abject, the dark, the forgotten and the strange are the characters in Daydream Believers. Abstract figures and landscapes inhabit the sculptures, photographs, prints and figurines in the latest exhibition at IMA. The exhibition responds to the essay ‘Figures of Authority, Ciphers of Regression’ written by Benjamin Buchloch in 1981. In this essay Buchloch explores the early-twentieth-century avant-gardists and their movement away from abstraction to return to more traditional figurative themes and styles. Daydream Believers is an exhibition of works by people who share Buchloch’s sensibilities. These artists explore history in all its horror, detailing abstract mythical beasts, dark landscapes and strange behaviours of earlier times. The exhibition includes glass paintings, monoprints, tapestries, furniture and figurines created by some of Australia and New Zealand’s most interesting modern artists. Featured in the exhibition are gothic prints by Jason Greig alongside decaying black and white photographs and layered images by David Noonan. John Spiteri creates eclectic glass paintings, sculptures and figurines and Francis Upritchard has produced mythical sculptural installations for this exhibition. This is a journey into the fantastical and the avant-garde, all with a historical bent.
Prepare to say "accio remote!" and get comfier than Hermione Granger in a library. In the latest news that'll keep you glued to your couch this summer — and your latest fodder for an at-home movie marathon — everyone's favourite boy wizard will soon be working his magic on Netflix. You won't need the Marauder's Map to find these enchanting flicks. Come Tuesday, January 15, all eight movies in the Harry Potter series will hit the streaming platform, bringing their Hogwarts-set adventures to both Australian and New Zealand audiences. If you've watched your DVD copies from the 2000s so many times that they're showing a little wear and tear — or your laptop no longer has a disc drive — this is butterbeer-worthy news. Yes, everything from Harry's (Daniel Radcliffe) first visit to Platform 9 and 3/4, the Yule Ball, the Triwizard Tournament, many a fluttering snitch and He Who Must Not Be Named will be at your fingertips. Prime viewing for wizards, witches and muggles alike — all 19 hours and 39 minutes of it. The Fantastic Beasts films won't be joining them, with this journey through JK Rowling's wizarding world keeping its focus on the original franchise. The news comes hot on the heels of Stan's announcement that it's now home to a hefty batch of Marvel, Pixar, Star Wars and Disney movies and TV shows. If you're thinking that a time-turner might come in handy over the next few months, we completely understand. Find Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber Of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet Of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, and Harry Potter and the Deathly Hallows Part 1 and Part 2 on Netflix from Tuesday, January 15.
When Normal People became the streaming sensation of the pandemic's early days, it made stars out of leads Paul Mescal and Daisy Edgar-Jones, and swiftly sparked another Sally Rooney adaptation from much of the same behind-the-scenes team. It wouldn't have been the hit it was if it hadn't proven an exercise in peering deeply, thoughtfully, lovingly and carefully, though, with that sensation stemming as much from its look as its emotion-swelling story. It should come as no surprise, then, that cinematographer Kate McCullough works the same magic on The Quiet Girl, a Gaelic-language coming-of-age film that sees the world as only a lonely, innocent, often-ignored child can. This devastatingly moving and beautiful movie also spies the pain and hardship that shapes its titular figure's world — and yes, it does so softly and with restraint, just like its titular figure, but that doesn't make the feelings it swirls up any less immense. McCullough is just one of The Quiet Girl's key names; filmmaker Colm Bairéad, a feature first-timer who directs and adapts Claire Keegan's novella Foster, is another. His movie wouldn't be the deeply affecting affair it is without its vivid and painterly imagery — but it also wouldn't be the same without the helmer and scribe's delicate touch, which the 1981-set tale he's telling not only needs but demands. His focus: that soft-spoken nine-year-old, Cáit (newcomer Catherine Clinch), who has spent her life so far as no one's priority. With her mother (Kate Nic Chonaonaigh, Shadow Dancer) pregnant again, her father (Michael Patric, Smother) happiest drinking, gambling and womanising, and her siblings boisterously bouncing around their rural Irish home, she's accustomed to blending in and even hiding out. Then, for the summer, she's sent to her mum's older cousin Eibhlín (Carrie Crowley, Extra Ordinary) and her dairy farmer husband Seán (Andrew Bennett, Dating Amber). Now the only child among doting guardians, she's no less hushed, but she's also loved and cared for as she's never been before. Clinch is another of The Quiet Girl's crucial figures, courtesy of a downright exceptional and star-making performance. If you were to discover that she was a quiet girl off-screen, too, you'd instantly believe it — that's how profoundly naturalistic she is. Finding a young talent to convey so much internalised, engrained sorrow, then to slowly blossom when fondness comes her way, isn't just a case of finding a well-behaved child who welcomes the camera's presence. Clinch makes Cáit's isolation and sadness feel palpable, and largely does so without words: again, this is The Quiet Girl in name and nature alike. She makes the comfort and acceptance that her character enjoys with the instantly tender Eibhlín feel just as real, and kicks into another still-composed but also visibly appreciative gear as a bond forms with the tight-lipped Seán. Pivotally, Clinch plays Cáit like she's the only lonely girl in Ireland, but also like she's every lonely and mostly silent girl that's ever called that or any country home. That astonishing performance, and the empathetic and absorbed gaze that beams it into the film's frames, tap into the lingering truth at the heart of this soulful picture: that overlooked and disregarded girls such as Cáit rarely receive this kind of notice on- or off-screen. The warm way that the movie surveys her life, and is truly willing to see it, is never anything less than an act of redress — and, even with dialogue sparse, The Quiet Girl screams that fact loudly. It gives the same treatment to loss, which is an unshakeable force in Eibhlín and Seán's home despite remaining unspoken. "There are no secrets in this house," Eibhlín tells Cáit, but that doesn't mean that the type of pain that defies speech doesn't haunt the place, as it does the lives lived in it. Grief, too, is usually pushed aside, but The Quiet Girl sees how it persists, dwells and gnaws even when — especially when — no one is talking about it. The Quiet Girl, and Bairéad and McCullough with it, sees everything with attentive eyes: chaos at home, bullying at school, and uncertainty mixed with relief when Cáit cottons onto why she's taking such a long drive with her dad, for starters. It watches as the girl's summer getaway teems with promise and wonder — on the farm, in its woods, in the gleaming rainwater well, simply watching Eibhlín in the house or shadowing Seán outside — and as her relationship with her surrogate parents has the same fantastical allure. It spots the tentative curiosity that Cáit has about the train wallpaper in her new bedroom, as well as the boy's clothes she's given to wear. And, it can't avoid the gleeful gossiping-slash-interrogating by neighbour Úna (Joan Sheehy, End of Sentence), when she gets her chance to spill Eibhlín and Seán's past, and also grill their new charge about their present. Viewers peer on intently as well; using the Academy ratio, the almost-square frame that was once the cinematic standard, has that effect. That stylistic choice can say more than words when a character feels boxed in or trapped — see Happening and The Tragedy of Macbeth — which The Quiet Girl uses to its advantage in its earliest scenes. The tighter canvas also hones focus, which is this film's entire purpose anyway. Thanks to the straightforward but nonetheless riveting narrative, and the emotional journeys that it charts, Bairéad didn't need to restrict the movie's visuals so blatantly. The Quiet Girl would've captured its audience's undying attention anyway. But a closer look begets a closer look, both at otherwise-shunned children and at the minutiae they only start to spy themselves when their lives get cosier and kinder, yet also bigger and more assured. When it premiered at the 2022 Berlin International Film Festival, The Quiet Girl made history as the first Gaelic-language film to compete at the prestigious event, and also won an award in the process. When it reached Irish cinemas midyear, along with those elsewhere in the UK, it broke box office records for Gaelic-language movies, too. Small things, big impact: that's this wonderfully heartrending, deeply resonant, exquisitely fleshed out feature over and over, within its poetic images and beyond.
