It was back in 2000 that the Gold Coast gained its own Versace-branded hotel, letting cashed-up guests and plenty of celebrities enjoy a five-star stay surrounded by the fashion house's aesthetic. Beyoncé and Jay Z, Paris Hilton and The Rolling Stones have all stayed there. Everyone in Australia has heard of it. But the Palazzo Versace is no more — instead, it's now the Imperial Hotel. In April, it was announced that Versace wouldn't be renewing its agreement with the hotel, which has been put up for sale multiple times during its existence. Now, since Tuesday, August 1, the site has unveiled a new name, plus plans for a refurbishment. That star rating remains, as does the venue's exterior and famed antique entryway chandelier, plus its lobby furniture and bespoke tableware. But the Imperial Hotel's 200 rooms will get a makeover as part of the rebrand — still surrounding guests with luxury, of course. "The Imperial Hotel will retain the essence of Palazzo Versace's grand legacy, and will continue to offer the highest standard of luxury and impeccable service, to ensure an unforgettable stay for our guests", said Imperial Hotel General Manager Richard Clarke. "With the dawn of the Imperial Hotel, we are committed to exceeding expectations and redefining the boundaries of luxury hospitality. We are thrilled to welcome our first guests, and we extend our heartfelt appreciation for their support." Also changing: the menus at Imperial Hotel's restaurants. Exactly what signature eatery Vanitas, the seafood-focused Il Barocco and high tea-slinging spot Le Jardin will soon be serving is yet to be revealed. Obviously, the Pacific Ocean and Gold Coast Broadwater views aren't going anywhere, nor the option to stay in multi-bedroom condominiums including on the rooftop and with private plunge pools. And yes, as it has been for more than two decades under its past moniker, Imperial Hotel is still firmly a treat yo'self kind of getaway spot. Find Imperial Hotel at 94 Seaworld Drive, Main Beach on the Gold Coast — and head to the hotel's website for bookings and further details. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
In a year that's brought news that more Ted Lasso is on the way and is also delivering a 29-years-later sequel to Happy Gilmore, Stick is the right series for the right moment. There's no American in the UK at its core. None of its characters would prefer to be playing ice hockey, either. It's a golfing underdog story about attempting to score a pivotal tournament spot, however, and hails from the streaming platform that made the world now think of soccer whenever Jason Sudeikis pops up. Stick also knows that warmhearted, big-feeling comedies about the supportiveness of found families make for must-see viewing when they find the right swing — and, with that task, it hits the TV equivalent of a hole in one. The show's namesake is Pryce 'Stick' Cahill, a professional golfer-turned-golf store salesman — and a figure with the type of laidback yet vulnerable demeanour that Owen Wilson (Loki) excels at. He's not the person trying to make it into the sport's big leagues, though. Pryce has been there and done that, reaching number 18 in the world until his career ended unceremoniously with an on-the-green meltdown. Little has looked up for him since, and he starts the series mid-divorce from but still yearning for Amber-Linn (Judy Greer, The Best Christmas Pageant Ever) while living in their old shared home. Then, at a driving range, Pryce spies teenager Santi (Peter Dager, Insidious: The Red Door) smashing golf balls off the turf with pure raw talent. Stick, the show, now has its prodigy. Stick, the character, has a mission to help him unlock his talent. Initial roadblocks come courtesy of Santi's disinterest in Pryce's plan, the latter's fondness for a hustle, and needing to convince the 17-year-old's doting single mother Elena (Mariana Treviño, Caras Vemos) that the three of them should take to the road to chance a shot at getting into the amateur championships. Requiring wheels, Pryce then enlists his gruff ex-caddy Mitts (Marc Maron, The Order) to join them, RV in tow. Soon, this quartet adds a fifth member as well, when Santi befriends golf-club bartender Zero (Lilli Kay, Yellowstone). What appealed to Wilson about starring in Stick? "I really liked the idea of a second chance and the idea of needing people to believe in you. And Santi needs that, but Pryce certainly needs it," he tells Concrete Playground. "I find that a moving dynamic and something that I really believe in in real life, that people benefit so much when somebody has some confidence in them. And I just see that — even learning to drive, my dad was uptight and I was more likely to make a mistake with my dad driving because I could feel his energy. And then sometimes you have somebody like my grandmother, just loved me and I could do no wrong, and you'd sometimes do better with that. So I just like that part of the story." Series creator Jason Keller, who also co-penned the screenplays for films Mirror Mirror and Ford v Ferrari, has described Pryce as being at "a place in his life where the story he tells himself no longer works anymore". Wilson quickly came to mind for the part — as did Maron for Mitts — but as the former flags, he's not the only one in need of a new start in Stick. Accordingly, this ragtag crew's journey shares a key commonality with the path of every ball hit on a green: trying to find where they fit. Grief, loss, disappointment, unreasonable expectations and life's unfair twists have haunted this group, leaving them searching for their own niche. Stick is also about caring, even if that means that sometimes that heartbreak or other negative emotions arise as a result. Greer's only experience of the show's main sport going in was "watching my father come home after playing golf in the worst mood I've ever seen a man be in in his life", and so would think to herself "as a child, 'why would anyone do this to themselves? Why?'," she explains. Wilson has the perfect take on that. "Is it that thing of 'it's better to feel bad than not feel anything at all?'. So, rather than just being kind of an automatron, like sometimes we can get into, maybe feeling terrible is good?" he notes. "Because the idea that you care about something, that something has the ability to make you feel that way — because if it can make you feel that bad, well, there's going to be a day where you do connect and it's going to make you feel really good." That insight is indicative of a series lead who Maron notes is "a collaborative guy" and "always willing to work with you and elevate the scene", Treviño describes as eager to "engage emotionally and in the level of comedy that we had to do it, but also on the human level" — and who Dager, who secured the part of Santi via a self-tape audition after the producers had looked at around 600 other actors, advises that he learned from in a similar way that his character does from Pryce. We also spoke with Wilson, Dager, Maron, Treviño and Greer about everything from Dager's pivotal casting to golf's lessons (and golfing lessons), underdog stories, RV life, intergenerational tension and more. On What It Meant to Dager to Score Such a Key Role in Stick Peter: "I couldn't quite believe it. I still remember the day — I got cast the day after my 21st birthday. I was with my dad and I got the call from Jon and Val [Ruby Sparks and Battle of the Sexes' Jonathan Dayton and Valerie Faris], the directors and executive producers, and I just really couldn't believe it. But it was such a long audition process. I think there were six rounds. And so by the time I had finished the audition process, I'm like 'I know I did good work. If it goes my way, it does. And if it doesn't, I did what I could'. And so I was also just, when I got it, I was kind of like 'okay, cool'. I couldn't believe it, but then there was another part of me that was like 'cool, I feel like I earned this one, and they saw what they needed to see'. And I was excited to get started. I was so excited to get started, really, more than anything." On How Wilson Approached Portraying Someone Who Is at a Place in His Life Where the Story He Tells Himself No Longer Works Anymore Owen: "You know, Jason didn't say that exactly to me, but that sounds really nice, and I feel it when you say it. And I don't know — I know that initially I was sort of nervous about playing a golfer, because my dad was a good golfer, I'd never learned the game and 'oh, how do you make it seem kind of real?'. But of course, golf's just the backdrop for the story and Jason really had a lot of faith in me that gave me confidence that maybe I could do it and play the character. And there's a lot of stuff with Pryce that I could kind of relate to — that wanting a second chance or feeling that you need somebody to believe in you, that you can't do it alone. I think that's a powerful message. And so I really like that part of the story, because I find it funny and also moving." On Maron Being Thought of Quickly as Stick's Ideal Mitts Marc: "I think I have a fairly varied and broad personality, but I think one of the more compelling elements is my ability to be pretty cranky and irritated. And I think people find that entertaining. So he clearly locked in on that. But I do think he also sensed that there was a depth to it, in that I was able to handle the emotional side of this guy, along with being my cranky self. And I appreciate that. But I'm not as cranky as Mitts. I'm not." On What Dager Was Excited to Bring to the Role of Stick's Teenage Golf Prodigy Peter: "I think the first thing that I really was excited to dive into was the idea of greatness and playing a prodigy — playing somebody who's spoken about as the next Tiger Woods, somebody with all this potential and all this talent. And so the idea of what greatness is and what it takes, the sacrifices you make to achieve it, the negative impacts that it can have once obtained — all of that was super interesting to me. And so I started to examine my own life and see the similarities, what I could take. The rest, I had to imagine. And then beginning to study golf, and the likes of Tiger Woods and Phil Mickelson and Jack Nicklaus and all the greats, that was just so exciting. And then the rest of it, everything else that came after that was a plus — meeting everybody, meeting Owen, Lilli, Marc, Mariana, Tim [Olyphant, Havoc]. But at first, the exciting thing was the idea of greatness — playing somebody great." On What You Learn About Not Just Golf But Life When You're Trying to Pick Up the Sport Owen: "Oh gosh, we were joking — we've joked a lot today about golf being a metaphor for life. And I think doesn't it seem like everything that you say is a metaphor for life is always something hard, and is frustrating and challenging? And so I think that it's a game that you can't seem to master — so someone like Tiger Woods, as great as he was, can still feel that he needs to redo his swing. And so it's like chess — you can't kind of ever totally figure it out. And the thing for me was learning that this thing, this sport that I was kind of intimidated by, that I actually can do it. But it's two steps forward, one step back — or one step forward, two steps back — because there's some days where I just can't do it. But it's definitely something that I will be playing the rest of my life. And so I'm so happy that I learned for this show." On the Keys to Portraying Determination for Treviño When That's Such a Pivotal Character Trait for Elena Mariana: "I think it's just the force that is with a mother that wants to make her son go in the right path — to save the family, and to save and to keep moving. I think they're in kind of a desperate moment when the show starts. Maybe not desperate, but they're a little stuck and stagnant because they don't know where to pull after a big loss that they had as a family. So I think that the mother's instinct just says 'this is not right, we are not living as we should and he's not owing up to a talent, the natural-given talent that he has'. So I think that determination is not even rational with Elena. It just is a force working inside of her, just because she has her son's best interest in heart and she's going to do whatever — even if she doesn't understand, if she doubts what she's doing is right, the determination is stronger than her doubts, and it's what makes this force of movement, and to embark on this journey and this adventure of self-discovery." On What It Takes to Believably Portray a Phenomenal Golfing Talent, to the Point of Doing Golf Scenes Yourself, When You've Never Played Before — and Only Had Baseball Experience to Go On Peter: "It took a while. It took a while. I don't think I felt — I don't think I saw my progress until maybe three weeks in. And it wasn't because I was hitting the ball good, because I would go out and play with my first trainer named Beau Lardner. It was moreso because I felt the swing feel comfortable. I felt it becoming a fluid motion. And it wasn't always there. I was still going outside in, instead of inside out, but I was getting the rhythm of the swing, the club speed. So three weeks into it, I was starting to see the progress. But I didn't feel ready up until maybe two months into it, so we had already started filming. But by the time we get to episode five, six and seven — and really eight and nine, where you see Santi playing golf for two whole episodes — a lot of those shots are my own because that was done with like five months of training, four months of training. And by then, my club speed was up, the striking distance was sort of increasing and I felt really good with my swing. And yeah, actually a lot of the baseball, that sort of inside out that you have naturally when swinging a baseball bat, it really lends itself to the process of swinging a golf club." On Why Sports-Centric TV Comedies Telling Underdog Stories Keep Popping Up on Maron's Resume Marc: "No, I didn't seek out any of it. GLOW was this a random audition that I put on my phone. I think those two guys are slightly different types of cranky. I think that Sam in GLOW had no real self-awareness around his swagger, his ridiculous swagger, and he wasn't really neurotic at all. And I think that Mitts is a very reflective guy, and a guy who sits in a certain amount of sadness. But I guess they are of the same spectrum of bravado on some level — of kind of slightly futile bravado, you know." On How Dager Learned From His Co-Stars Like Wilson, Greer, Maron, Treviño and Kay Peter: "Everybody has their own process with acting, which was really cool, because I have my own — and I can think it's so special, and you're like 'oh my god, they don't work like I do', but everybody's different process and encountering it and being around it for four months straight, it's a lesson in perspective. And you start to really question your own process, and you see the benefits of other people's. So you learn a lot without even having conversations about it. You just learn a lot by watching these people who have worked for so long approach the work the way they approach the work. But yeah, then there were moments with Owen specifically, where that Pryce-Santi relationship really became real off camera. Especially early on when — Owen's a great leader, he knew exactly when to give me a talk, and it always felt natural because he wanted to. He was compelled to. It never felt forced. And he wasn't absent either. It was a sort of perfect mix of both. Yeah, him especially, it was truly a treat to work with him because of that, that mentorship." On What Treviño Learned From Working with Dager Mariana: "A lot. Of course, as an actor, we're always constantly learning from each other. It doesn't matter your experience, your age, because it's a human interchange of emotions and contents that sometimes you're not even very conscious of. So many things come into play when you are making a scene come alive that it's really beyond what you think of experience. It is about experience, because it's the contents of your soul that are being exchanged and shaped into this reality. But Peter, he's a lovely young man. He's super mature. He's very outspoken. He has a wonderful, joyful personality. And he's really, really smart — and he was really keen into getting into something with all his heart. He played golf all the time while we were in Vancouver. His determination as an actor to get it right — to not play confidence, but to experience it doing golfing himself — I love that. So I learned that from him, among many other things. And how you have to be very approachable, because you don't know where the exchange is going to happen. And he's like that — he's a very approachable person and actor, he's very open, and that I think sometimes it's important for things to be discovered." On How Wilson Worked Through the Emotional Journey of Playing Ex-Spouses with Greer Owen: "I know that Judy and I, that we had no problem connecting — just we were sort of on the same wavelength with sense of humor. And I think when you're on the same wavelength sense of humour-wise, it means that you're also same wavelength sensitivity-wise. And so I think it was easy for us — or not easy, but when we had to do some of the emotional stuff, because I'm clearly still in love with her, she's kind of moved on, it was easy for me to feel those things and to see that in her. So it was just, for us, lucky casting that we had Judy doing it." On Dager's Task Juggling the Many Facets of Santi, Including His Talent, Growing Up Fast, Being Temperamental and His Coming-of-Age Journey Peter: "I think it's just taking the moment as it is. Being in each moment, exploring that moment to your fullest as an actor, just finding everything you can in that moment. And with TV and film, it's a luxury because you get to repeat the moment, so you find things and you can find a way to put them into the next take. But rather than worrying about a general story arc, if you just can concentrate on the moment that you're trying to execute and explore and bring to life, you've just got to hope and pray that when you see the final cut, every moment was explored to its possibility, and when they're all cut together you see the whole thing pan out. But yeah, that's the sort of mindset I would approach it with, focusing on the moment rather than feeling 'man, I have to play with all these things and have a balancing act'. Now, there are things that you have to remember that you've said in other scenes, but that's more than nitty gritty and very specific moments. But focusing on the moment is the more general approach that I had." On Stick's Intergenerational Tension — and Why That Clash Is Such a Go-To On-Screen Owen: "Well, with working with Peter and with Lilli, who play Santi and Zero, I think it's that familiar generational argument — that one generation thinks the other generation doesn't get it, had it too easy, and so that plays out with how I am struggling to connect with Santi. And with Zero. And I think it's hopefully funny, their inability to connect. And then I think there's some moving stuff when any human beings try to connect. And so that's certainly there, and that struggle for us that we have to kind of connect — and that's good." Judy: "I think it's always funny to watch two different generations duke it out, and argue with each other and try to decide who is more right. I don't know why. I just think that's universal comedy to me." On the RV Having Such a Pivotal Part in the Series Marc: "I feel like just the idea of a confined space with people who were relative strangers brought up the stakes of their ability to connect and interact — and overcome minor obstacles, because you are in this space. And I think the RV, for my character, carried a lot of emotional weight. And I think that the nature of the RV as a character was really taking Mitts out of his grief. There's a lot of reference to it being a mausoleum to his wife, who passed away. I don't think that spoils anything. So it was pretty loaded for Mitts. But it was also like it was an adventure, and you were being taken to all these different places and all these different environments. So it was a fairly complex character in the show." Mariana: "And it's also the idea of the moving home. These characters decide to embark on this journey in this car that is really becoming a home for them. And that is like a tiny home — they all sleep there, they cook. So it becomes, without them knowing, their place of safety and comfort during this whole journey. And it becomes a home for this new found family that is being created. And so of course it's a really important character, a really important presence in the show, because of the symbolic meaning of this — the idea that even if you're out there in the wilderness, you can find a family and they will all unite with a common purpose. And they become your allies in this confined space. All of a sudden we're all here — and you see that on top of the RV, we're allies, and outside we become allies, too." Stick streams via AppleTV+.
When festival-goers converge on Woodford at the end of December for the southeast Queensland town's annual folk festival, they'll find a brand new addition at the event's Woodfordia location. Each year, the spot 75-minutes north of Brisbane by car turns into a thriving pop-up community for six days; however from this point onwards, it's also the site of a permanent new lake. Called Lake Gkula — a name that refers to the region's traditional owners, the Jinibara people, and specifically references spokesperson Uncle Noel Blair, whose indigenous name is Gkula — the body of water is now Australia's largest all-natural conservation and recreation lake, too. The man-made spot is also teeming with fish and plant life. More than 400 species of native freshwater fish are swimming in its waters, while over 4000 plants have been planted in and around the lake to date, with more planned. Crucially for both the lake's biodiversity and for human swimmers, the entire body of water is chemical-free, using pumps and injectors to keep both a constant water flow and high levels of oxygen. The water is pushed through two wetlands, which act to purify the lake while also encouraging microorganisms to thrive. If you're eager to go for a splash, it'll only be open to season campers during the 2019–20 fest, although swimming privileges will also given to artists and volunteers. Season campers will need to pay a ticket fee of $4 for adults, which'll help recover the costs of building the lake — and they'll also need to book in advance, with 50-minute slots available between 6am–6.30pm. For those who don't fall into those categories, you'll still be able to peer over the water at the lakeside bar, which'll be running during the festival and open to all Woodford patrons. At this stage, the lake will only welcome swimmers during the festival, but founder of Woodfordia, Bill Hauritz, sees Lake Gkula as a hotspot for the Moreton Bay hinterland area, so perhaps watch this space. "Groups and organisations outside our own are already expressing a keen interest in using this stunning new feature," he advised in a statement. "We know Lake Gkula will be an attraction; it's that beautiful." Costing more than $1.5 million to build, including funding from the Queensland Government, Woodford's new addition has sourced all of its water from onsite dams and a bore, with festival organisers aware that they're opening a watering hole in drought conditions. It's also partly powered by solar energy, and the Woodford team is working towards running the lake wholly on 100-percent renewable sources. The 2019–20 Woodford Folk Festival runs from Friday, December 27, 2019–Wednesday, January 1, 2002. For more information about Lake Gkula, visit the Woodford Folk Festival website.
When the latest version of Mulan starts its story, it does so with a crucial piece of narration that clearly signals the movie's intentions. "There have been many tales of the great warrior Mulan, but ancestors, this one is mine," Hua Mulan's father Zhou (Tzi Ma, The Farewell) advises the audience. Most viewers know the titular character's name from Disney's 1998 animated musical. The Mouse House is behind this new film, too, as part of its growing stable of live-action remakes of its own past hits (see: everything from Cinderella and Beauty and the Beast to Aladdin and The Lion King). But Mulan circa 2020 isn't interested in slavishly recreating the company's last take on the tale frame by frame, just with flesh and blood rather than illustrations — instead, it's smartly interested in retelling the Chinese legend in a rousing and vibrant way. As first transcribed in the Ballad of Mulan in the sixth century, the story of Hua Mulan holds a considerable place in history — and it is easy to understand why. When her elderly and ailing father is conscripted to serve in the Imperial Army, with no son of an acceptable age to take his place, Mulan steals his armour and sneaks off to join the forces for him. To do so, she disguises herself as a man, which none of her colleagues or superiors suspect. The fact that she has considerable martial arts, swordplay and archery skills assists, of course, but Mulan's kindly subterfuge sees her become a formidable and respected warrior who helps save her kingdom. With Whale Rider and The Zookeeper's Wife's Niki Caro in the director's chair, Mulan covers the expected tale; it wouldn't be a Mulan movie otherwise. But this story first fought its way across the big screen in a 1927 silent film, and has been no stranger to the page, stage or cinema over the past 93 years — so just repeating the 1998 movie really would've been the laziest option. Accordingly, the feature's four writers (Jurassic World's Rick Jaffa and Amanda Silver, plus Christmas Perfection's Elizabeth Martin and Lauren Hynek) aren't afraid to wrangle their own version of the narrative, and Caro doesn't shy away from imparting a specific tone and focus either. Where its animated predecessor played the situation in a lighthearted but still respectful manner (think: talking dragons, cricket sidekicks and lively songs about arranged marriage), this iteration adopts a weightier mood, stressing the significance of its protagonist's journey at every turn. Cue details both familiar and new, including ditching the aforementioned Eddie Murphy-voiced dragon for a symbolism-laden (and mute) phoenix, scrapping the romantic subplot with Mulan's commander and delving into the treatment of women in multiple ways. As the Emperor's (Jet Li) military battles invading northerners led by the revenge-seeking Böri Khan (Jason Scott Lee, Crouching Tiger, Hidden Dragon: Sword of Destiny), Mulan (Liu Yifei, Once Upon a Time) not only fights alongside her peers and tries to keep her secret from her mentor (Donnie Yen, the IP Man franchise) and her rival (Yoson An, Mortal Engines), but also comes up against shapeshifting sorceress Xianniang (Gong Li, Memoirs of a Geisha). Mulan isn't very subtle about juxtaposing the two women's plights — nuance is rarely Disney's specialty — but the comparison is always moving. And, with Liu serving up a quieter, more stoic performance and Gong getting a showier part as the outcast on the other side, they offer something that the company's movies aren't always known for: multiple visions of femininity, even in a story that literally tasks its lead with pretending to be male. As a result, Mulan feels like it's forging its own path even when it does hit recognisable notes, either from the 1998 film or from general cinematic tropes. Its central figure is given an almost superhero-esque origin story, involving her innate ability, or qi, because Disney is also the home of Marvel and Star Wars — but in charting her quest to succeed, the film never merely drums to the requisite beats. This version of Mulan was always going to heighten the inspirational angle, too, to rightly reflect today's attitudes; however the emotions it earns are genuine. When a coming-of-age story about a determined young woman defying the shackles of her gender and her culture in a groundbreaking way is treated thoughtfully and intelligently, it's always going to evoke a reaction. While viewers will be watching Mulan on a small-screen — after the feature was originally scheduled to play in cinemas in March, had its date delayed several times until July and August due to COVID-19, then opted for a streaming release via Disney+ instead — there's no missing the movie's visible spectacle, too. Australian cinematographer Mandy Walker (The Mountain Between Us, Hidden Figures) delivers a sweeping feast of lush imagery across a plethora of landscapes, and lenses energetic wuxia-inspired combat action as well. Indeed, this is one of Disney's most sumptuous-looking remakes, and one of its better examples in general anyway. The chasm between the company's best do-overs (Pete's Dragon, The Jungle Book) and its worst (Alice in Wonderland, particularly) is considerable, but this big-hearted, captivating and striking film easily falls into the first category. https://www.youtube.com/watch?v=KK8FHdFluOQ Mulan is available to stream via Disney+ from Friday, September 4, for an extra price of AU$34.99/NZD$39.99 on top of your regular Disney+ subscription. It'll join the service for no extra fee from December 4. Top image: Jasin Boland. © 2019 Disney Enterprises, Inc. All Rights Reserved.