When Woody Allen started shooting Wonder Wheel back in 2016, perhaps it seemed like a good idea. Or maybe he just picked an old script up off the pile and didn't think much more about it. Either way, there's no escaping the uncomfortable feeling that accompanies the film. For decades, the prolific writer-director has continued to work while immersed in controversy stemming both from his marriage to his stepdaughter, as well as from allegations of abuse made by his adopted daughter. That his latest movie is about a writer falling for his former actress girlfriend's stepdaughter is particularly astounding, and feels well and truly on the nose – especially at a time when Hollywood's look-the-other-way attitude to inappropriate sexual behaviour is finally starting to change. Even if Allen's own past didn't loom over the film's narrative, and even if the #metoo movement wasn't moving forward in leaps and bounds, Wonder Wheel wouldn't rank among his best work. Pumping out a movie a year has given the director more misses than hits in recent times – and his latest definitely falls into the first category. It doesn't help that Allen attempts to pre-emptively counter criticism of his approach by having his narrator highlight the movie's melodramatic nature via to-camera addresses. Calling something out yourself, via Justin Timberlake as your screen-surrogate, doesn't make it go away. Timberlake plays lifeguard and aspiring playwright Mickey. It's the 1950s, and with summer in full swing on New York's Coney Island, Mickey has a crowded beach to patrol — and, before too long, a waitress to woo. Sweating it out serving clams while she dreams of a stage heyday long passed, Ginny (Kate Winslet) warms to her younger lover easily. After all, he's certainly an improvement on her lunk of a husband Humpty (Jim Belushi), and a distraction from her fire-starting pre-teen son Richie (Jack Gore). But things are soon complicated by the arrival of Carolina (Juno Temple), Humpty's daughter from a previous marriage, who runs from her mobster husband straight into Mickey's affections. It all plays out as predictably as it sounds, but credit where credit's due: even saddled with problematic material and trying dialogue to match, Winslet knocks her performance out of the (amusement) park. In her hands, Ginny's furrowed brow is lined with both well-worn creases and years of wearying disappointment, while the glint in her eye when someone finally starts seeing her as more than a wife, waitress and mother could light up a room. Like Blue Jasmine's Cate Blanchett, the British actress knows how to find depth in a character that could've been an over-the-top joke (and, given the real-life history tying into this film, it's easy to assume Allen intended for Ginny to amuse). Though a committed Belushi does his best alongside her, with Temple proving dutifully alluring and Timberlake routine, Winslet is the movie's undoubted wonder. That said, cinematographer Vittorio Storaro (Cafe Society) comes a close second. As Wonder Wheel tries to turn fact into overheated fiction, its visuals positively glow — in sunny beachside encounters, in its use of shadows, and whenever the light of the titular attraction shines on the movie's frames. Subtly infusing the alternating red and blue hues of the ferris wheel's neon sign over the drama not only results in gorgeous images, but also mirrors the changing mood as scenes move from rosy to sorrowful. If only they belonged to a movie worthy of such eye-catching charms. Wonder Wheel might be the story of a man won over by something pretty, but viewers are unlikely to make the same mistake. https://www.youtube.com/watch?v=bx4Jp13Afpk
Have you ever been to a play where, no matter how prominent the lead was, your attention was always drawn to one of the secondary performers off to the side? That's the case with X-Men: Dark Phoenix, a film where everything's pretty decent except for anything to do with the actual title character. Ultimately it's an issue of interest. There just isn't enough in the Jean Grey character (or at least, not in this iteration of the character, played by Sophie Turner, compared to Famke Janssen's version from the origial X-Men trilogy) to justify giving her such a prominent role in a universe already jam-packed with compelling fan-favourites like Magneto (Michael Fassbender), Mystique (Jennifer Lawrence), Charles Xavier (James McAvoy) and Beast (Nicholas Hoult). To appropriate that iconic line from Mean Girls: stop trying to make Jean Grey happen. In a franchise that adroitly positioned itself as one of 'films with special effects' rather than 'special effects films', the masterstroke of the early X-Men movies was ensuring there were always human stories at their core, even if they were about super-humans and mutants. On that front, the original trilogy stands as a sublime allegory for the discrimination of minorities, no matter the kind. The franchise's first ever scene took place in a Nazi concentration camp, bars and restaurants featured mutant and non-mutant sections, and a narrow-minded mother asked her son: "have you tried... not being a mutant?" Beyond the us and them theme, they then added two more critical threads: a complex friendship between Magneto and Professor X, and a love triangle between Wolverine, Cyclops and Jean. It was these stories that made the films so engaging, whilst the special effects just added loads of cool. X-Men: Dark Phoenix forgets that lesson after its first few (excellent) scenes, placing far too much emphasis thereafter on visual pageantry that adds very little to the story. Set mostly in 1992, Dark Phoenix begins with a confronting car-crash sequence, followed by a dramatic space rescue. Both, in their own way, set in motion plot lines involving Professor X arguably overstepping his mark, which inevitably has dire consequences. The problem is, until now, Turner's Jean Grey was little more than a bit-part, so her elevation to leading lady and the subsequent transformation (or descent?) into the all-powerful Dark Phoenix both feel rushed and unearned. You know you're meant to think oh no, but you simply don't care. Added to that is a subplot so forgettable that this writer literally forgot about it until just now. An alien villain named Vuk (Jessica Chastain) pursues and manipulates Jean's transformation into Dark Phoenix for reasons that are barely clear and even less interesting. Chastain's staid, hollow stare throughout the film feels neatly reflective of the audience's expression as it watches another actor of incredible talent relegated to spouting cliched nonsense. With the exception of its early scenes, the only other high point in Dark Phoenix is its climactic battle aboard a speeding armoured train (and it speaks volumes that throughout that scene, Jean Grey is passed out and largely ignored). Mutants being mutants and deploying their abilities in means as violent as they are inventive is ultimately why you'd see this film over other, more conventional action movies. To give us so little of that condemns it to forgettable status from the get-go. Dark Phoenix is almost certainly the last entry in the franchise before the reigns are handed over to Marvel, courtesy of Disney's recent acquisition of 20th Century Fox. Hopefully in their capable hands we'll see a return to the quality delivered in the early days of the saga. https://www.youtube.com/watch?v=azvR__GRQic
UPDATE: June 24, 2020: Pain and Glory is available to stream via Google Play and YouTube — and, from Friday, June 26, from Amazon Prime Video. Perhaps it's the brightness, with each splash of colour feeling like it comes straight from the heart. Maybe it's the array of familiar faces that fill his frames, as though he's building a cinematic world populated by his favourite people. Or, it could be his sensitive yet vivid way of seeing the world, and the expressive images that arise as a result. Whether one, two or all of the above are responsible, a film by Pedro Almodovar usually proves a highly personal affair — although there may be no more intimate a movie on his four-decade resume than Pain and Glory. Enlisting one of his go-to stars, Antonio Banderas, to play his on-screen surrogate, this rich and reflective drama follows a filmmaker aching with unhappiness, trawling through his memories and being haunted by his inertia. In a way, Pain and Glory is the Inception of Almodovar films. An acclaimed director steps into his own history by making a movie about a famous director doing just that, with both real and fictional helmers reuniting with an actor who's shaped their career. In Almodovar's case, that should be actors. Banderas leads the show, while Penelope Cruz, the other great Spanish talent that came to fame under the filmmaker's 90s-era gaze, appears in flashbacks as the protagonist's mother. This casting, and the fact that Banderas has been styled to look like Almodovar, is crucial. The actor even wears some of the writer/director's own clothes, and his character lives in a recreation of Almodovar's home. Although Pain and Glory isn't the filmmaker's first movie to include personal elements, he purposefully draws parallels between fact and fiction here — grappling with the idea of revealing a piece of himself with each work, something all artists do, in a wholehearted manner. Salvador Mallo (Banderas) also ponders the same notion. His glory years seemingly behind him, he thinks his days of leaving a bit of himself in each movie are long gone as well. Fans still clamour for his work, as an anniversary screening of his breakout hit shows, but his focus is elsewhere. Mainly, he's consumed by pain from various ailments. When his former star Alberto (Asier Etxeandia) re-enters his life and introduces him to heroin, he becomes preoccupied with glimpses of his childhood that swirl through his mind. Still, Mallo has been working on an autobiographical text — and when he reluctantly lets Alberto turn its contents, including his 80s affair with his great love Federico (Leonardo Sbaraglia), into a one-man theatre show, the experience is revelatory. There's a quiet, thorny and tender core to Mallo's plight but, as the likes of All About My Mother, Volver and Julieta have shown, Almodovar operates in sumptuous, sweeping mode. Far from struggling with the contrast, Pain and Glory is equally restrained and resonant, making exceptional use of its softer and livelier moments alike. So too does this year's Cannes Best Actor award-winner Banderas. Across his layered, multi-decade filmography spanning both Spanish and Hollywood cinema, he's never been better. Indeed, he's the best he's been since following Almodovar into completely different territory his last great performance in 2011's The Skin I Live In. Understated, introspective, gentle and melancholic, rather than the vastly more overt characters he has often played for the director, Banderas frequently conveys all of Mallo's hurts, anxieties and fears without saying a word. It's little wonder that cinematographer José Luis Alcaine (a veteran of Almodovar's work for decades, too) can't find anything as interesting to stare at as Banderas. The actor is a moving canvas within the film's broader frame and, every time you peer his way, the picture changes to something just as astonishing. Unsurprisingly, Cruz comes close to matching him. As the feisty mother to a pre-teen Mallo (Asier Flores) in the 60s, she lights up the screen the way that she lit up the boy's formative years. Her scenes are wistful by design, as you'd expect when an ageing man escapes into his head to take stock of his life. That said, few filmmakers can so seamlessly integrate the ghosts of the past with the woes of the present as Almodovar. Perhaps his genius stems from the reality that, amid the evocative colour and movement, Almodovar is unafraid to glare at hard truths while he's opening up his heart. If only we could all sift through our lives, losses, needs and desires as meticulously and beautifully as the Spanish auteur. Heaving with emotion, his Pain and Glory is a movie to get lost in — and, as anyone who's ever faced their own crossroads or confronted their mortality can attest, it's also a film of sublime and unwavering honesty. https://www.youtube.com/watch?v=pJEDh4ikcWA