In this or any other galaxy, whether here, near or far, far away and a long time ago, Star Wars streaming shows can't all be Andor. In cinemas, the franchise's movies can't all be Rogue One: A Star Wars Story, either. So, in both formats, they aren't always the weightiest and most grounded instalments that the series has ever delivered, all while demonstrating about as much interest in nostalgia as Jar Jar Binks has in not being annoying. The latest TV effort in the George Lucas-started space-opera saga, Ahsoka doesn't want to follow exactly in the last new Star Wars small-screen entry's footsteps, however, even if it's another sidestep tale about battling evil that champions folks who are rarely thrust to the fore. Instead, it has intertwined aims: serving up a female-led chapter and drawing upon the franchise's animated realm. For many, Star Wars is 11 live-action movies, the bulk of which arrived in three trilogies that splashed around Roman numerals aplenty. For those with a Disney+ subscription, the pop-culture universe covers the streaming platform's live-action shows, too, with not just Andor but three seasons of The Mandalorian, 2021–22's The Book of Boba Fett and also 2022's Obi-Wan Kenobi connected to those flicks. Star Wars has always expanded further since its 70s beginnings, though, via TV specials and films, books (Star Wars: Episode IV — A New Hope's novelisation actually released before the feature) and animation. So, from the latter — and specifically from animated film Star Wars: The Clone Wars and the TV series it spawned, plus fellow animated shows Star Wars Rebels and Tales of the Jedi — springs Ahsoka and its eponymous ex-Jedi padawan Ahsoka Tano (Rosario Dawson, Clerks III) from Wednesday, August 23. Ahsoka appeared in The Mandalorian and The Book of Boba Fett as well, with the series that the character now anchors also spinning off from the former. The show's inter-franchise Star Wars links are strong, then, but it isn't just for fans who've watched every frame that the saga has ever sent hurtling across screens — thankfully so. Ahsoka creator Dave Filoni has given himself a tricky task, diving deeper beyond the obvious Star Wars fodder while still engaging more-casual franchise viewers. Nods and references abound for diehards, and to key figures and beloved creatures alike, yet so does a supremely well-cast spin on the space opera's well-loved formula. As Luke Skywalker (Mark Hamill, The Sandman) and Obi-Wan Kenobi (Alec Guinness in the original 1977–83 big-screen trilogy), Anakin Skywalker (Hayden Christensen, Obi-Wan) and Kenobi (Raymond & Ray's Ewan McGregor since the 1999–2005 prequel trilogy), the latter and Qui-Gon Jinn (Liam Neeson, Marlowe), and Rey (Daisy Ridley, Chaos Walking) and Leia Organa Solo (Carrie Fisher, Catastrophe) have all demonstrated — such pairings go on — Lucas and his successors in steering all things Star Wars love a master-and-apprentice story. Ahsoka provides two tied to the force, with its namesake once a pupil to Anakin before he went to the dark side, and also a mentor to her own student in rebellious, flame-haired Mandalorian Sabine Wren (Natasha Liu Bordizzo, Guns Akimbo). Thanks to the man who became Darth Vader, Ahsoka is wary about the Jedi order and unsurprisingly cautious in general. Via her prior time with Sabine, she knows the difficulties of being a guide to a headstrong protégée. While the show gives its central figure nefarious foes to battle, it also has her grappling with her past traumas, mistakes and regrets. She's guarded there, too; when rebel crew member and now-New Republic general Hera Syndulla (Mary Elizabeth Winstead, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)) suggests that the way forward might involve enlisting Sabine's help, Ahsoka is reluctant. But only the youngest of the main trio can unlock a pivotal orb that holds a map that could lead to exiled Imperial officer Grand Admiral Thrawn (Lars Mikkelsen, The Kingdom) and Ahsoka's fellow one-time padawan Ezra Bridger (Eman Esfandi, The Inspection). With just the 2015–19 sequel trilogy and animated series Star Wars Resistance set after it, Ahsoka's plot hones in on fending off the fallen Empire's attempts to rebuild and strike back again. Hoping otherwise: Morgan Elsbeth (Diana Lee Inosanto, The Last Tour), who starts the program imprisoned but is swiftly freed thanks to former Jedi-turned mercenary Baylan Skoll (the late Ray Stevenson, RRR) and his own his trainee Shin Hati (Ivanna Sakhno, The Reunion). Bringing back Thrawn from banishment is their next step, putting them on a collision course with Ahsoka, Hera and Sabine — amid early Indiana Jones-style treasure hunting, vivid lightsaber duels, reminders of how insidiously that greed can lure people in, a stunning hoverbike race, a loth-cat's cuteness, a tad too much exposition and droid Huyang (Good Omens' David Tenant, lending his voice again as he did in The Clone Wars) hanging around, all in the first two episodes. If the storyline sounds all Star Wars 101, that's because it is, yet a change of perspective and a stacked cast ensure that Ahsoka never feels like it's lazily sticking to a template. Filoni, who also worked on both the film and TV versions of The Clone Wars, as well as Rebels, Resistance, The Mandalorian, The Book of Boba Fett, Tales of the Jedi and more, clearly knows the drill — and how to make this take on it stand out. It isn't just that this is the first series focused on a woman connected to the Jedi, and one of the few within its ranks. Ahsoka cares about the way that conflict has scarred and wearied its hero and her colleagues, and shaped them and stretched their bonds in the process. It could easily be called Ahsoka, Hera and Sabine, which would suit three of its core performances. Still, beneath the character's head tails, Dawson turns in a portrayal to build a show around — serene, wry, fierce, thoughtful, purposeful, formidable, haunted and determined — which Ahsoka wisely does. Perhaps a Sabine offshoot will join the Star Wars fold in the future, with Bordizzo that magnetic in her stubborn, impulsive and daring role. In one of his final performances given his passing in May, the reliably commanding Stevenson is similarly arresting — and Sakhno, too, even if largely through her presence, a killer glare, and pitch-perfect costuming and lighting that helps her instantly look the entrancing part. Ahsoka gets that last aspect right throughout and across the board, taking as many visual cues from Star Wars' animated forays as its live-action jaunts, yet always sporting its own glow. This isn't Andor, but after those franchise-best heights it's still a series that intrigues, engages and often soars. Check out the trailer for Ahsoka below: Ahsoka streams via Disney+ from Wednesday, August 23. Images: ©2023 Lucasfilm Ltd & TM. All Rights Reserved.
McDonald's has been serving up Big Macs and soft serve cones to Australians for 50 years, so to celebrate the big five-oh, the golden arches are running a series of promotions and adding some new items to the menu. The latest celebratory surprise popping up at Macca's around the country is a special Birthday McFlurry. While the fast-food chain is no stranger to limited-edition McFlurry flavours — good (apple pie) and bad (bubblegum) — this new edition really takes things up a notch. The Birthday McFlurry is packed with bite-sized pieces of the fan-favourite custard pie, alongside a drizzle of caramel sauce and sprinkles to give it that birthday feel. As well as the inclusion of the bite-sized custard pie pieces in the McFlurry, the full-sized pie will return to the menu for anyone that's been missing the crispy custard-filled treat. Earlier this month, McDonald's kicked off its birthday celebrations with a day of 50-cent Big Macs across Australia. And the celebrations aren't stopping any time soon, with more fun surprises set to pop up throughout July and August. Australia's first McDonald's opened in Yagoona in 1971 and has grown to over 1000 stores nationwide in the 50 years since. The Birthday McFlurry and custard pie are available exclusively via Uber Eats from tomorrow, Wednesday, June 30 through until Wednesday, July 7, before becoming available in all Macca's nationwide for a limited time from Wednesday, July 7. McDonald's Birthday McFlurry is available via Uber Eats from Wednesday, June 30 and available in-store and on McDelivery from Wednesday, July 7.
Head south of Sydney or north of Victoria and you're sure to find quaint towns complete with awe-inspiring national parks and world-class wineries. The NSW south coast and southern highlands provide just this, plus an idyllic mix of rolling hillsides and romantic beachside homes perfect for you and your partner's next getaway. If you're looking to get out of the big city, there is an abundance of secluded stays scattered across southern NSW ready to serve as your landing pad to unwind and explore some of the most beautiful landscapes the state has to offer. We've done the hard work for you and found these one-bedroom (or more — in case you wanted to bring your favourite couple, too) cabins, lakeside stays and bushland cottages so that you can live out all your rom-com fantasies surrounded by rustling trees and ocean breezes. Recommended reads: The Best Places to Go Glamping in NSW The Best Tiny Houses You Can Book Around NSW The Best Hotels in Sydney The Best Places to Stay in the Blue Mountains The Bower, Mount Kembla This two-story bungalow allows you to live among the trees for the period of your stay. Just fifteen minutes outside Wollongong, you can experience the slow-moving small-town lifestyle with the nearby comforts of the city. From $350 a night, sleeps five. Bawley Point Cottage, Bawley Point Combining the best of both worlds, this south coast stay is part bushy cottage, part beach house. You can use the provided kayaks and head on an action-packed trip or just sit and read among the trees. From $220 a night, sleeps four. Soul Wood, Termeil Wake up to views of the bushland from this wooden tiny house. The dreamy outdoor bathtub is surrounded by tall native trees that will have you feeling completely immersed in the natural surroundings. From $300 a night, sleeps two. Beachfront Glamping, Bawley Point To say you're going glamping is an insult to this luxury beachfront tent. Soak up the great outdoors from the tent-style bedroom while enjoying the luxuries of a private kitchen and bathroom from the attached unit. From $320 a night, sleeps two. The Lakeside Barn, Wildes Meadow An architectural gem on the south coast, this waterfront barn was created in the 90s from the wood of old Darling Harbour wharf buildings. The barn contains a modern bathroom and kitchen, spacious living areas and a top-floor bedroom that looks out onto the lake. From $333 a night, sleeps two. Creekside Tiny House, Foxground Wake to the sounds of the gurgling creek at this modern tiny house. Located just outside of Kiama and Gerringong, the quaint stay places you nearby a variety of local hiking trails and beaches. From $298 a night, sleeps two. Studio Barn, Nowra This transformed barn somehow packs in a spacious living and kitchen area, a bedroom, a newly fitted bathroom and a private garden out back. It's a cute and affordable spot for those looking to explore the natural wonders of Kangaroo Valley. From $300 a night, sleeps two. Fig Tree Cabin, Moruya This pet-friendly cabin welcomes all of your non-human friends with open arms. From the pugs to great danes and even horses, the property will save you paying any expensive kennel fees while on your romantic adventure. From $140 a night, sleeps two. Lyra, Kangaroo Valley Relax in style with this lush Kangaroo Valley house, overlooking the Barrengarry Mountain range. The house is built from locally sourced timber and rocks and is flooded with light thanks to the large front windows and glass roof panels, bringing as much of the surrounding rainforest into your stay as possible. From $690 a night, sleeps six. Buru, Pebbly Beach Buru is more of a group couples retreat than a solo getaway — so find a couple of other lovebirds and book out this stunning, secluded stay. The renovated 1960s house backs onto a idyllic white sand beach and contains both an indoor and outdoor fireplaces perfect for cosy nights after a day of swimming, surfing and exploring. From $1164 a night, sleeps eight. New Atlas, Meroo Meadow Gaze out onto Cambewarra Mountain from the back porch of this bright beachy home just outside of Berry and less than 20 minutes drive from Seven Mile Beach. From $309 a night, sleeps four. The Old Schoolhouse, Milton This sun-drenched one bedroom loft sits on farm land just a couple minutes outside of the rural town of Milton. Sip coffee from the balcony overlooking the farm or pay a little extra and take your relaxation up a notch by sending a masseuse to the loft thanks to the accommodation's Indulgence Package. From $316 a night, sleeps two. The Lazy Curl, Woodburn This minimalist cabin will provide you with a simple and serene stay in the heart of the south coast. Its eco-friendly design generates energy through solar and collects rainwater and its indoor fireplace will keep you feeling toasty even on cold winter nights. From $245 a night, sleeps four. Monga Mountain Retreat, Reidsdale Stay in Monga National Park while living out your cottage-core dreams at this lovely bushland cabin. Comfy chairs sit on a patterned rug and quaint appliances are scattered around the wood-laden kitchen. From $155 a night, sleeps two. Tawillah Luxury Retreat, Milton This countryside couples retreat has serene views of the Milton countryside and the nearby Budawang Range. Just a two minute drive from town, enjoy a seclude getaway with a beautiful deck, sun lounges and a fire pit. From $460 a night, sleeps two. All photos courtesy of Airbnb. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy.
When decorations surround you everywhere you look, carols (and Mariah Carey and Wham!) are the standard soundtrack no matter where you happen to be and tinsel keeps glittering in your line of sight, festive season can feel like an all-encompassing maze of merriment. Head to South Bank from mid-December 2024 and you'll experience that sensation at its most literal. In an all-ages-friendly addition to Brisbane CBD's usual end-of-year shenanigans, the riverside precinct is hosting a Christmas maze, where you'll get wandering and get into the spirit of the season all at once. It's beginning to look a lot like Christmas around town already, but that'll ramp up from Friday, November 22 through till the end of January 2025. Brisbane City's festive fun for this year also features a free light and sound experience at Queen's Wharf, markets, an openair cinema by the water, carols, parades, tiny doors and more, mixing new ways to get jolly with old favourites. With the maze, a variety of experiences will be on offer right up until Friday, January 31, 2025 in South Bank Piazza, changing depending on whether you have kids in tow or are excited about kidulting. While that's a fresh addition to the lineup of Christmas events, South Bank will also welcome back its popular openair Christmas cinema from Saturday, December 14–Sunday, December 22, and its Christmas markets on Little Stanley Street from Friday, December 13–Sunday, December 22. Across Saturday, December 14–Sunday, December 22, the nightly parade will mosey down Little Stanley Street, too, and carols will be sung on South Bank's Riverside Green. Festive-themed performers are set to do the rounds of the precinct as well, photos will be available with Santa and Mrs Claus — by the beach — and there'll also be Christmas workshops for both kids and adults (think: making cookies, wreaths and decorations, for starters). This year's Christmas in Brisbane celebrations will kick off at Roma Street Parkland, however, with the return of The Enchanted Garden with its lights, lasers and soundscape. Before November is out, King George Square's Christmas tree will also be lit. Then, once December kicks in, it's time for the Lord Mayor's Christmas Carols at Riverstage — with a satellite event at Victoria Park / Barrambin — and lights decking out City Hall. The BrisStyle twilight Christmas market is also back. Queen Street Mall's portion of the lineup includes pop-up performances, Uptown's windows will get a makeover for the occasion and, as for the tiny doors, they're all handmade and will be scattered throughout the city from Sunday, December 1–Tuesday, December 24, ready for you to find and marvel at their cuteness. For its first year in existence, Queen's Wharf's contribution to the joy comes courtesy of Sono Lumo — Festive Nights of Sound & Light. Expect an audiovisual show to dazzle the city at dusk across ten nights between Wednesday, December 4–Sunday, December 15 (except for Monday, December 9–Tuesday, December 10), accompanied by DJs and live performances.
For those following a vegan diet, plenty of obvious items are off the menu: meat, dairy products and eggs in particular. So is anything made with gelatine, given that the substance is derived from collagen from animal body parts — which rules out many a sweet treat, too. Gummy and jelly lollies are definitely usually made with gelatine; however, with its newest release, The Natural Confectionery Co is giving vegans an animal product-free alternative. Already known for completely avoiding artificial colours, flavours and sweeteners, plus high-fructose corn syrup as well, the company is now launching a gelatine-free, vegan-, vegetarian- and flexitarian-friendly version of its fruity jelly lollies. If that's your next snack taken care of, you'll find packs of Vegan Fruity Flavoured Jellies in supermarkets from mid-August — starting with Coles and independent stores, then hitting Woolworths from mid-September. They'll cost you $4 for a 200-gram packet, which boasts five varieties of lollies inside: apple, blackcurrant, peach, pineapple and raspberry. The new addition to The Natural Confectionery Co's range comes in response to demand. "We couldn't ignore the requests from Aussies asking for a vegan-friendly option," explains Lauren Fildes, the Cadbury-owned company's Marketing Director for Candy, Biscuits and Meals. If you're a fan of the brand's other types of lollies — its snakes, fruity chews and sour worms, for example — you'll have to cross your fingers that they eventually get a vegan version as well. [caption id="attachment_779206" align="aligncenter" width="1920"] Peter O'Connor via Flickr[/caption] Find The Natural Confectionery Co's Vegan Fruity Flavoured Jellies in Coles and independent supermarkets from mid-August, and in Woolworths from mid-September — costing $4 for a 200-gram pack.
First it was clap lights. Then it was Siri. Then Amazon released the Echo, their wireless voice-activated device. Now, Google (in true Google style) has swept in, taken all these ideas, made them better, and announced their plans to release their own voice-controlled speaker and device: Google Home. Announced at Google's I/O developer conference in California last week, Google Home is a device that isn't meant to be a device, as such. You don't swipe it or tap it — it doesn't even have a screen. Basically, it's a really smart small speaker that can both play music and listen to what you're saying. It's got a series of always-listening far-field mics that can hear you from across the room, so you can ask it questions, control your connected devices and play music and video through Chromecast. It also looks like a giant salt shaker. So it'll blend right in to your benchtop (we assume that was Google's thinking). Home will be integrated with Google Assistant, Google's voice technology (and essentially their version of Siri). Assistant will pull info from the Internet to answer your questions — like 'what's the temperature today?' and 'do you love me, Google Assistant?' — and allow you to have two-way convos with an empty room. Apparently 20 percent of all queries on Google's mobile app and Android devices are voice searches so, y'know, it's a thing. Home is essentially the same product as Amazon Echo, but it looks as though Google's voice technology and sound quality could be of a higher calibre. All remains to be seen. There's no date set as to when Google Home will be available to buy, but you can sign up to get updates on the product here. Via The Next Web.
There is indeed a bell in one of The Belvedere Hotel's bars. When most folks at the northside pub say "The Bel", though, they're referring to the watering hole itself. A Woody Point mainstay since 1901, this waterside bar has back open and pouring drinks after a hefty makeover since late 2023. If sips with an ocean view take your fancy — and with shimmering sunsets part of those vistas, too — then this grand old establishment has you sorted in its new guise. Parent company Lewis Land Group has put more than $10 million into revitalising the historic spot, with the results now on display for patrons to enjoy. To make the most of its location, the vibe and setup alike are breezy and open. And all that space? It means being able to cater for 1000 people. Perched on Bramble Bay, The Bel now features revamped dining spaces and terraces, plus a new first-floor bar area with shimmering sunset views. Expect a shady time if you're keen to have a beverage outside. On level one, there's also a new dining spot — and the public bar is also all new. Fans of the venue's outdoor Pavilion bar and bistro will be hanging out in refreshed surroundings, and now sitting in booths. The Bel's all-day food menu now benefits from a pizzeria and gelato bar onsite, serving up everything from squid ink truffle salami slices to mango scoops. Elsewhere, the culinary range includes chilli scrambled eggs and lemon crepes for breakfast, salt and vinegar calamari and sticky chicken wings among the lunch and dinner starters, and hot and cold seafood platters to share as a highlight among the mains range. Or, tuck into lobster three ways — in a pie, with prawns over pasta or as part of a surf 'n' turf special — as well four steak choices and a steak sandwich. There's also three types of oysters, fried chicken burgers, pork knuckles and crispy noodle salads on offer. For dessert, if you're keen for more than gelato, banana split parfait, a chocolate tart, deconstructed blueberry cheesecake and Biscoff crepes await. And for entertainment beyond a meal, a drink, the mood and the view, trivia nights take place on the deck each Wednesday.
Anyone who has tasted The Gidley's extraordinary burger will know it's something special. Now, thanks to the annual rankings compiled by the respected World's 101 Best Steak Restaurants judges, we know just how special it is. Ranked ninth on The World's Top Ten Burgers list, the upmarket CBD steakhouse was the only Australian restaurant to earn a nod this year, making its burger the best in the nation. The two carefully hand-crafted beef patties are sourced from hospitality group Liquid & Larder's in-house butchery, located at The Gidley's sister venue Alfie's in the CBD. Once cooked medium rare, they're topped with mature cheddar and a few judiciously placed slivers of dill pickle, all contained within a soft milk bun. [caption id="attachment_751377" align="alignnone" width="1920"] Dominic Loneragan[/caption] While customers have the option of adding an egg or rashers of bacon to their sandwich, there are no additional condiments included on The Gidley's burger, and trust us, that's a good thing. When the meat is as tender and moist as this, the rich, beefy juices are more than sufficient to self-sauce every succulent mouthful, right down to the last bite. In other great news for Sydneysiders, The Gidley's award-worthy burger is now also available at Surry Hills whisky bar The Rover. The monster burger at Shoreditch barbecue joint Salt Shed in London took out the top spot on this year's rankings., leading an impressive showing for the British capital, including Bleecker in Bloomberg Arcade in third place, Black Bear Market in Exmouth Market in fifth position, and Burger & Beyond, also in Shoreditch, in seventh. Burgers from New York, Tokyo, Copenhagen, Miami and Valencia made up the rest of the top ten list. For the full list of the World's Best Burgers, head to the World's 101 Best Steak Restaurants website. Images: Dominic Loneragan
Most filmmakers are considered prolific if they make a movie every two years. Since leaping onto the scene in 2005, Joe Swanberg has made 18. One of the leading figures of the mumblecore movement (an American indie film subgenre characterised by microscopic budgets and heavily improvised dialogue), Swanberg most recently earned plaudits for his charming romantic dramedy Drinking Buddies, starring Olivia Wilde and Anna Kendrick. We now know Drinking Buddies was scarcely in theatres before Swanberg began work on his next project, one that sees him re-team with Kendrick, along with New Zealand actress Melanie Lynskey and Girls creator Lena Dunham. Shot in Swanberg's cosy Chicago home, Happy Christmas chronicles the rocky yuletide holidays of new parents Jeff and Kelly (Swanberg and Lynskey) after Jeff's irresponsible sister Jenny (Kendrick) comes to stay. As with most of Swanberg's movies, the film had almost no scripted dialogue, and relied instead on the improvisational talents of the cast. We chat to Swanberg about the origins of the story, as well as his decidedly laidback approach to feature filmmaking. Is it true that the original script for Happy Christmas was only 15 pages long? Yeah that's right. It was in paragraph form, sort of a breakdown of what I thought would happen in each scene. What is it about that approach to storytelling that you like? Well there's a couple of things. I really love the fact that as a writer, I'm not putting dialogue into character's mouths, and that I'm having the actors own their characters and bring all these different viewpoints to them. I also like showing up to work each day not sure what's going to happen, and having those scenes be a true collaboration between myself and the actors and my cinematographer and my producers ... having ten smart people solving a problem rather than me sitting at a laptop trying to write a screenplay. So where do your films tend to start, if not a full script? Sometimes it's a theme that I'm interested in, and other times it's a character, but either way I tend to cast pretty early in the process. I want to know who I'm going to be working with, and then that collaboration with the actor is there at the beginning of the process, and I can work with them to flesh out that character. By the time we get there to shoot the movie, I have a pretty good sense of the arc of it, but it's really all the nuances and all the personality that we find on set. If you were ever to look at one of my outlines, it would read like the finished movie, but missing everything that makes the movie good (laughs). https://youtube.com/watch?v=A3OhjYvyC0c And in the case of Happy Christmas, what was your creative inspiration? It was two things, actually, both of them autobiographical. It was my younger brother coming to live with my wife and I soon after my son was born, and the experience of starting my own family and having a sibling in the house, which was wonderful and terrible, depending on the day. So I kind of took that feeling and tried to put it in there. And then there were conversations I was having with my wife about motherhood and about her kind of identity crisis she was having as an artist and an independent person, wrapping her head around the idea of being a stay-at-home mum. Just circumstantially we found ourselves in these very conservative, classic gender roles of the bread winner and the stay-at-home mum, which is not something that we really identified with. So it was a weird period of time for us. And I didn't feel like I had seen that in a movie before. So I took these two life events that in reality happened a year apart from each other, and then just crashed them together into a movie. One of the things I really appreciated about the film, and about a lot of your films, is the attention given to female characters. Is that something you're particularly conscious of? Yeah, it's important for me. Just as a person, I feel like I know what it's like to be a man, whereas I have no idea what it's like to be a woman, so it's subject matter that I'm just drawn to through my own curiosity. And also it's just so underrepresented in the movies. It's sadly pretty rare to have interesting, strong female characters. I've always wanted to make movies in territory that's underexplored, and where there's still room for discovering. So I feel like again and again I keep getting drawn back there because there's so much undiscovered country. And it's a chance to work with great actresses who don't get offered leading roles all that often. Given how much improvisation happens in the your films, how much footage do you usually end up with? There have been movies where I've ended up with mountains of footage, and others where we shot almost everything in the movie. It really depends. With Happy Christmas we shot on 16 millimetre [film], so I budgeted a 4:1 shooting ratio, and I think we stuck pretty close to that. Certain scenes we only shot once or twice, other scenes we shot ten times. It ended up being not that much footage. I think when you shoot film you have to be smart about preplanning in a different kind of way. When I shoot video I'm a little more apt to just shoot a lot on set. On my previous film Drinking Buddies, I probably shot about thirty hours of stuff, and with Happy Christmas I probably shot five or six. It really just depends. And why did you shoot on film? I went to film school and my whole education was on 16mm, so I was excited to try that again in a professional context. And also I'll admit I was a little bit worried that film was going to disappear and that I was never going to shoot a full feature on film. So there was a bit of fear and nostalgia going into that decision. But it felt right for the project, and I think I was just waiting for the kind of movie that felt like it wanted that texture and that kind of visual look, so it all lined up. The Christmas season, and the fact that it focused on a family; I think I wanted that warm, grainy, old home movie look that only film can provide. Are you often surprised by what your cast improvises on set? Definitely. It's one of the fun things about working this way. In almost every scene there's some moment that I feel like I never could have written. It's too human and too spontaneous to have been generated in the screenplay process. That's kind of what keeps me going every day. I show up to set each morning hoping that we get something like that and that I'm surprised by what happens. I want to make sure that the movies are flexible enough that if something really exciting happens that wasn't in the outline, there's room to incorporate that, and that the movie can follow what's actually happening, rather than following some predetermined game plan. And in the case of Happy Christmas, what's one example of that kind of moment, something that got you excited to be there? I had this idea that I wanted the women to write this 50 Shades of Grey-style erotic novel, and so those are scenes in the outline where I didn't write anything other than 'the three women sit in the office and write the book', because I really wanted Anna and Melanie and Lena to improvise that stuff. I wanted to be surprised by the story they came up with, and how crude they got with it. So that stuff was really fun; it was all just totally playing around and letting them run wild. I was also really proud of and excited by this central conversation in the middle of the movie where again the three women are sitting down in the basement drinking beers together and talking about motherhood and responsibility. That was a really important scene for me because thematically it's a big shift moment in terms of the story we're telling, and also it was a big impetus for wanting to make the movie in the first place. I think they did such a great job, and I think those three actresses are so smart, and such great writers. You hope it's going to go that well, but it still feels really good when you finish at the end of the day and you feel like you actually got the thing that you were hoping to get. Happy Christmas is available now on DVD and digital download.