As difficult as is it to name more than a handful of sequels that improve upon their predecessor, it's almost impossible to name a trilogy that gets progressively better from the first film to the third. After much contemplation, only two contenders spring to mind: Richard Linklater's Before trilogy, and Disney Pixar's Toy Story – each of which began from an incredibly strong position and yet somehow built upon and enriched each subsequent experience rather than draw out, repeat or simply ruin that which came before. Now, however, we can add a third series to the list. Beginning in 2011 with Rise of the Planet of the Apes and followed up by Dawn of the Planet of the Apes three years later, this remarkable and consistently surprising franchise has saved its best entry until last with the thoughtful and deeply moving third installment: War for the Planet of the Apes. And it is a war film, although not in the conventional sense. With soldiers' helmets emblazoned with slogans like 'Bye Bye Bonzo' and 'Monkey Killer', there's a definite Full Metal Jacket vibe among the human characters. Yet this is a war film more in the vein of Terrence Malick's The Thin Red Line. Emphasising visuals over dialogue and backed by a sumptuous orchestral score, the movie largely eschews combat sequences in favour of exploring internal conflicts, as well as the absurdity of observing 'rules' to govern the means by which two peoples might slaughter one another. It is at once a summer blockbuster and a poignant tragedy, which is no mean feat given it involves machine-gun wielding apes that can talk and ride on horseback. There's not a moment in this film, from the opening frame to the last, where you question what you're seeing. The very name for what makes that possible, 'special effects', seems entirely insufficient to capture the extraordinary wizardry at play here. Pile all the transforming robots and world-destroying aliens together and you'll still get nothing as remotely impressive as what writer-director Matt Reeves and his team have delivered with this film. "My god, your eyes, they're almost human" exclaims Woody Harrelson's antagonist. Whatever flaw he sees, the audience cannot. These apes aren't simply special effects; they're characters, as real and as complex as any human standing opposite or beside them on screen. This brings us to Andy 'Who Needs A Face To Act?' Serkis. Truly, the man could play a dilapidated gate on an abandoned farm and still imbue it with more pathos than most of his contemporaries. To say he's overdue for an Oscar is an entirely overplayed record, but until it happens or he stops turning in performances of such astounding nuance and tenderness, we'll keep on resetting the needle. Alongside his fellow motion-cap actors Terry Notary, Karen Konoval and Michael Adamthwaite, Serkis's Caesar is the heart of the film. He's the reluctant general; a gentle soul whose only reason for fighting is to save his fellow apes and family from extinction. Like Pacino's Michael Corleone in Godfather Part III, Caesar's efforts to secure peace instead find him drawn further into darkness, imperilling those he loves and condemning his own soul to ruin. On the human front, each film in the Apes trilogy has featured fewer than the one before it, and in War there are only two of note: Harrelson's ruthless Colonel and an orphaned girl named Nova played by the captivating Amiah Miller. They are, in many ways, the best and the worst of us – tormentors and saviours whose interactions with Caesar shape his every decision throughout the film. We are unquestionably compelled to side with the apes in this, the final stage of the trilogy, which is an intriguing sensation given we're barracking for the very creatures responsible for wiping us out. Again, it's down to the remarkable work of the team behind the film, whose storytelling and performances have given us a Shakespearean tale full of heartache, betrayal, courage and redemption. War for the Planet of the Apes is an instant classic and a fine conclusion to a spectacular saga. https://www.youtube.com/watch?v=JDcAlo8i2y8
GOMA's latest exhibition works in a very specific fashion. Pieces travel between venues, and when they're at each particular place, the project stops, evolves and changes. It's the art equivalent of musical chairs — and we mean that in a good way. Indeed, in bringing together four of the Asia-Pacific's leading institutions for collecting, exhibiting, and interpreting contemporary art, Time of Others boasts an ingenious method for reflecting upon social and cultural relations in the region today. It does require a further note of explanation, though. The tinkering and alterations happen as the collection prepares to move cities, rather than occurring before audience's eyes. Still, as the curatorial collaboration makes its final outing after two years of flitting between galleries, it's impossible not to marvel at the concept — and the creativity on display, of course. Showcasing new works by artists from the area and diving into the depths of existing holdings at each of the participating museums, Time of Others aims to reveal multiple perspectives and differences to create a basis for discussion and reflection. Image: LE An-My, Vietnam 1960-, Damage Control Training, USS Nashville, Senegal (from 'Events Ashore' series) 2009, Archival inkjet pigment print on 380gsm Harman Professional Inkjet paper mounted on sintra, 101.6 x 143.5cm, Acc. 2011.218, The Kenneth and Yasuko Myer Collection of Contemporary Asian Art. Purchased 2011 with funds from Michael Sidney Myer through the Queensland Art Gallery Foundation.
Queenslanders, it's holiday time. After a year largely spent staring at your own four walls, you probably don't need much motivation to head out of town, but the State Government is giving you some anyway. In an effort to encourage everyone to take a getaway up north within the state, it's handing out $200 vouchers for travel to Cairns and the Great Barrier Reef. The idea has two obvious aims: enticing Queensland residents to go venturing throughout the state, and helping support tourism businesses in the highlighted area. The move was announced today, Sunday, March 7, by Premier Annastacia Palaszczuk, including the details of what you can spend the money on, when you can spend it and exactly how you can get your hands on the vouchers. From Monday, March 8–Thursday, March 11, 15,000 vouchers will be available — and you'll need to head to queensland.com to nab one. You'll register for a voucher code, as part of a scheme that's been dubbed 'Cairns Holiday Dollars'. Obviously, it's likely that there'll be more people keen on scoring the $200 discount than there will be vouchers, so they'll be handed out as part of a draw. Those who successfully receive a voucher will then be able to use it between March 15–June 25 on tourism experiences in the tropical north area, which also includes Port Douglas and the Atherton Tablelands. The vouchers can only be spent on tourism experiences and attractions, and will enable you to get up to 50 percent off your booking, maxing out at $200. https://twitter.com/AnnastaciaMP/status/1368288000619114497 While Victoria's similar scheme, which was announced in 2020, also covered accommodation, that isn't the case in Queensland. It's clearly hoped that most folks taking up the vouchers will need to pay for somewhere to stay anyway — and to eat and drink at cafes, restaurants, pubs and bars while they're there — which'll also inject more money into the region. If the vouchers are successful, Premier Palaszczuk said that they could be rolled out across the rest of the state. For now, though, the Premier advised that the government wants "to make sure that people across Queensland get to enjoy tropical far north Queensland". You can apply for one of the 15,000 $200 'Cairns Holiday Dollars' travel vouchers from Monday, March 8 at queensland.com.
In the 70s and 80s, it was Countdown. In the 90s and early 00s, it was Recovery. Now, the ABC is adding The Set to its roster of music-focused TV shows. Like its predecessor, the new television series will feature live music performances in front of a live studio audience — with triple j's Linda Marigliano and Dylan Alcott as the program's hosts. Kicking off on both ABC and iview at 9.30pm on Wednesday, October 31, The Set will feature a different main band each week, who'll then invite two guest acts to perform live as well. To end each show, the week's artists will all team up in a one-off musical collaboration. And with the whole thing taking place on a purpose-built share house set, which also includes a backyard, 250 folks will be there, in person, enjoying the gig. Headliners include Angus and Julia Stone, Vera Blue, Ball Park Music and The Presets, while the likes of Illy, Odette, Baker Boy, Wafia, Mallrat, Angie McMahon, Tia Gostelow, LANKS and Kult Kyss have been named among The Set's guests. The series will actually air twice each week — with a 30-minute episode running each Wednesday evening, and then an extended hour-long version screening on Saturdays at 10pm from November 3.
Less than a month ago, Queensland eased a number of COVID-19 restrictions, only to tighten them again not once but twice just a couple of days later. For the Sunshine State, it's definitely been a chaotic few weeks regarding measures to contain the pandemic, with parts of the region also undergoing lockdown conditions. When 6am hits on Friday, June 16, however, Queensland will start loosening its limits and caps once again. That means that the state is rolling back its current restrictions regarding gatherings, venues, dancing and masks — so great ready for bigger parties, more folks hanging out in the great outdoors, and busier bars, cafes, restaurants and venues. They'll all become a reality in Queensland from Friday, after the State has reported four days in a row without any locally acquired COVID-19 cases. Wondering what's changing? There'll no longer be any limits on how many people can gather in homes or outdoors — although if you are having more than 100 folks over to your house, you'll need to keep a list of attendees. Another big shift that'll hit at the same time: amending the rules for hospitality businesses, with a three people per four-square-metres capacity cap coming into effect. That'll apply to clubs, pubs, bars, cafes and restaurants, as well as to galleries, museums, convention centres and places of worship. If these types of venues have seated and ticketed capacity, they can fill those areas to 100 percent, too. And, dancing is coming back as well — after a few weeks of Queensland resembling Footloose. Masks will no longer be required anywhere other than airports and on planes, and there'll be no restrictions on hospitals and aged care either. https://twitter.com/AnnastaciaMP/status/1414376694836649987 If you're wondering why the changes won't come into effect until Friday, Queensland's Chief Health Officer Dr Jeannette Young said that it's due to the numbers still in home quarantine at present. "I have too many people in home quarantine, and if any of those people were, for whatever reason, to be out and about, it could mean that we have got infectious people. There is just too many. I need more results," she said. "You have got to remember, the Alpha and the Delta variant, the incubation period for both of those is 14 days so we have just got to wait until the majority of those people have been tested and got through quarantine. There is just too many." Queenslanders are asked to keep social distancing, maintaining the hygiene practices that have been in place since March 2020, and checking the state's list of exposure sites — and to get tested if you're feeling even the slightest possible COVID-19 symptoms. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website. Top image: Atlanta Bell.
Laughing in a doubled-over, can't breathe, feels-like-you-have-a-stitch kind of way isn't a planned thing. It happens spontaneously. It happens without warning. It happens at times and from sources you mightn't expect. That's what Brisbane Comedy Festival's After Hours component is all about when it returns for 2023: making the humorous magic happen in a different fashion, away from the usual routines, well-oiled jokes and hilarious shows that unleash the same comic gems night after night. Taking over The Studio at Brisbane Powerhouse on Saturday evenings throughout the fest — on May 6, May 13 and May 20, to be exact — this always-changing late-night show is a chance for everyone involved to get loose. As for who that might be each evening, well, that's part of the surprise. The lineup changes weekly, and tickets to this variety show cost $25.