The Marvel Cinematic Universe's 22nd film might be called Endgame, but we all know there's more where it came from. Of course there is. In July, Spider-Man: Far From Home will swing into cinemas, continuing the MCU and the story of everyone's favourite friendly neighbourhood web-slinger (the Tom Holland version — sorry Tobey Maguire and Andrew Garfield fans). If you haven't seen Endgame, and you're averse to spoilers, we're not going to tell you anything that isn't already widely known. Far From Home has been in the works since 2017's immensely fun Spider-Man: Homecoming proved a hit, it released its first teaser back in January and it's officially considered the end of the MCU's phase three. But if you don't want to know what follows on from the huge Avengers showdown that's currently in cinemas, then you definitely won't want to watch Far From Home's new trailer. Consider this an official spoiler warning — something that the trailer itself includes at the start. Yes, really. By getting Holland to deliver the caution to camera, Marvel and Spider-Man distributor Sony shows it clearly has a sense of humour, especially since the young star is known for being loose-lipped with important MCU details. Picking up where Endgame left off, Far From Home sees Peter Parker pondering what the end of its immediate predecessor means, all while he's headed to Europe with his friends. Step up for the good of the world, or pursue his crush on MJ (Zendaya)? They're some of Spidey's options. Once again directed by Jon Watts, who helmed Homecoming, the movie also features Jake Gyllenhaal as Mysterio — as well as familiar faces in the form of Marisa Tomei as Aunt May, Jacob Batalon as Parker's best friend Ned, and Jon Favreau as Happy Hogan. Oh, and because it's an MCU film, Samuel L Jackson as well. Check out the trailer below: https://www.youtube.com/watch?v=LFoz8ZJWmPs Spider-Man: Far From Home releases in Australian cinemas on July 4.
After spending two seasons giving viewers a glimpse at life when dinosaurs roamed the earth, Prehistoric Planet is getting icy with its just-announced third run. When the acclaimed natural-history series returns in November 2025, it's saying goodbye to Tyrannosaurus rex and its fellow dinos, and hello to woolly mammoths and snow sloths instead — and hi to sabre-toothed tigers and three-feet-tall dwarf elephants as well. Prehistoric Planet: Ice Age is also giving its megafauna-filled trip to the past a new voice. Just a few years ago, no one knew that they needed to hear David Attenborough talk about dinosaurs while watching spectacular photo-realistic recreations of the planet's ancient creatures — and then this series arrived. Attenborough returned for the second season, too. Next up, however, Tom Hiddleston (Loki) is loaning his vocal tones to narrating Prehistoric Planet's third go-around. This docuseries, which proved one of 2022's best new shows when it premiered, has always worked a particular type of magic: letting viewers peer backwards in time to the planet's past thanks to its impressive photorealistic special effects. Prehistoric Planet: Ice Age is deploying its approach to a frozen world, to spend time with the animals of its titular period, including across a variety of terrain, and through the big freeze and the big melt. While there's no Attenborough, Hans Zimmer is still providing the original score, aided by Anže Rozman and Kara Talve from Bleeding Fingers Music. And filmmaker Jon Favreau — who has used the same type of visuals on The Jungle Book and The Lion King — remains an executive producer, as does BBC Studios Natural History Unit's Mike Gunton. While audiences only had to wait a year between the first and second seasons of Prehistoric Planet, more than two-year gap will have passed between season two and Ice Age when the latter starts streaming its five-episode stint via Apple TV+ from Tuesday, November 26, 2025. In 2024, Prehistoric Planet Immersive also added to the franchise with two short episodes of five minutes and under, but only via Apple Vision Pro. There's no trailer yet for Prehistoric Planet: Ice Age, but check out the sneak peeks for season one and season two below: Prehistoric Planet: Ice Age will hit Apple TV+ from Tuesday, November 26, 2025. Read our full reviews of Prehistoric Planet season one and Prehistoric Planet season two, as well as our interview with executive producer Mike Gunton and series producer Tim Walker.
When JK Rowling dropped those last terrible three words on us at the close of Harry Potter and the Deathly Hallows, all was not well. It would never be well without Harry, Ron, Hermione and co. in our lives. But great things are bubbling in the wizarding world, with Supreme Mugwump Rowling announcing the release of an eighth Harry Potter book. If we look Petrified, it's because HOLY SHIT. According to Pottermore, Rowling's own kickass content website, 2016 will see a special rehearsal edition of the script book of Harry Potter and the Cursed Child Parts I & II — Rowling's first play on London's West End that picks up 19 years after Harry Potter and the Deathly Hallows and that abominably cheery epilogue on Platform 9 3/4. Print and digital editions of the book will publish right after the play's world premiere in winter 2016. You'll be able to read the version of the script from the Cursed Child's preview performances (a Definitive Collector's Edition will come later). JUST. LOOK. AT. IT. What's in store for Harry and the gang? The Cursed Child is set 19 years after the end of Harry Potter and the Deathly Hallows. Harry is now a Ministry of Magic employee, and the play focuses on his youngest son Albus Severus Potter — the heart pangs. The official synopsis of the play (and now official eighth book) was released by co-writers J.K. Rowling, Jack Thorne and John Tiffany on October 23, 2015: "It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places." It's been 20 years since the UK publication of Harry Potter and the Philosopher’s Stone. Twenty. Re-read it, go see Fantastic Beasts and Where to Find Them when the film comes out and sit on your sorting hats until the EIGHTH HARRY POTTER BOOK arrives. Oh god, I need a butterbeer. Via Pottermore.
New year, new vacation season, new gorgeous destination — and new round of chaos at HBO's favourite luxury resort chain, too. After proving not only a huge hit but the best new show on TV in 2021, The White Lotus is returning for a second spin from the end of October. And, as happened in the show's first run, holidaying at the titular chain comes with a whole heap of mayhem for the new batch of guests. Trust Tanya McQuoid-Hunt, aka the character that newly minted Emmy-winner Jennifer Coolidge was born to play, to sum it up in the just-dropped trailer for season two: "it's just been a series of very bad decisions." She's the only main figure on this new getaway, and she's travelling to the just-as-exclusive White Lotus hotel in Sicily with her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang) — however the former isn't happy that the latter is with them. Also, Tanya thinks that Greg might be cheating. While the Hawaii-set first season of The White Lotus also starred Murray Bartlett (Physical), Connie Britton (Bombshell), Steve Zahn (Where'd You Go, Bernadette), Sydney Sweeney (Euphoria), Fred Hechinger (Fear Street), Brittany O'Grady (Little Voice), Kekoa Kekumano (Aquaman), Alexandra Daddario (Songbird), Jake Lacy (Mrs America) and Natasha Rothwell (Insecure), a new cast of faces is joining Coolidge and Gries this time around — all with their own vacation issues. Checking into season two: F Murray Abraham (Mythic Quest), Michael Imperioli (The Many Saints of Newark) and Adam DiMarco (The Order) as three generations of one family; Aubrey Plaza (Best Sellers) and Will Sharpe (Defending the Guilty) as a newly wealthy couple vacationing with pals played by Theo James (The Time Traveller's Wife) and Meghann Fahy (The Bold Type); Tom Hollander (The King's Man) as an English expat away with Leo Woodall (Cherry) as his nephew; Beatrice Grannò (Security) and Simona Tabasco (The Ties) as locals; and Sabrina Impacciatore (Across the River and Into the Trees) as this White Lotus' manager. Mark Monday, October 31 in your diary, as that's when HBO's biting satire will return for its second season, including via Binge in Australia and Neon in New Zealand. Yes, we know that that's the same date as Halloween, but prepare for something twistier, more scathing and more playful than trick-or-treating — at least based on The White Lotus' exceptional first go-around, which just swept Hollywood's TV night of nights in September. Once again, creator/writer/director Mike White (Brad's Status) is behind the series — and also once again, the social satire will follow a week in the lives of titular resort's guests and employees. Season two will span seven episodes, however, prolonging the holiday fun/mess. Check out the trailer for The White Lotus season two below: The second season of The White Lotus will be available to stream Down Under via Binge in Australia and Neon in New Zealand from Monday, October 31. Read our review of season one.
When March 18 hits, it will have been 12 months since the Australian Government implemented an indefinite ban on international travel due to COVID-19, only allowing Aussies to leave the country in very limited circumstances. Accordingly, just when jetting overseas will be back on the agenda has been the subject of much discussion. Last year's prediction that opening up to the rest of the world wouldn't happen in 2020 proved accurate — and, earlier this year, Australia's ex-Chief Medical Officer Brendan Murphy (now the Secretary of the Department of Health) said that we might not be going anywhere until 2022. Whether that last forecast comes true is obviously yet to be seen but, thanks to a new extension of the human biosecurity emergency period under the Biosecurity Act 2015, Australians definitely won't be travelling overseas until at least mid-June. Yesterday, Tuesday, March 2, Federal Minister for Health Greg Hunt announced that the emergency period now spans until June 17, 2021, which'll mark 15 months since it was first put in place. The extension comes on the advice of the Australian Health Protection Principal Committee (AHPPC) and Commonwealth Chief Medical Officer, with the former advising "the Australian Government the COVID-19 situation overseas continues to pose an unacceptable public health risk to Australia, including the emergence of more highly transmissible variants". So, it means that the current rules regarding international travel will remain in place for at least another three months, restricting Aussies wanting to fly overseas and folks wanting to return home, and also cruise ships keen to enter Australian territory. It also extends current limits on trade of retail outlets at international airports, and requirements for pre-departure testing and mask-wearing for international flights. This isn't the first time that the emergency period has been lengthened, following several moves in 2020 — however, the government has noted that they "can be amended or repealed if no longer needed". With vaccinations starting to roll out around Australia, Qantas and Jetstar have begun selling tickets for overseas flights for trips scheduled from October, demonstrating hope that the country's international travel rules might ease by then. Of course, the fact that you can book a trip doesn't mean that you'll actually be able to take it — because the current border closure may get extended again — but if you're keen for an overseas getaway, you might want to cross your fingers. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
When you were watching Ocean's Eleven, did you ever think to yourself "this is great, but I really wish someone was trying to eat George Clooney's brains?". Every time you settle in for an episode of The Walking Dead, do you find yourself hoping that someone — anyone — would mastermind a scheme to break into a casino vault? Whichever thought has popped into your head, you'll soon be able to see what a Las Vegas heist flick looks like when it's paired with the zombie genre. That's the whole premise behind Netflix film Army of the Dead, one of the big new movies the streaming platform has lined up for 2021. If the overall concept sounds somewhat familiar, that's because you probably saw Train to Busan sequel Peninsula last year — another zombie-heist film hybrid. The huge difference here, of course, is the Las Vegas setting. Well, that and the fact that Army of the Dead stars Guardians of the Galaxy's Dave Bautista and is directed by Justice League's Zack Snyder. You definitely won't forget the latter based on the just-dropped first teaser trailer for Army of the Dead, because it spends about half of its brief running time stressing exactly who is behind the lens. And as for all the shuffling undead hordes and pilfering antics, the movie follows a group of mercenaries who decide to take advantage of the situation by breaking into the casino-filled quarantine zone. When the movie hits Netflix on Friday, May 21, viewers will also spot Garret Dillahunt (Deadwood), Tig Notaro (Music), Ella Purnell (Sweetbitter), Omari Hardwick (Power), Ana de la Reguera (also from Power), Theo Rossi (Luke Cage) and Matthias Schweighöfer (Resistance), plus Nora Arnezeder (Mozart in the Jungle), Hiroyuki Sanada (Westworld), Raúl Castillo (Knives Out) and Huma Qureshi (Viceroy's House). And yes, Snyder has toyed with zombies before, in the 2004 remake of Dawn of the Dead. Here, though, he's aiming to set up his own franchise — with a prequel movie and an animated spinoff series already greenlit. Check out the trailer below: https://www.youtube.com/watch?v=H83kjG5RCT8 Army of the Dead will stream via Netflix from Friday, May 21. Top image: Clay Enos, Netflix.
A lot can happen in 18 days. Relationships can crumble, local football teams can try to break the mould and huge celebratory balls can be held. If you're an avid cinephile, you've probably spotted the connection — they're what this year's Melbourne International Film Festival opening, centrepiece and closing flicks were all about. With the city's annual celebration of cinema taking over the town between August 2 and 19, film buffs also witnessed everything from zombie invasions and giant rock-climbing feats to unlikely heists and high-stakes rap battles. And Italian crime waves, pioneering female rockers and tense murder cases, too. Plus, they did so from the comfort of their cinema seats (although seasoned MIFF-goers will tell you that some chairs are more comfortable than others). From all of that and more, Concrete Playground film critics Sarah Ward and Tom Clift went, watched and came up with a wealth of highlights — movies that, if you didn't see them yourself, you should definitely pop on your must-see list. Many are downright wonderful. Others are weird in a heap of ways. Some couldn't be more surprising. And a few particularly ace flicks hit all three categories. BEST https://www.youtube.com/watch?v=hCF5Y8dQpR4 FIRST REFORMED Ethan Hawke featured in four films in the 2018 MIFF program, and directed one of them. That's an impressive haul; however, only one of the above movies ranks among the highlights not only of his year, but his career. In First Reformed, the actor is at his devastating best as a lonely pastor grappling with the complexities of faith as one of his parishioners (Amanda Seyfried) asks for his help — and as his health woes and his general malaise escalate. With the intensity that's made him such a compelling screen presence for decades now, Hawke wears his character's growing uncertainty and unhappiness like a weathered second skin, one that hasn't felt a warm embrace for some time. He also hits every nuanced, delicate note in Paul Schrader's screenplay, which might just mark the writer/director's weightiest, most sombre and still most daring effort on a resume that includes scripting Taxi Driver, Raging Bull and The Last Temptation of Christ. — Sarah Ward https://www.youtube.com/watch?v=uRF290gedLs SORRY ANGEL At last year's MIFF, BPM (Beats Per Minute) broke hearts and burrowed into souls with its depiction of 1990s Paris — a time when queer men loved passionately and fought proudly for their place in the world, but always found their existence lingering under a cloud. Consider Christophe Honoré's Sorry Angel not quite its successor, but its dance partner, with the two films sashaying through similar space while unleashing their own moves. Here, writer Jacques (Pierre Deladonchamps) meets student Arthur (Vincent Lacoste), and as a bond grows between them, the former's illness and the latter's idealism shape their relationship. Sublimely blue in its bittersweet mood and its exacting colour scheme, the end result is a layered, almost novel-like, always tender and touching study of life and love. — SW https://www.youtube.com/watch?v=efz1ESCpcLo TIGERS ARE NOT AFRAID An enchanting and empathetic debut from writer/director Issa López, Tigers Are Not Afraid tackles a familiar topic in an imaginative manner, seeing the Mexican drug war through the eyes of the children it leaves orphaned. Ten-year-old Estrella (Paola Lara) is one of them, proving at a loss when her mother disappears at the hands of the local cartel, and banding up with a group of similarly abandoned boys in an effort to survive. More than that, however, she's driven to track down the men responsible for their misery — driven by ghostly whisperings from her mum. Spanish-language cinema is thrillingly filled with dark fairytales that unpack the ills of childhood, as Guillermo del Toro has demonstrated more than once, but López's effort is a worthy, moving and mesmerising addition to the fold; one that's as heartwarming as it is heartbreaking. — SW https://www.youtube.com/watch?v=QgE8e6QBtt0 BIRDS OF PASSAGE Drug warfare films sometimes feel like a dime a dozen, but this multigenerational crime saga couldn't be more distinctive. The latest feature from Embrace of the Serpent's Ciro Guerra — directing with producer, editor and first-time filmmaker Cristina Gallego — chronicles the choices and consequences when one of Colombia's indigenous Wayúu families wades into the illegal trafficking trade. And, it does so with the same ethnographic approach that shaped the helmers' previous effort; think strikingly vivid images that highlight traditional locations and costumes, plus a genuine desire to immerse viewers in a specific way of life that's rarely seen on screen. Following a cyclical battle for power and wealth that descends into death and bloodshed, it's a gorgeous gut-punch of a movie, almost like Gabriel García Márquez's One Hundred Years of Solitude tinted with bleakness and set in a unique gangster world. — SW https://www.youtube.com/watch?v=gCHx2m_hQc4 ACUTE MISFORTUNE On paper, it hardly sounds riveting: a young journalist profiles an acclaimed but controversial Australian artist. When Erik Jensen met Adam Cullen, it gave rise to a Sydney Morning Herald article, and then an offer to write a book — and now this astonishing, extraordinarily accomplished filmmaking debut from Thomas M. Wright. Even if you're familiar with both figures (the former is now the editor of The Saturday Paper; the latter won the Archibald prize and courted much attention before his death in 2012), nothing about Acute Misfortune sticks to the expected path. As excellent an Australian film as the country can claim in recent years, this is a fearless dissection of two men, their unconventional relationship, and the stories they both spun and starred in. It also features a powerhouse performance from Daniel Henshall as Cullen, who is as unnervingly, menacingly exceptional here as he was in Snowtown. — SW https://www.youtube.com/watch?v=r7TcFMkShpI APOSTASY In this intimate British drama, the titular term looms large over its three protagonists — a devoutly religious mother and the now-grown daughters she has brought up as Jehovah's Witnesses. There seems little chance that Ivanna (Siobhan Finneran) would ever abandon her faith, although two incidents test her devotion, and her family's: 18-year-old Alex's (Molly Wright) need for a blood transfusion, a procedure that's forbidden by their beliefs; and 21-year-old Luisa's (Sacha Parkinson) embrace of the secular world. Debut writer/director Daniel Kokotajlo was brought up in the church himself, and treads through this fraught territory with both authenticity and a no-holds-barred understanding of the complexities of the situation. Shot with clear-eyed naturalism befitting its premise, the film is also a showcase for its trio of actors, who each seethe with internalised conflict. — SW https://www.youtube.com/watch?v=2lqgxmq24qE SHOPLIFTERS Hirokazu Kore-eda has long been fascinated by questions of family. From Our Little Sister to Like Father, Like Son, the Japanese writer-director has probed and prodded at the indelible connection between siblings, spouses, parents and grandparents, crafting exquisite, often heart-wrenching dramas in the process. His latest film, Shoplifters, concerns an unconventional Tokyo family who must resort of petty theft in order to survive. We won't reveal where the story goes from there, but suffice it to say there's a good reason this funny, moving, quietly provocative film won the Palme d'Or at this year's Cannes Film Festival. — Tom Clift WEIRDEST https://www.youtube.com/watch?v=tKsZlwq19mE MANDY Two words: cheddar goblin. That'll make more sense once you've seen Mandy, and if it doesn't make you want to watch this out-there genre effort, then the movie mightn't be for you. Starring Nicolas Cage at his most Nicolas Cage-like, the film sees the inimitable star play a lumberjack happily in love with his titular partner (Andrea Riseborough) until a cult and their demonic demon bikers decide to snatch her up. Needless to say, things get strange, bloody and unhinged, with director Panos Cosmatos (Beyond the Black Rainbow) making an 80s-set mind-bender that would've even seemed excessive if it came out three decades ago. We mean that in the best possible manner, with everything from the feature's colour-saturated visuals, to its ferocious score, to Cage's glorious performance all hitting the mark — and, perhaps surprisingly, the movie's melancholy tone as well. — SW https://www.youtube.com/watch?list=PLZQfnFyelTBOQ15kmHSgEbdjzLMWzZpL7&v=DTvdgwQfewM KNIFE + HEART It's 1979. Someone is savagely murdering gay porn stars, all of whom work for successful, ruthless producer Anne (Vanessa Paradis). And, as she tries to keep making movies while her actors keep dropping like flies, she's coping with the end of her relationship with her editor. Kudos to writer/director Yann Gonzalez for Knife + Heart's exceptional premise, which also features films within films, creepy legends, spooky woods and rather inventive weapons. Still, it's his lurid execution that makes this a weird and wonderful delight. In his hands, nothing is too much — and we mean nothing. The end result is an assault on the senses that's as brutal as its slasher set-up and as theatrical as its campy tone. — SW https://www.youtube.com/watch?v=gNp0jlfbgqM CLIMAX How do you follow a divisive relationship drama full of gratuitous 3D sex scenes? If you're writer-director Gaspar Noe, with a mesmerising cocktail of carnage, music and sangria. A late addition to this year's Sydney Film Festival line-up, Climax takes place at a dance rehearsal after-party, where petty squabbles and personal baggage spin violently out of control when somebody spikes the punch. Those who are familiar with Noe's previous films such as Irreversible, Enter the Void and Love will recognise all of his trademarks: a pulsating soundtrack, floating camerawork and sequences of exhilarating beauty that make subsequent moments that much more disturbing. Love it or hate it, you certainly won't forget it in a hurry. — TC MOST UNEXPECTED https://www.youtube.com/watch?v=ZfCqeoIP0bY THE DESERTED Forget everything you think you know about virtual reality. With The Deserted, the medium reaches its most immersive, all thanks to Taiwanese filmmaker Tsai Ming-liang. If you've seen the director's previous features, such as Journey to the West and Stray Dogs, then you'll know that he's known for his slow cinematic approach and penchant for patient long takes — touches that couldn't be better suited for his first VR effort. Across 55 minutes, you'll inhabit the same space as a lonely man and the spirits of his mother and neighbour. You'll peer around crumbling buildings and earthy gardens, and you'll even sit in the bathtub with the film's protagonist, too. Thanks to all of the above, you'll float along with this ethereal, intricate treatise on isolation, and you'll devour every stunning sight and sound. More than that, you won't want it to end. — SW https://www.youtube.com/watch?v=2CDKr6n0KDE THE WORLD IS YOURS There are heist films, and there are heist films. The World Is Yours has earned comparisons to Guy Ritchie and Quentin Tarantino's work; however it's no mere derivative take on a well-worn genre. Instead, it's a splashy, stylish, skilfully executed and supremely entertaining effort in its own right, and a mighty fun time at the cinema. Perhaps best known for making music videos for M.I.A., Simian Mobile Disco, Kanye West and Jay-Z, and Jamie xx, French filmmaker Romain Gavras turns this account of small-time gangsters dreaming big into a cool, comic and confidently engaging caper that drips with energy and charm from start to finish. Veterans Isabelle Adjani and Vincent Cassel take to their roles with glee, but it's A Prophet's Karim Leklou who stands out among the movie's stars — playing the son of a seasoned grifter who just wants to pull one last job so he can sell icy poles in North Africa. — SW A final note: if you're wondering why some of this year's other excellent MIFF efforts aren't on our list, that's because we've already showered them with love. We were keen on The Green Fog, Profile, An Elephant Sitting Still, Transit, Museum and Aga at Berlinale, plus Leave No Trace, The Rider, Burning, Searching, Cold War, The Guilty and Tyrel at Sydney Film Festival. Then, we fell head-over-heels for Let the Corpses Tan, You Were Never Really Here, Caniba and Zama at Queensland Film Festival, and adored Angels Wear White, Skate Kitchen, Lean on Pete and Strange Colours before MIFF even started.