Wool Modern will open to the public this ANZAC Day, Wednesday, April 25, in a celebration of one of Australia's top industries. This year's exhibition aims to dissolve any preconceptions about the wool industry by demonstrating the new, fashionable 21st century platform for the natural fibre. Featuring the "modern, innovative, and avant garde" use of wool throughout today's creative industries, Wool Modern promises to upstage your thick winter socks. Prominent Australian fashion and interior designers (including Collette Dinnigan and Akira Isogawa) will display their creations among industry greats such as Alexander McQueen and Vivienne Westwood. The exhibition was the highlight of the 2011 Campaign for Wool, and was visited by the Prince of Wales himself last year. Wool Modern will be held on Pier 1 & 2 in Sydney from April 25 to Tuesday, May 1. From there, it will be transplanted to the nearby Queen Victoria Building on George Street, where it will remain through June. Josh Goot Emma Elizabeth Gorman https://youtube.com/watch?v=0-QpsFLpoB8
It's always the way that on the one day you've got one bar of battery left, you forget your phone charger. A Universal Phone Charger is a clunky solution to such a problem, but here's something more elegant: a mobile which can recharge from ambient heat, even when it's sitting in your pocket! It's a clever concept from London-based designer Patrick Hyland. The Nokia E-Cu (E for environment, Cu for copper) creates a current from the smallest of energy sources like the heat from your pocket. The outer copper casing receives thermal energy and transforms it into battery power. It's still in concept-stage, with no plans from Nokia to develop it yet, but Hyland is keen to collaborate with anybody to get it off the ground. Hyland aims to create a charger-free cell phone future, noting that "annually, unwanted phone chargers produce 51,000 tons of waste in addition to the greenhouse gases created by the production of the electricity needed to charge them." [Via Good]
By this point, Archie Rose needs little introduction. One of Sydney's first distilleries in 160 years has reignited many an Aussie's appreciation of spirits since opening in 2014 thanks to its diverse range of premium whiskies, gins, vodkas and rums showcasing native ingredients. Along the way, it's become the nation's most awarded distillery, and it's also given us one-off collaborations, limited releases and interactive spirits experiences from masterclasses to fascinating distillery tours. If that weren't enough, now Archie Rose has only gone and created what it's calling its best-ever gin. Bone Dry Gin is a limited-edition run that's the brand's first from its new Banksmeadow distillery and its one-of-a-kind copper vacuum stills. The spirit extracts the diverse flavour profile of hand-foraged juniper berries from North Macedonia through hot and cold distillation, and it is lifted with notes of Australian coriander seed, Tahitian lime and lemon-scented gum. The result is a tipple with a supple start on the palate that gives way to bold citrus and herb notes that leads to a pine-accented, bone-dry finish. To celebrate the release of Bone Dry Gin, we've teamed up with Archie Rose to give two lucky readers the chance to win the ultimate Archie Rose prize pack. Enter below to go into the running to win a case of Bone Dry Gin (six bottles), a pack of Caperberry Martini cocktail bottles (two bottles) and a pair of tickets to an Archie Rose Blend Your Own Gin masterclass in Sydney (valid for three years). That's nearly $1000 worth of Archie Rose goods, on us, for you to enjoy the ultimate gin experience — including the chance to make your very own. [competition]828345[/competition]
And sell it. Mostly sell it. But you'll actually earn some money too. Despite original fears that digital music downloads would kill the industry and steal artists' royalties, the new distribution channel has been welcomed by many and often brings artists and their fans closer together. Some have even experimented with the medium and how to sell music online: Radiohead let fans pay what they want, and online concerts are now nothing out of the ordinary. Kaiser Chiefs have come up with an ingenious way of involving their fans in their new album The Future Is Medieval, asking them to create their own customised version of 10 tracks from the 20 on offer, and create the cover art. If you think your producing/artwork is pretty awesome, you can put your version up for sale on their Album H.Q. and if others buy it, you'll earn a portion of each sale. Gimmick? Perhaps. A clever way to get fans to pay for an album twice? Definitely. But the band could really be on to something here. Giving fans a role in the creation of the album, however token, gives them a sense of ownership and connection with the band/brand; the Album H.Q. provides a space for the community; and the cash reward means that fans get to share in the band's success. If the experiment proves a success, expect others to follow suit or push the envelope even further. The world of print media, whose death has often been falsely predicted, could perhaps take a leaf out of music's book when it comes to competing in a digital world. [Via PSFK]
James Bond might have no time to die in the espionage franchise's upcoming 25th instalment, but audiences now have plenty time to wait until they see the film. Originally slated to hit cinemas worldwide in early April, No Time to Die's release has been pushed back seven months, with 007's latest action-packed antics — and Daniel Craig's last stint as the suave spy — now reaching the big screen in November. In a Tweet, studios MGM and Universal, as well as Bond producers Michael G Wilson and Barbara Broccoli, announced that the movie has been delayed "after careful consideration and thorough evaluation of the global theatrical marketplace". The film will now drop seven months after its original release date, releasing in the UK and Australia on November 12, and the US on November 25. https://twitter.com/007/status/1235248760260874241 The brief statement doesn't mention the specifics behind the decision, but the move comes amid growing concerns about the impact of the coronavirus, COVID-19, on the film industry. With the virus continuing to spread around the world, cinemas in some countries have been temporarily shuttered in an attempt to stop mass gatherings and help contain the infection. While that's currently only the case in China, Iran, South Korea, Japan, Italy and France, it's a tactic that could be rolled out elsewhere. Just this week, two Bond fan sites wrote an open letter calling for No Time to Die's postponement due to the coronavirus pandemic — in the name of public safety. Of course, there's clearly a financial motive behind MGM and Universal's decision to follow suit. Cinema closures, especially in huge markets such as China, obviously affect a movie's box office earnings. Although nothing else has been announced as yet, don't be surprised if other big movies take No Time to Die's lead and shift their release dates for the same reason. Plenty of other huge titles, such as Black Widow, Fast and Furious 9, Wonder Woman 1984 and Top Gun: Maverick are all currently scheduled to release in the upcoming months — and therefore face the same public health and financial concerns. Revisit the No Time to Die trailer below: https://www.youtube.com/watch?v=Rohdh1I3efY&t=13s No Time to Die was originally due to release in cinemas on April 8, but will now release in Australia on November 12. Top image: Nicola Dove © 2019 DANJAQ, LLC AND MGM. ALL RIGHTS RESERVED.
Once you've seen David O'Doherty live, you'll likely come to a conclusion. The Irish comedian has such a winning way with his '86-vintage keyboard that you'll think all performers should tickle the ivories — or at least combine their amusing musings with music. This realisation will most probably be followed by another: just like Highlander, there can be only one comic this playful and perceptive while armed with an electronic approximation of a piano. There's a reason he's graced every comedy panel television show you can think of, after all — and his 2016 Brisbane Comedy Festival show We Are All in the Gutter But Some of Us Are Looking At David O’Doherty will reaffirm his genius. David O'Doherty is one of our top ten picks to see at the Brisbane Comedy Festival.
Former Powderfinger frontman Bernard Fanning has announced a huge, 17-date national tour — including several all-ages shows — to promote his debut album, Battleships, out June 7 on Dew Process/Universal. It's been a long wait for Fanning fans (which, in keeping with the precedent set by Beliebers and Directioners, we'll henceforth be calling Fan-nings), with this tour their first opportunity to see the great man since Powderfinger's farewell tour in 2010. He'll be traversing the country, from Nambour to Hobart, along with his special guests, Big Scary and Vance Joy. And if you're in Townsville on August 17, you'll get a special mini-festival when that already-awesome lineup is bolstered by The Rubens, The Medics AND Snakadaktal. With Fanning also announced for Splendour in the Grass following hot on the heels of the release of the album's debut single (and title track), it's sure to be a busy few months for one of Australia's favourite songwriters. Tickets go on sale Tuesday, May 7, via an exclusive fan club presale through bernardfanning.com. The Telstra Thanks presale is available from Wednesday, May 8, before the public on-sale kicks off on Friday, May 10. Concert dates below: Sunday 14 July: Nambour Civic Centre, Nambour (18+) Tuesday 16 July: Empire Theatre, Toowoomba (All Ages) Thursday 18 July: The Tivoli, Brisbane (18+) Friday 19 July: Arts Theatre: The Arts Centre, Gold Coast (18+) Friday 26 – Sunday 28 July: Splendour In The Grass Tuesday 30 July: Newcastle Civic Theatre, Newcastle (All Ages) Thursday 1 August: Anita's Theatre, Wollongong (18+) Friday 2 August: Enmore Theatre, Sydney (All Ages) Sunday 4 August: Royal Theatre – National Convention Centre, Canberra (All Ages) Friday 9 August: Palace Theatre, Melbourne (18+) Saturday 10 August: Geelong Performing Arts Centre – Costa Hall, Geelong (All Ages) Tuesday 13 August: Wrest Point, Hobart (18+) Thursday 15 August: Thebarton Theatre, Adelaide (All Ages) Saturday 17 August: Kuranda Amphitheatre, Cairns (All Ages) With Additional Special Guests: The Rubens, The Medics and Snakadaktal Sunday 18 August: The Venue, Townsville (18+) Tuesday 20 August: Pilbeam Theatre, Rockhampton (All Ages) Wednesday 21 August: Entertainment Convention Centre – Plenary Halls, Mackay (18+) Sunday 25 August: Astor Theatre, Perth (18+) https://youtube.com/watch?v=Fi8OciiVIA4
Two iconic albums are undergoing a revitalisation procedure that is open to one and all at The Powerhouse on Saturday. The Longplayer Sessions bring two contemporary musical acts together to re-invent two landmark albums in front of a live audience. This monthly showcase has created some truly memorable performances of cherished albums, and August is bound to continue that trend. Dubmarine will be covering The Fat of the Land by The Prodigy while Jackie Marshall will be reinventing the much loved album, Grace by Jeff Buckley. Each performance is sure to re-ignite your passion for the classic albums of the past and could possibly create some interest in new, exciting musical acts.