It was true in 2023 and it's the case again in 2024: The Calile in Brisbane is the best hotel in both Australia and Oceania. After earning those honours on the inaugural World's Best 50 Hotels list last year, the Fortitude Valley venue has backed up the accolades for a second year. This time, it isn't the only Aussie accommodation spot to make the cut, but it still ranked higher than anywhere else Down Under. In 2023, The Calile came in at 12th place. In 2024, it sits in 25th. The awards called the James Street hotel an example of "laid-back, sun-soaked, chic Aussie hospitality", noting that it "riffs on modernist Miami and Palm Springs while also nodding to the design stylings of 1960s Australia". Also getting some love: its onsite dining and drinking spots, such as Hellenika, Biànca, Sushi Room, SK Steak and Oyster, and Lobby Bar, some of which have scored Nigella Lawson's approval as well. "Brisbane is becoming an increasingly interesting place to dine and The Calile's six restaurants have been instrumental in making that a reality," the World's Best 50 Hotels noted. Praise was also showered upon the site's ability to ensure that indoors meets outdoors, the 30-metre pool surrounded by cabanas and the service. "The Calile's stunning botanical pool deck is undeniably the hotel's centrepiece, with sun lounges filled with tanned and leggy guests, overlooked by the curved balconies of the hotel's poolside rooms. The seven cabanas can be booked for dinner or cocktails, which are the best place to observe all the action of Brisbanites at play," the accolades continued. The Tasman in Hobart is the other Australian spot to nab a place in the top 50, coming in at number 48. It received attention for its "three distinct architectural eras cleverly melded into one seamless, luxurious whole". "What binds this eccentric collection of styles together is an uncompromising attention to detail, a sense of relaxed luxury and a uniquely Tasmanian style and pace," the awards also advised. If you're looking for Aussie spots for a staycation or vacation, there's your top two suggestions sorted. If you're keen to say at some of the world's best hotels beyond Australian shores, you have 48 choices, capped by Capella Bangkok — which was 2023's Best New Hotel — in first place. [caption id="attachment_973399" align="alignnone" width="1920"] Capella Bangkok[/caption] Passalacqua in Moltrasio in Italy dropped down from top spot last year to second this year, while Rosewood Hong Kong came in third and Cheval Blanc in Paris ranked fourth. From there, The Upper House in Hong Kong sits in fifth place, Raffles Singapore came in sixth, Aman Tokyo ranked seventh, Soneva Fushi in The Maldives nabbed eighth place, and The Atlantis Royal in Dubai and Nihi Sumba on Sumba Island in Indonesia round out the top ten. Per continent, as well as The Calile being named the best spot in Oceania, Capella Bangkok did the same in Asia, Passalacqua was named Europe's top hotel, Chablé Yucatán in Mexico did the honours in North America, Rosewood São Paulo notched up the feat in South America and Mount Nelson in South Africa scored the title in Africa. [caption id="attachment_918889" align="alignnone" width="1920"] Passalacqua © Ruben Ortiz[/caption] The World's Best 50 Hotels sits in the 50 Best stable alongside the World's 50 Best Restaurants, the World's 50 Best Bars, Asia's 50 Best Bars, Asia's 50 Best Restaurants and more. Debuting in 2023, the countdown highlights excellence among places to stay, and initially favoured Europe heavily among its selections — but its second year sees Asian hotels earn more spots on the list than anywhere else with 19 in total, including four from Bangkok alone. European accommodation spots are represented in 2024 by 13 places, North American hotels nabbed nine, Africa features four, Oceania scored four as well and South America has one. The World's Best 50 Hotels winners for 2024 were picked by more than 600 international travel experts, all with a significant number of stamps on their passports, with the list unveiled in London. [caption id="attachment_819667" align="alignnone" width="1920"] Rosewood Hong Kong[/caption] "To have been selected two years in a row marks a significant affirmation of The Calile's place on the global hotel industry stage. This is a win for our team, our collaborators, our loyal guests and a win for Brisbane as a destination, and we are humbled to again represent Australia and be recognised as leading in the Oceania region," said The Calile Hotel co-owner Catherine Malouf, who attended the ceremony in the UK. Brisbane keeps garnering the international spotlight, as does the broader Sunshine State as well. The River City was named one of the best places to go in 2024 by The New York Times, travel guide Frommer's also selected the city as one of 2024's best spots to visit and TIME put it on its world's greatest places list for 2023. Further north, Palm Cove near Cairns topped Condé Nast Traveller's beach list for 2024, and was named the home of the best hotel in the South Pacific, and also Australia, by Tripadvisor. For the full World's 50 Best Hotels list for 2024, head to the awards' website. The Calile images: Cieran Murphy.
At Suntory, the spirit of "Yatte Minahare" — "You never know until you try" — remains as strong now, as it did 126 years ago. It has led to the creation of Japan's first whisky distillery, the reimagining of classic cocktails like the highball, and it now houses some of the world's finest brands –Yamazaki, Hakushu, Toki Whisky, Roku Gin, Haku Vodka, Maker's Mark, Jim Beam, -196 and BOSS Coffee to name a few. As Suntory looks to the future, let's travel back 126 years to the very beginning, when Shinjiro Torii, Suntory's first Master Blender, saw an opportunity and "went for it." Where it All Started Over a century ago, in a small store in Osaka, Japan, Shinjiro Torii had a dream: to create an authentic whisky in Japan. Having saved enough from his early Akadama Port Wine successes, Torii, with much resistance from family and colleagues, invested his whole fortune into the establishment of the Yamazaki Distillery in 1923. He didn't know it then, but this uncharted move transformed the spirits industry in Japan and changed the whisky-drinking world. Since then – despite some challenges along the way – the brand has grown into a global leader of drinks, with products found in countless venues across Australia and the world. Shaping how Japan drinks and what the global community knows about flavour and innovation. Successive leaders have carried forward Torii's legacy, future-proofing Torii's vision while staying true to the company's founding values of Yatte Minahare: Giving Back to Society and Growing for Good. The Recipe for Success Suntory's ability to innovate while staying grounded in its Japanese roots is a testament to the brand's vision. Take Suntory Whisky Kabukin, for example. Launched in 1937, it was Japan's first big foray into the whisky business, helping to cement Suntory's reputation as a trailblazer in the industry. The whisky's signature square bottle (Kakubin means "square bottle") became an enduring icon, and today, it remains a beloved part of Japanese drinking culture — particularly in the form of the highball, a whisky-soda cocktail that Suntory helped popularise. But Suntory's innovation continued beyond whisky. In 1992, the brand launched BOSS Coffee, a flash-brewed cold coffee in a can designed to keep Japan's workforce fuelled. This product quickly became a hit, and even today, BOSS Coffee remains a go-to drink for coffee lovers (and tradies) seeking convenience without sacrificing quality. The company's relentless pursuit of innovation led to another groundbreaking product with -196 — a vodka based ready-to-drink beverage that's taken the world by storm with its flavour and the bold process by which it's made. The 'Freeze Crush Technology' involves freezing and pulverising whole fruits in liquid nitrogen at a temperature of -196°C. While Suntory has a significant global presence, its inspiration remains true to its founding philosophy: to inspire the brilliance of life. From the pristine water used at its distilleries to the careful selection of ingredients for its products, Suntory's emphasis on nature and tradition flows through everything it creates. The House of Suntory line, which includes celebrated names like Suntory Whisky, Toki, Roku Gin, and Haku Vodka, exemplifies this approach and its connection to nature. Each product in the collection pays homage to something unique from Japan's rich cultural heritage. For Roku Gin, this is done by using six carefully selected Japanese botanicals, while Haku Vodka is crafted from 100 percent Japanese white rice for an exceptionally smooth finish. [caption id="attachment_1017676" align="aligncenter" width="1920"] Jiwon Kim[/caption] The Spirit of Suntory in a Glass If you've walked down the bar-lined streets of Japan or even visited one of Australia's top whisky bars, you would have encountered the highball cocktail. A balanced combination of whisky and soda (and a wedge of lemon), it has long been a fixture of Japanese drinking culture, and Suntory has played a vital role in its revival. While the highball originated in the UK, Suntory perfected the drink, rolling out Tory's Bars in the 1950s, where patrons could sip highballs after a long day at work. Today, the highball is trending. Sipped by young folk in bars, paired and reimagined by the best bartenders in the world. Celebrating 126 Years As Suntory celebrates its 126th anniversary, it remains deeply rooted in the values that Shinjiro Torii instilled over a century ago. "We have grown from our roots in Japan to become a truly global company," says Greg Hughes, president and CEO of Suntory Global Spirits. [caption id="attachment_1017677" align="aligncenter" width="1920"] Jiwon Kim[/caption] From the first drops of Akadama Port Wine to the pioneering Japanese whisky and beyond, Suntory's history is marked by a continuous drive to innovate. Whether perfecting the highball or creating products like Minus 196, the company's story is one of bold experimentation, guided by a deep respect for tradition. As Suntory moves into the future, one thing is clear: it will continue to shape how the world drinks, one glass at a time. The best time to sample Suntory's work will be when Suntory Bar takes over Whisky Thief inside Sydney's Prefecture 48. Running from Friday, August 8 to Saturday, November 8, Suntory will be serving refreshing highballs and signature Suntory and experimental cocktails alongside select snacks for three months. Find out more about Suntory's legacy and full range of products at the website.
If Game of Thrones has taught us anything, it's that no one is ever happy. After all, this is a world where weddings end in slaughter, kings are poisoned mid-feast, queens casually mention that they wiped out your entire family, killing a zombie leader still can't save a girl from dragon fire, and finally finding love usually comes with betrayal — and the discovery of new relatives. But if every fictional Stark, Lannister and Targaryen has seemed less than chipper across the hugely popular HBO show's eight seasons, they've got nothing on a group of disgruntled fans who absolutely hate the last batch of episodes. These GoT watchers don't just dislike the five episodes of season eight so far. Rather, these folks despise them so much that they're demanding for all of them to be remade. The idea of agreeing to disagree, realising that wrapping up nearly ten years of storytelling was never going to please everyone, recognising that endings are always tricky or just accepting that a few disappointing episodes of your favourite show won't spark a white walker-filled apocalypse is clearly lost on some. The uproar spiked after GoT's latest instalment, the carnage- and dragon-heavy The Bells, which is also the series' second-last episode ever. Plenty of viewers have plenty of opinions about the show's narrative arc, its soaring body count, character development and how the expected showdown between Daenerys Targaryen (Emilia Clarke) and Cersei Lannister (Lena Headey) turned out, sparking a Change.org petition to "remake Game of Thrones season eight with competent writers". The petition was actually launched after the preceding episode, but took off in the past week. Thanks to darkly lit battle sequences and a quick glimpse of a modern-day takeaway coffee cup, GoT gripes have been coming in thick and fast this year. At the time of writing, more than 900,000 people have signed up — because "there is so much awful crap going on in the world, people like me need to escape into things like Star Wars and Game of Thrones," explains the petition's originator, Dylan. The main source of misdirected ire are showrunners David Benioff and D.B. Weiss, who were tasked with conjuring up the show's storylines when it overtook George RR Martin's books. And if you're wondering about the Star Wars reference, that's the pair's next gig, overseeing a new trilogy that'll launch after this year's Episode IX — The Rise of Skywalker. There's even a second petition now, directed towards Disney, asking for Benioff and Weiss to be pre-emptively removed from the space opera franchise. Online tantrums and outlandish fan service demands like this aren't new, as the backlash to the female-led Ghostbusters and to most women characters in big-name series have shown. Unsurprisingly, both Game of Thrones and Star Wars have specifically been plagued by the latter kind of ridiculous complaints. DC Comics fans also tried to shut down Rotten Tomatoes when they didn't like Suicide Squad reviews, too — before said fans had even seen the film themselves. There are countless more examples, but just because these entitlement-fuelled hissy fits are popping up regularly, doesn't mean they should be considered normal behaviour. Unless Game of Thrones ends with a dragon on the throne, it's never going to make everyone happy. Okay, that idea won't thrill a lot of people either. But not only whining loudly and incessantly because a movie or TV show doesn't meet your specific personal hopes, dreams and expectations, but insisting that it be remade to suit you, is as silly as GoT wrapping up with a resurrected Ned Stark (Sean Bean) as king or everyone learning that they're just a figment of the Three-Eyed Raven's imagination. Game of Thrones' final episode arrives on Monday, May 20, Australian and New Zealand time. Images: Helen Sloan/HBO.