If you've spent any part of the past two decades dreaming about being a fabulously dressed New York writer who seems to do very little work but can still afford a fantasy wardrobe — or if you've just spent it drinking a lot of cosmos — then Christmas is coming early for you in 2022. Seventeen years after Sex and the City wrapped up its HBO run, the hit series is getting a spinoff, which'll start airing in mid-December. As an early present, it's just dropped a full trailer. That show is And Just Like That..., which was first announced back at the beginning of 2021, and is set to start streaming Down Under next week. The ten-part series reunites Sarah Jessica Parker, Kristin Davis and Cynthia Nixon more than a decade since they last shared a screen in the terrible 2008 and 2010 Sex and the City movies. And, if you're wondering what's in store, the new trailer expands upon the first glimpses seen when the show's release window was announced, and in the first teaser trailer a few weeks back. Once again, Parker's Carrie Bradshaw narrates the sneak peek. And yes, she's still waxing lyrical about life, love, friends, family, sex, New York and all her favourite topics. The famed fictional New Yorker also spends time looking at her shoes, because, as Manolo Blahnik devotees know, it really wouldn't be a Sex and the City-related series otherwise. Also featuring: glimpses of Carrie, Miranda (Nixon) and Charlotte (Davis) going about their lives — and of plenty of other familiar Sex and the City faces as well. The series' main trio don't have Kim Cattrall's Samantha for company this time, but Chris Noth, Mario Cantone, David Eigenberg, Evan Handler and the late Willie Garson all return. Yes, that's Big, Anthony, Steve, Harry and Stanford all accounted for. If you're already planning what you'll be wearing while you watch — we know what you'll be drinking — you'll be able to stream the first two episodes on Thursday, December 9 via Binge in Australia, with new episodes dropping weekly on Thursdays afterwards. In New Zealand, it'll air on Neon and Sky Go from Friday, December 10, with new episodes dropping at 1pm each week. It'll also head to SoHo from 9.30pm on Mondays from December 20. Due to Cattrall's absence, And Just Like That... is being badged as a "new chapter' in the Sex and the City story, rather than an additional season of the existing 1998–2004 program. Parker, Davis and Nixon are also named as producers on And Just Like That..., alongside Michael Patrick King, who worked as a writer, director and executive producer on the original (and on the two movies). Check out the full trailer below: And Just Like That... will start streaming in Australia via Binge from Thursday, December 9. In New Zealand, it'll air via Neon and Sky Go in New Zealand from Friday, December 10, and also on SoHo from 9.30pm on Mondays from December 20.
The dance production, Where the Heart Is, explores the memories and past of a young man who returns to his childhood home as part of a journey of self-exploration and discovery. Early reviews of the production (put together by the Expressions Dance Company) are raving about the amazing choreography and imaginative storytelling, set against the backdrop of an iconic Queensland setting. Grief, happiness, loss and love are all emotional qualities explored in the production, with live musicians evoking the expressive qualities of the story in heart-wrenching detail. All compositions are performed by Pearly Black, with lyrics inspired by David Malouf’s 12 Edmonstone St.
Missed out on tickets to the hugely popular Day of the Dead 3.1 warehouse project, announced last month? You're in luck. An immersive El Dia de los Muertos-inspired experience curated by a group of Mexican visionaries and artists, the Day of the Dead announced plans to visit Sydney on October 24, then Melbourne on October 31 before ending in Brisbane on November 7. While all three cities sold out within hours, and the organisers were inevitably inundated with hundreds of emails requesting tickets, so the Day of the Dead team twisted some arms and managed to increase the event capacity. There'll be a new and final ticket release happening on Saturday, September 26 at 12.30pm, with tickets at $95. Tickets will sell out within hours, so be ready. Get tickets here. Currently sold-out, the Day of the Dead warehouse project takes cues from some of the world's most celebrated immersive spectacles, everything from Burning Man to Sleep No More. The one-off event will immerse ticketholders in a temporary world of interactive art installations, light projections, extravagant costumes, murals created by renowned street artists and an exclusive lineup of local and international DJs and musicians. Pop-ups by a handpicked bunch of Sydney, Melbourne and Brisbane's go-to local Mexican eateries, like Playa Takeria, have been selected to create special Dia de los Muertos menus. Plus, there'll be Mexican cervezas and tequila/mezcal cocktails from the newly announced principal sponsor Tequila Herradura and major sponsor Tequila Jimador to provide you with enough sustenance to dance the night away. With instructions being sent to ticketholders just one week before the event, and locations revealed just one day before the party, this is secret warehouse party business at its best. Honour the dead, celebrate the living. Be ready on Saturday. The Day of the Dead 3.1's new and final ticket release is happening on Saturday, September 26 at 12.30pm. Tickets are $95 and are expected to sell out within hours. Get tickets here. By Kimberley Mai and Shannon Connellan.
Many of Australia's annual cinema showcases focus on one particular country; however, that definitely isn't the Jewish International Film Festival's remit. Surveying the past year in movies with ties to Jewish culture, it fills its program with flicks from around the globe — in 2022, when it returns to Brisbane cinemas, with a lineup of 31 feature films, 25 documentaries, six short films and even episodes from episodes a TV series, in fact. That selection will hit New Farm Cinemas Thursday, March 10–Sunday, March 20 and, and it clearly isn't short on highlights. That obviously includes its bookending titles, with the event opening with Simone Veil: A Woman of the Century and paying tribute to the French feminist icon, then closing with period melodrama Beauty Queen of Jerusalem from Israel. Other standouts and must-sees include The Painted Bird, as based on Jerzy Kosinski's novel and featuring Harvey Keitel and Stellan Skarsgård among the cast; the Cannes-premiering A Radiant Girl, which steps back to the Occupation in Paris in World War II; and Haute Couture, which dives into French fashion. Or, there's also Tiger Within, about an unlikely friendship between a Holocaust survivor and a teenage runaway; the Billy Crystal and Tiffany Haddish-starring Here Today; documentary Hallelujah: Leonard Cohen, A Journey, A Song, focusing on the singer-songwriter and that immensely popular song; and fellow doco Helmut Newton: The Bad and the Beautiful, which turns the lens on the prolific German Austrian photographer.
Since 6pm on Tuesday, June 29, residents of multiple parts of Queensland have been in lockdown to help combat the Sunshine State's latest COVID-19 outbreak. Folks in southeast Queensland, Townsville, Palm Island and Magnetic Island have only been allowed to leave their homes for the four reasons that were identified at the beginning of the pandemic — and, although the stay-at-home period was initially due to end at 6pm today, Friday, July 2, lockdown has just been extended for another day in the Brisbane and Moreton Bay Local Government Areas. In her daily press conference, Queensland Premier Annastacia Palaszczuk revealed that three new locally acquired cases were identified in the past 24 hours, including a mother and daughter from Carindale who've been out in the community in recent days. Those cases require further contact tracing, which is why lockdown has been extended in two specific LGAS. "We need another 24 hours — so I'm really asking people in the Brisbane City Council and Moreton Bay local government areas, the lockdown will continue for 24 hours," the Premier said. Another press conference will be held tomorrow, on Saturday, July 3, to provide a further update for folks in those two LGAs — so if you live in those regions, that's when you'll know if the stay-at-home conditions will continue for even longer. For now, the same conditions that've been in place for the past three days will continue in Brisbane and Moreton Bay at least until 6pm tomorrow. People in these areas are only permitted to leave the house to head out for essential work or education if you can't do that at home, for essential shopping, for exercise in your local area, and for health care or to provide support for a vulnerable person. Otherwise, you must stay at home during the extended lockdown period. Also still in effect: a limit of two visitors in homes, compulsory mask wearing unless you're in your own house and takeaway service only at hospitality venues. Cinemas, entertainment venues, recreational venues, gyms, and beauty and personal care services all must remain closed. https://twitter.com/AnnastaciaMP/status/1410728959596060675 For residents of the other spots that've been in lockdown for the past three days — the Logan, Redlands, Ipswich, Noosa, Sunshine Coast, Gold Coast, the Scenic Rim, the Lockyer Valley and Somerset LGAs in southeast Queensland, plus Townsville, Palm Island and Magnetic Island — the stay-at-home requirement will lift at 6pm today. So, folks in those areas will be able to leave their homes again for any reason. That said, new rules will limit what you can do, where and with how many people, as we've all become used to during the pandemic. Before lockdown started on Tuesday, a number of rules were actually put in place across Queensland — and they're all returning in the areas that'll be emerging from stay-at-home conditions. The 30-person limit on at-home gatherings is back, and that cap includes folks who live with you. Standing up at cafes, restaurants, bars and nightclubs has been scrapped again, and hospitality businesses will also have to operate under the one person per four-square-metres rule. The usual requests regarding social distancing, hygiene and getting tested if you're feeling even the slightest possible COVID-19 symptoms all still apply — to the Brisbane and Moreton Bay LGAs, and to the areas coming out of lockdown — as they have since March last year. In the past 24 hours until 6am this morning, Queensland reported three new locally acquired cases, with 46 cases currently active in total in the Sunshine State. Queensland Health is maintaining an active register of locations that have been visited by positive COVID-19 cases, which you can check out on its website. You can also check out this nifty map that uses Queensland Health's data. The Brisbane and Moreton Bay Local Government Areas will remain in lockdown for another 24 hours until 6pm on Saturday, July 3. For more information about the status of COVID-19 in Queensland, head to the QLD COVID-19 hub and the Queensland Health website. More details about the lockdown and associated restrictions can also be found on the Queensland Health website.
Games of Thrones is the world’s most pirated TV show, The Avengers made more than $1.5 billion at the box office and even the President of the United States once collected Spider Man comics. In other words, it’s pretty cool to be a nerd these days. Just ask avid Dungeons and Dragons player Vin Diesel. The ultimate celebration of everything geeky, the Supanova Pop Culture Expo hits the Brisbane Convention Centre on November 28-30. From cosplay comps to comic book signings and photo opportunities with sci-fi and fantasy icons, it’s a three day mecca of uninhibited, unironic nerdiness that attracts thousands of eager pilgrims every year. Of course such an event can seem overwhelming, especially to the uninitiated. So, whether you’ll be attending in your fully functioning Iron Man costume, or experiencing the convention for the very first time, check out our recommendations before you go.
If you are in any way familiar with the electronic scene in Australia (listening to Flume doesn't count), then you may have heard of Luke Dalton. The name might not ring a bell, but his stage name, Tincture, might. Also, you might know of a Brisbane-based label called Silo Arts, who are pioneering the Australian electronic sound and helping to spread it around the world. If these names are unfamiliar to you, fear not, you'll be hearing them a lot in the future, I'm sure of it. Tincture has been slowly releasing tracks for the past few years and has recently stepped up his game by releasing Tryst, his debut EP. It is a gorgeous piece of production work, with unique beats, soothing vocals and a caressing synth-driven ooze that wraps you up tight. On the back of some shows (including one supporting Baths) we had a chat to Luke about his music, his live show and what is new for Silo in 2014. You're having a pretty good 2014 so far, big supports, lots of shows, a new EP, a label to run — you must be a busy guy, right? Man, it's actually really hectic — sometimes I feel like I've bitten off far more than I could possibly ever chew. Plus I've got uni and work on top of that, and Dark Souls 2 just came out. Tell us about your new EP, Tryst. How long has it been in the works? Way too long. Sitting on music and not being able to show people is a very painful experience. I really just wanted to know what people thought of it. It's also mainly my fault as well as I didn't get my stuff together quick enough for a mid-2013 release; then uni took over and the EP took a back seat. How has your music been received so far? It's been pretty great, blogs have been responsive and it's got some great radio coverage. I couldn't really ask for much more. I'm not really dwelling on the release though, I'm just determined to try and get more music out as soon as possible. You've had some big supports lately, including Baths last week. What can people expect from a Tincture live show? I used an MPD to trigger samples, so there's a lot of that going on. I also play synths using this little panel of squares called a Launchpad, and obviously I'm singing pretty much the whole time too. I try and change it up a bit every now and then with a few darker instrumental tracks, depending on how the crowd are responding. You are one of the creative minds behind the successful Silo Arts Label. Can you give us any insight into Silo's plans for 2014? So far the only things we've got slated are releases. We've just dropped Rainbow Chan's LP on vinyl, so we're really focusing on pushing that at the moment, and then we've got a bunch more stuff coming out through the rest of the year. Happy to say our release schedule is pretty packed at the moment, so keep an ear out! Tell us your thoughts on the electronic production scene in Brisbane and Australia as a whole, how do we stack up to the rest of the world? I don't feel that Brisbane has a very supportive electronic scene with regards to production. The Kush Club are doing amazing things, bringing out underground internationals, but in terms of an electronic night with a local focus, there's not too much going on. I don't want to be a hater, there are heaps of rad producers in Brisbane, but it could be so much better if there was a stronger local interest to bring all of those likeminded people together. That's what we've tried to do with Silo, but unfortunately almost every Brisbane club has yielded to the almighty dollar. As a Brisbane-based artist, what do you like about your city, culturally? Not being able to go anywhere without running into at least three people that you know. PS, this is a joke. Do you have any favourite haunts to eat, drink and party? I'm going to be real and say I barely ever go out anymore. But when I do, my favourite place is probably the Brunno [The Brunswick Hotel, for the uninitiated]. There is something magical about open-mic karaoke on Thursdays; it will always have a special place in my heart :') Tryst is now available through Silo Arts and iTunes. You can catch Tincture on the Gold Coast at LILT on April 4.
Gomez are on their way back to Australia. Their seventh studio album since they formed in 1997, Whatever’s On Your Mind, maintains the strongest aspects of Gomez’s sound. With gritty vocals that tear through carefully arranged background harmonies and electronic-dance sounds, the album has a spirit that is overwhelming and free-spirited but at the same time shows the maturity that the band have gained over their nearly two decade long career. Chunky guitar and beautifully lush dynamics bring an ever changing pace to the record, and keep it constantly fresh, with a thrusting drive that keeps the listener on the edge. Gomez’s sound incorporates a wide range of musical elements. With flavours of blues, psychedelia and krautrock, and influence from the likes of Beck, The Doors, Jimi Hendrix, Joni Mitchell and Marvin Gaye.
Since its inception, triple J Unearthed has helped jumpstart the career of several young bands from all corners of Australia. After recently announcing the winner of the 2012 Unearthed High competition, several favourites from the competiton and a previous winner will be performing an exclusive show at the Brisbane Powerhouse. 2009 winners, Hunting Grounds (pictured), will perform a selection of powerful rock tunes and will show why they were deserved winners of their competition. 2012 winners ASTA and 2012 finalists Jessica Cerro & Tyler Touche will also perform. This rewarding competition has given many musicians the support they needed to begin their musical career; come along and see how far they have progressed.
Keeping up to date with contemporary architectural trends is like watching a science fiction movie. Leaning towers, spiral buildings, the world's longest skyscraper, a structure that hangs from an asteroid — what's next? Add super skinny towers to the list, and expect to see them popping up soon. Sure, not the most earth-shattering idea ever, but they're tall, thin, and there are plans to build one on the Gold Coast. A development application has been lodged for a new $200m project at 2 Wharf Road, Surfers Paradise, aiming to place a block of narrow apartments as close to the beach as possible. The 42-floor building would include a detached three-storey townhouse, 35 single-floor units, a two-storey sub-penthouse and a three-storey penthouse. A space called a 'neighbourhood store' will also feature. For those pondering aerodynamics — a reasonable concern when you put a skinny structure in a place where it'll be constantly battered by the sea gusts — the application claims that the design has been "optimised to reduce wind loads on the tower". It's proposed that the building's diagrid exoskeleton will "add torsional stiffness", aka make sure it doesn't twist and bend. You'd hope so. Don't go thinking that popping a huge grid over the outside will infringe on the apartments' scenic vistas, however, as every floor boasts two balconies. Sure, the tower looks like it could get knocked over by a breath of air at any moment, but it'll have one heck of a view. Via Brisbane Development. Images: Rothelowman.
It was 35 years ago in the original 1977 Star Wars film that Princess Leia called for the help of Ben Obi-Wan Kenobi through holographic messaging. At the time we thought anyone would be out of their mind to think such a thing would be possible. We were wrong about a lot of things back in 1977. Educated as an industrial design engineer but always fascinated by lights, Japanese artist Makoto Tojiki turned his head to creating art in 2003 and for five years has worked on his life sized light sculptures. Through the medium of thousands of LED lights and optical fibres, the futuristic celestial like sculptures approach the idea of 'physical presence' in an illuminating way. Tojiki explains his stunning 'No Shadow' light installation sculptures: "An object is seen when our eyes capture light that is reflected from the object. If we extract just the light that is reflected from ‘something,’ are we still in the presence of that 'something?' Using contours of light, I try to express this 'something.' Playing with perception and space, Tojiki encourages the audience to interact with his sculptures from different angles and distances, in turn altering viewer experience. Despite the international success of Tojiki's artworks, his talents are not limited to LED sculptures. Dabbling in interior design and jewellery, Tojiki hopes to see his artworks integrated with fashion brands and featured at events, stores or showrooms. For all you Harry Potter fans, check out Tojiki's 'Horse with No Shadow' installation. Created for Hermes, and probably with no connection to the wizarding world whatsoever, I can't help but see a comparison to Harry Potter's Petronus charm. [Via The Cool Hunter]
The Gold Coast is roughly 12,000 kilometres from Mexico, but that won't stop holidaymakers from enjoying a tequila-soaked vacation in Coolangatta. Forget paying for an airfare to the other side of the world — head to the Glitter Strip instead for a getaway at The Herradura Hacienda, the new margarita-inspired room that's now open for bookings at The Pink Hotel. With its eye-catching exterior and beach views, The Pink Hotel is a Coolie icon anyway, but a stay there can now come with agave spirits. As the new suite's name makes plain, this margarita wonderland is a collaboration with Herradura Tequila, aka Mexico's last tequila-producing hacienda. The vibe inside: 'cosmic disco' meets 'neon jungle'. As well as colourful decor — neon signs, leafy prints, disco balls and a wall of mirrored titles do indeed feature, as well as plants, plus various pink, green and sparkling hues — a night here includes bespoke Herradura margaritas. For an extra fee, you can also get an hour with a bartender to mix your 'ritas in your room. The suite's hero marg is a watermelon and pink pepper number, but Herradura and Capi palomas and boozy pink lemonades help fill out the drinks menu. Unsurprisingly, this package is around for a good time, not a long time. Costing $389 on weeknights and $489 on weekends, it's on offer until Sunday, June 4; however, the revamped room itself isn't going anywhere afterwards. That said, if you can't make it along till then, you will need to pay extra for your margs and other Herradura Tequila trimmings, rather than getting them included in your room rate. "We are extremely proud of the unique offering our hotel brings to the Gold Coast and are thrilled for our guests to experience The Herradura Hacienda pop-up," said Freya Frenzel, General Manager at The Pink Hotel Coolangatta. "The room has all elements of The Pink Hotel that people know and love, with a fun twist!" Getting in quick is recommended, with The Herradura Hacienda available to book via The Pink Hotel, Booking.com, Expedia, Airbnb, Agoda, Qantas, Trip.com, Hotels.com, Hotel Network and Yonda. And whether or not you're a tequila fiend, a trip to The Pink Hotel involves kicking back in a refurbished boutique accommodation spot that dates back to the 50s, reopened in 2018, and combines Scandinavian and mid-century design. Guests can enjoy being opposite the beach, too, and just a three-minute walk from Coolangatta's shops and bars. Or, you can hit up the rooftop, and the onsite restaurant and bar. The Herradura Hacienda is available to book The Pink Hotel, 171 Griffith Street, Coolangatta, with all the Herradura Tequila trimmings until Sunday, June 4 — and with them available at extra expense afterwards. Head to the hotel's website for further details and bookings. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips — including at The Pink Hotel — with deals on flights, stays and experiences at destinations all around the world.
Welcome to the grid on the Gold Coast. When the Big City Lights* festival makes its 2024 comeback, one of its 39-plus artworks at more than 40 locations will take its cues from TRON. At the Southport TAFE Building, thanks to Mick Ludvik at Event Lasers, beams will turn the skyline into electric pathways — and you'll feel like you're plunging into the 80s-born sci-fi franchise before third film TRON: Ares hits cinemas in 2025. Sydney has Vivid. Melbourne boasts RISING. In Adelaide, it's all about Illuminate. Tasmania has Dark Mofo, even when it is taking a year off. We're talking about winter festivals that are all about dazzling sights, often twinkling lights, plus culture, music and design, of course, with the Gold Coast adding to the list in 2022 with Big City Lights*, too. The southeast Queensland event announced in late 2023 that it'd return in 2024, and now it has unveiled its program. [caption id="attachment_928347" align="alignnone" width="1920"] Art Work Agency, Claudio Kirac[/caption] Other artists involved across not only the lights and installations, but on the live music and performance bill, include Joan Ross, Justene Williams, Judy Watson and Vernon Ah Kee, as well as Erik Griswold, Yuriyal Bridgeman, Lawrence English and Julian Day. Their contributions vary; Ross' Always the Last One at the Party will be projected across the surface of Australia Fair Tower, exploring the impact of colonialism in Australia with plenty of fluorescent yellow hues, for instance. Williams is giving Hutong Gardens Light and Breath, a video of skating dancers and psychedelic colours, as inspired by Johannes Itten's colour wheel. Griswold's The Tides Advance on Australia Fair will also be a must-see as it rolls through Southport's streets, taking waves well beyond the ocean. The piece ponders a time when the sea reaches Australia Fair and the lanes around it, with the work featuring music that's in synch wit the IRL waves at Southport Spit. Or, thanks to experiential design consultancy PropMill, Undercover Worlds will add an extra layer to the landscape on Nerang Street. When Big City Lights* debuted two years back, it ran as a four-day pilot program. Now, after attracting more than 15,000 attendees and proving a success, it will span Friday, June 21–Sunday, July 7, 2024, running Friday–Sunday each week. The location is still Southport, clearly, and the focus remains experience stunning art via a self-guided program that gets you walking around the Goldie. You'll just have longer to enjoy it. Big City Lights* is also still free — making the price right to head along, including to scoot down the highway from Brisbane. As the above standouts make plain, attendees will get immersed in audio-visual experiences, such as projections popping up in unexpected locations, towering large-scale digital works and 3D mapping. You'll also see the Southport CBD's facades and laneways in a whole new light quite literally. "The Big City Lights* festival reimagines Southport CBD as one big outdoor gallery. The artworks curated will delight and hopefully, catalyse conversations connected to place, urban development and contemporary culture," said Big City Lights* Artistic Director Rosie Dennis. "With strong representation by some of Queensland's most significant visual artists including Vernon Ah Kee, Judy Watson and Yuriyal Bridgeman, alongside nationally significant artists Joan Ross, Justene Williams and Eugenia Raskopoulous, this free festival, which plays at the intersection of art, architecture and urban design, is an incredible new cultural offering for the GC." Big City Lights* will run from Friday, June 21–Sunday, July 7, 2024 in Southport on the Gold Coast. For more information, head to the festival's website. Images: Claudio Kirac, Art Work Agency.
Something wicked this way comes: the first trailer for the 29-years-later sequel to Hocus Pocus. Yes, The Sanderson sisters are back in this follow-up to beloved 1993 favourite, with the trio wreaking havoc in modern-day Salem. For viewers, they'll be getting witchy on Disney+ in the lead up to Halloween. The Mouse House's streaming platform sure does love dropping seasonal-themed movies at the appropriate times. Here's hoping this one turns out better than last year's Christmas-focused Home Sweet Home Alone, though, when it hits the platform on Friday, September 30. Three things that Hocus Pocus 2 instantly has in its favour: original stars Bette Midler (The Addams Family 2), Sarah Jessica Parker (And Just Like That...) and Kathy Najimy (Music), all returning as Winnie, Sarah and Mary Sanderson. In the new film's first sneak peek, the magical trio make a reappearance thanks to a different threesome — a trio of teenage pals who, early in the teaser trailer, are told that "it's on the 16th birthday that a witch gets her powers". Cue a black cat, a book of spells, chanting in a graveyard and big The Craft vibes. Soon, cue Winnie, Sarah and Mary as well. Story-wise, Hocus Pocus 2 obviously follows what happens next, as the Sandersons try to unleash their child-eating ways — and the high schoolers who conjured them up attempt to stop them before dawn on All Hallow's Eve. It's been 29 years since someone last lit the black flame candle which resurrects the 17th-century sisters in the movie's world, just as it has in our own, and the witches aren't happy about it. "Lock up your children," Winnie cackles, of course. Yes, Midler makes the line count. Hocus Pocus 2 also features Sam Richardson (The Afterparty), Doug Jones (The Shape of Water), Hannah Waddingham (Ted Lasso), Whitney Peak (Gossip Girl), Belissa Escobedo (American Horror Stories), Lilia Buckingham (Dirt), Froyan Gutierrez (Teen Wolf) and Tony Hale (Veep). While the original film was directed by Kenny Ortega — before the filmmaker gave the world the High School Musical movies — this one has Dumplin', Hot Pursuit and The Proposal's Anne Fletcher behind the lens. Check out the trailer for Hocus Pocus 2 below: Hocus Pocus 2 will be available to stream via Disney+ on Friday, September 30. Images: courtesy of Disney Enterprises, Inc. © 2022 Disney Enterprises, Inc. All Rights Reserved.
With the recent spurt of public holidays, weekends have never been more packed with party fun-times. But just because we now have to wait 'til the Queen's birthday to enjoy another blissful long weekend doesn't mean we can't keep getting the most out of our days off. Held at Oh Hello and hosted by Cheated Hearts, there is a new kid on the block in the world of Sunday sesh's that'll brighten your weekend. Its name is Lucky and it is premiering this weekend with its first Sunday evening packing a punch. From 8pm onwards there will be DJs such as Snatcher, Frankie Trouble and Lu-na making sure the weekend vibes don't end prematurely. The monthly event is designed for lovers of house and will set you back 10 bones for entry. Get in the party zone with Frankie Trouble's sweet mix.
End times really are upon us — end times for Good Omens, that is. The beloved series about an angel and a demon teaming up to stop the apocalypse has locked in a third season; however, this'll finish its on-screen story, with Prime Video revealing that the Michael Sheen (Best Interests)- and David Tennant (Ahsoka)-led show will return for one final run. "I'm so happy finally to be able to finish the story Terry and I plotted in 1989 and in 2006. Terry was determined that if we made Good Omens for television, we could take the story all the way to the end," said Neil Gaiman, with the series based the 1990 novel Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch that he wrote with fellow fantasy author Terry Pratchett. "Season one was all about averting armageddon, dangerous prophecies and the end of the world. Season two was sweet and gentle, although it may have ended less joyfully than a certain angel and demon might have hoped." "Now in season three, we will deal once more with the end of the world. The plans for armageddon are going wrong. Only Crowley and Aziraphale working together can hope to put it right. And they aren't talking," Gaiman continued. Exactly when the series will stream its final season hasn't been revealed as yet, but filming is set to start in Scotland soon, Prime Video advised. So, that should mean that fans won't be in for a four-year wait to see Sheen as the angel Aziraphale and Tennant as the demon Crowley again, as happened between season one and season two. Who else will return among the cast also hasn't been announced — but Jon Hamm (Fargo), Doon Mackichan (Toast of Tinseltown), Gloria Obianyo (Dune), Miranda Richardson (Rams), Maggie Service (Life) and Nina Sosanya (His Dark Materials) have been key parts of the show since season one. Neil Gaiman is back as executive producer, writer and co-showrunner, helping guide yet another season that expands past its source material. "Good Omens has checked every box for a clever, witty and funny comedy that not only made it a success on Prime Video, but also made 'goodness' watchable and fun thanks to Neil and Terry's immense creativity. The final season is sure to be packed with the same dynamic energy that our global customers have come to enjoy," said Vernon Sanders, Amazon MGM Studios' Head of Television. "We're delighted to see Crowley and Aziraphale returning after breaking our hearts in season two. Seeing award-winning duo David and Michael reunited will be such a joy. We only wish Terry was here to enjoy the ride with us," added Rob Wilkins, Good Omens' executive producer. There's no sneak peek at Good Omens season three yet, but you can check out the trailer for season two below: Good Omens doesn't yet have a release date for season three, but streams via Prime Video. Read our review of season two.
We've all experienced a date from hell and heard horror stories from friends that have made us squirm. On the opposite end of the spectrum, sparks can fly on the first date leading people to 'just know' they have found their special someone. Ride on Theatre have developed a unique show, The Blind Date Project to encapsulate the embarrassing moments and the endearing ones that can arise when two people first meet in the hope of finding love. The performance begins with Anna (Bojana Novakovic) sitting alone in a karaoke bar, waiting for a date that she has only conversed with online. However, The Blind Date Project is much more than two skilled performers reciting lines. What follows is completely improvised as each night Anna is greeted by a different performer. Direction for their interaction is only received in the form of phone calls and text messages. The Blind Date Project is an entertaining and raw production as the audience will be able to recall similar experiences of awkwardness and excitement. Anna could be anyone of us battling our butterflies as we wait for the unknown. The Blind Date Project received raving reviews in Melbourne and now it's your chance to catch this one of a kind show in Brisbane.
Much of 2017 might seem like it has been ripped from an episode of Black Mirror, but the real thing is about to show us just how grim the future could be. The Charlie Brooker-created TV show is set to return for its fourth season later in the year, and it has dropped its first sneak peek. Spoiler: things really do look grim. Headed to Netflix at a yet-to-be-revealed date, the new Black Mirror will consist of six instalments filled with more unnerving satire about humanity's relationship with technology. Although the new clip is really just that, announcing the series' episode titles with suitably moody snippets, expect snowy peaks, spooky blonde-haired kids, Star Trek-style space jaunts, monstrous robots and more. Each new chapter's moniker is certain to pique plenty of interest, with names such as 'Arkangel', 'Black Museum', 'Crocodile', 'Hang the DJ', 'Metalhead' and 'USS Callister'. In addition, the new season's directors and main cast members have also been revealed. Brooker himself wrote every new instalment, while the likes of Jodie Foster, Australian filmmaker John Hillcoat (The Road, Triple 9), Peaky Blinders' Colm McCarthy and American Gods' David Slade are sitting in the helmer's chair. On screen, expect a cast that includes La La Land's Rosemarie DeWitt, Nocturnal Animals' Andrea Riseborough and Fargo's Jesse Plemons getting up to the kind of sci-fi antics that no one wants to dream of. Check out the trailer below in preparation for a whole new round of futuristic bleakness. https://www.youtube.com/watch?v=oH85obU350E
Whether you're a big nature nerd or err on the indifferent side to the science of it all, chances are you've seen at least some of Sir David Attenborough's Planet Earth. The BBC nature documentary series — narrated by the man himself and accompanied by an epic score from Hans Zimmer — first aired back in 2006, and its follow-up second season, Planet Earth II, was released just two years ago. But the bits you've seen on TV or YouTube are sure to be belittled when the BBC brings the live show to Australia this April. Like the performances of Harry Potter and Star Wars we've seen in recent months, Planet Earth II Live in Concert will see the documentary screened in all its glory accompanied by a live orchestra. And it's a big sore. The music for Planet Earth II was composed by none other than Hans Zimmer (responsible for epics like The Lion King, Gladiator, The Dark Knight Rises and Inception) alongside Jacob Shea and Jasha Klebe. In Australia, the score will be performed by four of the country's leading orchestras with conductor Vanessa Scammell and, in lieu of Attenborough, Eric Bana will be narrating in real time. The show will travel around Australia from April 27 until May 4, visiting Perth, Melbourne, Brisbane and Sydney for just four shows all up. Tickets go on sale next week. In the meantime, you can watch ehe first season of Planet Earth on Netflix. PLANET EARTH II LIVE IN CONCERT TOUR DATES April 27 — Perth Arena (with the West Australian Symphony Orchestra) April 29 — Plenary, Melbourne Convention and Exhibition Centre (with the Melbourne Pops Orchestra) May 1 — Brisbane Entertainment Centre (with the Queensland Symphony Orchestra) May 4 — International Convention Centre, Sydney (with the Sydney Symphony Orchestra) Planet Earth II Live in Concert will tour Australia from April 27 – May 4, 2018. Presale tickets will go on sale at 10am tomorrow, Friday, February 16. The rest will go on sale at 3pm on Tuesday, February 20. For more info, visit ticketek.com.au.
It may sound like a sci-fi gimmick every time you read about it, but virtual reality is truly almost in your hands. From high-end military training software to 360° porn, VR technology has come a long way since the Nintendo Virtual Boy in the ‘90s. Tech giants including Google, Facebook, Microsoft and Sony have all bought into the craze and are working frantically on commercially viable hardware. Now lightweight camera manufacturer and BFF to extreme sports GoPro is getting in on the action well. Snowboarding videos will never be the same. The American company has confirmed it's set to purchase Kolar, a small French software startup that specialises in panoramic video. GoPro already makes a multi-directional camera mount capable of shooting 360° video, footage that the Kolar software can then stitch together. As part of their announcement, GoPro released a video of what that looks like — although unless you want to give yourself a serious headache, you’ll need to watch it in Google Chrome. https://www.youtube.com/watch?v=pMBDA-Our4w According to a statement by GoPro CEO Nicholas Woodman, "GoPro's capture devices and Kolor's software will combine to deliver exciting and highly accessible solutions for capturing, creating and sharing spherical content." Spherical content. The immersive video will initially be compatible with Google Cardboard — Google's ultra low budget cardboard mount that turns your smartphone into a kind of DIY virtual reality headset — before being expanded to work with other, higher end systems such as Oculus Rift and Samsung Gear VR. Via Quartz. Top images: GoPro.
However many pieces of Lego exist in the world, they're generally associated with younger fans, although everything from adults-only Lego nights to bars built out of connecting bricks have been testing that idea recently. Now, the Danish brand itself is not only embracing its adult Lego aficionados, but has created a set specifically designed to reduce stress. Think of the company's new Lego Forma line as its version of adult colouring books. Crowdfunded via Indiegogo but definitely a legitimate Lego endeavour, Forma is all about encouraging adults to get creative. The fish-themed set consists of a base koi model, which customers build from 294 pieces, including a gear system that lets the finished model move in a life-like way. While each set comes with a basic snap-on koi skin, Lego fans can also add one of three others: a shark skin, a colourful 'splash' koi skin and a black-and-white 'ink' koi skin. The foil skins are also customisable (so you can break out your colouring pencils and markers if you like), and the whole thing takes a couple hours to put together. At the moment, Lego Forma is in the pilot stage, which is one of the reasons that Lego has opted to release its first model via Indiegogo — and in the US and UK only. The limited short-run batch "is primarily designed to learn whether there is an appetite and market for the product, more so than driving revenue", explains the company. After feedback on the first run, a more global approach to releasing sets like Lego Forma is planned. Lego Forma follows in the footsteps of Lego's new sustainable, plant-based pieces, with the brand clearly keeping an eye on environmental concerns — and on the fact that everyone plays with Lego as a kid, and still retains a soft spot for its hard brick pieces as an adult. Fingers crossed that Lego Forma expands its range and makes its way Down Under in the future. For more information, visit the Lego Forma Indiegogo site. Images: Lego.
As if the shorter days and cooler evenings weren't already reasons enough to turn to comfort foods, these strange times are causing us to do so now more than ever. And up there with the ultimate belly-warming bites are those from Taco Bell. The Tex-Mex giant now boasts seven stores in Brisbane, so if you're a big fan of Mexican-inspired food, chances are you've already started to make your way through its extensive menu. And, in some very good news, you can keep the flavour fiesta going while stuck at home in isolation. Yep, Taco Bell has teamed up with Menulog to offer free delivery for a limited time from some of its outposts across the city. That means you and your housemates can get stuck into its signature tacos, cheesy quesadillas and the fan favourite Crunchwrap Supreme, which is stuffed with your choice of meat, nacho cheese, sour cream, lettuce, tomato and crunchy tostada shell, without being stung with delivery fees. And don't worry if you live alone or nobody else is hungry as there's no minimum spend — not that we'd judge you for ordering all of those tasty items mentioned above solo anyway. So, if you're all tucked up in your blanket burrito and suddenly get a craving for an actual burrito, you can stay cosy and warm inside your home while the food comes to you. All you need to do is head to Menulog and find out the closest Taco Bell store to you to place your order. Not within the delivery radius? The stores are still open and offering contactless takeaway and drive-through, too. Taco Bell is offering free delivery across Brisbane via Menulog with no minimum spend for a limited time only. To place your order, head here. https://youtu.be/kaqlWl0DKxM
It's a truth universally acknowledged that dads are absolutely, 100 percent, without a doubt the hardest people in our lives to buy gifts for. They don't really want or need much — and they tend to buy whatever they do need for themselves anyway. If you're like us, you probably have a default roster of generic items that you keep on rotation for special occasions. But let's be real: Dad doesn't really need another pair of socks. And he still hasn't cracked the cover of the last book you bought for him. So, we're here to help you out. Together with Maker's Mark, we're giving away an excellent whisky-themed gift pack that'll take Dad's after-dinner tipple to the next level. Valued at $450, this prize pack has a bunch of liquor cabinet essentials, including a bottle of Maker's Mark, an ice stamp, two glasses and a barrel head. And if you really want to cement that coveted favourite kid status, fix him a drink after he's unwrapped the gift — keep an eye out for our recipe guide, which is coming soon. To be in the running, enter your details below. [competition]779157[/competition]
It's clear that more Londoners want to ride their bikes more often than ever before. In fact, between 2001 and 2011, the number of them cycle commuting to work doubled. The problem is, though, that the city's rabbit warren-like infrastructure doesn't always mean there’s enough room for two-wheelers, taxis and regular vehicles to share the road harmoniously. A $1.4 billion, 24-kilometre cycle super highway, initiated by Lord Mayor Boris Johnson, has made many a journey much smoother. But, to many bicycle-inclined minds, it’s just the beginning. Earlier this year, architect Lord Norman Foster put forward SkyCycle: an elevated, car-free bike path that would see cyclists cruising around above London, E.T.-style (kind of). And now, there’s a new proposal in the works: the Thames Deckway. It’s a 12-kilometre long cycle path that would float on the River Thames. Created by a group of engineers, architects and artists who’ve named themselves the River Cycleway Consortium Ltd, it would start at Battersea in the West and stretch all the way to Canary Wharf in the east, sitting quite close to the river’s south bank. So it would be well out of the way of the barges, ferries, rowers and paddlers who travel along the primary navigation channel. Cyclists would be able to hop on and off the route at various points via embankment ramps, where kiosks would offer refreshments in the way of snacks and beverages. The path would cater, not only to commuters, but also to those out for a leisurely recreational ride, and would be designed to rise and fall according to tidal changes. To minimise potential dangers, an elaborate system of sensors and satellites would alert the land-bound world to threats and hazards. "London needs to think outside the box of conventional solutions to solve its deep-seated traffic and pollution problems," a spokesperson said in a media statement. "The Thames offers vast, untapped potential to ease and improve London's infrastructure problems. What is needed is imagination to unleash it." The Consortium, which was established by London-based artist Anna Hill and architect David Nixon, and includes engineering company Arup and Hugh Broughton Architects, would need to raise 600 million GBP from private investors to put the plan into action. Cyclists would be charged 1.50 GBP per ride, to go towards maintenance. Via Dezeen.