In the not-so-distant future, every wine lover in Brisbane might be able to call Ardo's their local. The neighbourhood bar and bottle shop first opened in Carl's Bar and Bistro's old Newstead digs earlier in 2023, giving the River City's inner north a new vino haven. Now, the chain is also pouring in Graceville, launching in Brissie's west mere months later. The just-launched Honour Avenue outpost doubles the brand's footprint — and gives the City Winery crew, which is behind all things Ardo's, yet another venue. It sticks with the same concept that's proven such a hit on the other side of town. Accordingly, wine fans in Brisbane's west now have easy access to plonk-slinging chain's curated range of vino, including over pintxos, cheese and charcuterie. Like its sibling spot, Ardo's Graceville is welcoming in patrons in for a glass and a bite, and will also let folks pick up their favourite tipples — or a new discovery — to take home once the takeaway license kicks in. Again, offering a selection that you wouldn't just find at any bottle-o is a big source of pride, with Ardo's staff on-hand to chat you through its drops, help you make a pick and impart their expert knowledge. Here, customers can enjoy wines by the glass and the bottle. The lineup rotates, but everything you see on the shelf is able to be drunk on the premises or, license pending, taken away. As you're getting cosy, you'll also be surrounded by vino all across the walls, plus a wine tap that looks like an altar. And, you'll be tucking into seasonal snacks.
Ten years ago, in March 2015, Netflix launched in Australia. It wasn't the first streaming service eager to give Aussies new couch-time choices — it wasn't even completely new, thanks to local film and TV lovers accessing the US version before the platform officially arrived Down Under — but it still gave the nation's at-home viewing landscape a milestone moment. The great streaming service rush followed, spoiling audiences for choice via an array of other platforms. Although another new streamer no longer seems to pop up every week, a big player has just hit the market: Max. Warner Bros Discovery's Max platform has launched to Australian viewers as at Monday, March 31, 2025. If you're a fan of HBO's TV shows, you'll be excited. You should also be well-aware of Max's Aussie debut, given that it has been rumoured since 2024, was then confirmed the same year, and scored an exact launch date earlier this year before dropping pricing and plan details. First, the crucial info for The Last of Us fans: this is where you'll need to head to check out the game-to-screen series' second season when it debuts on Monday, April 14. When The Rehearsal returns for its second season on Monday, April 21, you'll also need a Max subscription to see what Nathan Fielder has whipped up next. If you're addicted to The White Lotus or excellent hospital-set newcomer The Pitt, they're rounding out their current seasons on both Max and Binge, which was previously the home of the bulk of HBO's output Down Under. The Righteous Gemstones is among the other series playing on both platforms until their present run wraps up. Max is also your go-to for other HBO Originals, returning, new and old alike, such as House of the Dragon, A Knight of the Seven Kingdoms and any other Game of Thrones spinoffs; Euphoria; upcoming IT prequel series Welcome to Derry; and everything from True Detective, The Sopranos, Six Feet Under, The Wire, Oz, Deadwood, Big Love, True Blood, Big Little Lies and Westworld through to Succession, The Larry Sanders Show, Sex and the City, Flight of the Conchords, Bored to Death, Girls, Veep, Barry and Enlightened. The platform's own Max Originals — so made for it, rather than for HBO — cover And Just Like That..., Peacemaker, The Other Two and more, while the Warner Bros television library also spans Friends, Rick and Morty (including Rick and Morty: The Anime), Gilmore Girls, Gossip Girl and others. Adventure Time, Looney Tunes and Scooby Doo are among the cartoon names available on the service. In addition, content TV networks Discovery, Cartoon Network, TLC, Food Network, ID and HGTV are also part of the platform. If you're a film obsessive, access to recent cinema releases at home is one of Max's drawcards. Movies from Warner Bros Pictures from the year, such as Joker: Folie à Deux, Trap, Beetlejuice, Beetlejuice, Twisters, The Lord of the Rings: The War of the Rohirrim and Super/Man: The Christopher Reeve Story, are all available from launch. Going forward, Max is also set to screen blockbusters fast-tracked from their silver-screen dates. Warner Bros is behind big franchises like The Lord of the Rings, Dune, the DC Universe and Harry Potter, too, so expect them as well. On most streaming platforms, classic flicks aren't a priority. If you like a blast from the past with your viewing, the TCM hub boasts all-time greats such as Singin' in the Rain, North by Northwest, The Maltese Falcon, 2001: A Space Odyssey, Casablanca, The Wizard of Oz, A Clockwork Orange, The Exorcist, Willy Wonka and the Chocolate Factory, Rebel Without a Cause, Bonnie and Clyde, One Flew Over the Cuckoo's Nest, All the President's Men, Ben Hur, Cool Hand Luke, Mean Streets, Enter the Dragon and Gaslight, all from launch. In its first month of Aussie operations, Max will also welcome Brian Cox (The Electric State)-, Lisa Kudrow (No Good Deed)- and Parker Posey (Thelma)-starring new film The Parenting; Fast Friends, a game show about loving a certain sitcom; and Ted Lasso star Brett Goldstein's new stand-up special The Second Best Night of Your Life. From the Warner Bros back catalogue, Dune, The Batman, The Matrix Resurrections, Elvis, Black Adam, Shazam! Fury of the Gods, all ten seasons of Friends and three seasons of The Leftovers are also on the way. Regarding plans and pricing, there's three of the former — starting with a basic package that includes ads, then offering standard and premium options. The first spans full HD resolution and two devices streaming simultaneously, as does the second, with the latter also including 30 downloads to watch offline. Opt for premium and 4K resolution plus Dolby Atmos sound are featured, if they're available per title; four devices can stream simultaneously; and the downloads go up to 100. In a launch special until Wednesday, April 30, 2025, the basic with ads plan is available for $7.99 per month for the first 12 months or $79.99 for the first year (or $11.99 per month/$119.99 per year from Thursday, May 1, 2025). The standard plan special is $11.99 per month for the first 12 months or $119.99 for the first year ($15.99 per month/$159.99 per year afterwards), while premium is available for $17.99 per month for the first 12 months or $179.99 for the first year (or $21.99 per month/$219.99 per year afterwards). As for Binge, when it launched, giving subscribers access to HBO's catalogue was one of its big selling points. The deal between Binge, Foxtel and Warner Bros Discovery — which owns HBO — was extended in 2023; however, it was reported at the time, accurately so it proves, that Max might debut in Australia from 2025. Max is available direct to consumers via its website and app stores — you sign up for it by itself — for viewing via mobile, tablet, gaming consoles and connected TV, but it is still keeping a connection with Foxtel. If you subscribe to the pay-TV service, you'll have access to the Max app without paying extra. Max is available in Australia from Monday, March 31, 2025 — head to the streaming service's website for more details.
If your resolutions for any new year involve being your best self in the kitchen, here's one way to help achieve it in 2024: with the one and only Nigella Lawson enjoying her latest visit Down Under to hit up three cities that she didn't make it to when she last was here in May 2023. Dubbed An Evening with Nigella Lawson, this three-stop second leg of the tour will see the television and cookbook favourite spend three nights chatting through her culinary secrets — and food in general, her life and career, and more. "Food, for me, is a constant pleasure. I like to think greedily about it, reflect deeply on it, learn from it; it provides comfort, inspiration, meaning and beauty... food is the story of my life," Lawson said about the tour, in a glimpse of where the conversation might head. If you're the kind of person who starts plotting your next meal before you've even finished the last, or loves eating more than anything else, Lawson's visit will help get right to the guts of your food obsession. And, the three events — one each in Perth, Adelaide and Brisbane — will also feature a Q&A component so that you can ask Lawson whatever you've always wanted to yourself. Even when she isn't answering audience questions, Lawson will have plenty to cover — she has a hefty pile of cookbooks to her name, starting with 1998's How to Eat: Pleasures and Principles of Good Food and including 2020's Nigella's Cook, Eat, Repeat. When she hasn't been filling our bookshelves with recipes, she's been whipping through them on TV, too, on everything from Nigella Bites, Nigella Feasts, Nigella Kitchen and Nigellissima through to Simply Nigella and Nigella: At My Table. And, she's been popping up on Top Chef, MasterChef Australia and My Kitchen Rules as well. AN EVENING WITH NIGELLA LAWSON 2024: Monday, March 11 — Perth Concert Hall, Perth Thursday, March 14 — QPAC Concert Hall, Brisbane Tuesday, March 19 — Her Majesty's Theatre, Adelaide Catch An Evening with Nigella Lawson in March 2024, with tickets on sale from 9am Friday, October 13 via the tour website.
If you've read much of Stephen King's work, then you'll agree with some of the first words spoken in the just-dropped debut teaser trailer for HBO's new IT prequel series: "anywhere but Derry". That's a great motto if you're keen to avoid unnerving and supernatural events, which have frequented the fictional town's streets in the author's pages for decades — and in their screen adaptations, too, including the hit 2017 IT movie and its 2019 sequel IT: Chapter Two. HBO and its streaming service HBO Max are in franchise mode of late, adding The Penguin to the world of The Batman, expanding the Game of Thrones realm with not only House of the Dragon but also the upcoming A Knight of the Seven Kingdoms: The Hedge Knight, announcing a new drama series set in The Conjuring universe and locking in a Harry Potter series that readapts the books. As first revealed in 2023, IT: Welcome to Derry falls into the same camp. It'll arrive in your streaming queue sometime in spring 2025. If you're not fond of clowns, find yourself scurrying past sewers and simply can't stand red balloons, there's probably one big reason for your phobias. Maybe you read King's horror tome IT, which first made its way to bookshelves back in 1986. Perhaps you saw the 1990 miniseries, which turned Tim Curry from The Rocky Horror Picture Show's Frank N Furter into the transdimensional evil entity known as Pennywise. Or, you might've caught the recent two IT flicks. Whichever fits, your fears are about to get another workout. King's go-to Maine town is clearly the setting, with the series stepping through the locale's scares before the terror that viewers have already seen and experienced. And yes, Pennywise does indeed feature. So does a spate of missing children, more kids seeking answers, a new family moving in, uncaring police, eerie smiles and cackles, voices in the pipes and a crimson balloon. Returning to oversee the show is filmmaker Andy Muschietti, who helmed the most-recent two IT movies and last directed DC Extended Universe flick The Flash. He's also behind the camera here on multiple episodes, expanding his Derry-set vision from his two features. "As teenagers, we took turns reading chapters of Stephen King's IT until the thick paperback fell to pieces," said Muschietti and his sister Barbara Muschietti, who is also working on IT: Welcome to Derry, back when the show was first revealed. "IT is an epic story that contains multitudes, far beyond what we could explore in our IT movies. We can't wait to share the depths of Steve's novel, in all its heart, humour, humanity and horror." "I'm excited that the story of Derry, Maine's most haunted city, is continuing, and I'm glad Andy Muschietti is going to be overseeing the frightening festivities, along with a brain trust including his talented sister, Barbara. Red balloons all around!" added King at the time. If you've somehow missed all things IT so far, it follows the exploits of maniacal clown Pennywise, as well as the folks he's rather fond of terrorising. In the 2017 and 2019 movies, Bill Skarsgård (Nosferatu) put on the demonic makeup. In the first of those films, his targets were all kids. In the second, those teens — the Losers Club — were all grown up and still getting spooked. Skarsgård is back as Pennywise in IT: Welcome to Derry, with Taylour Paige (Brothers), Jovan Adepo (3 Body Problem), Chris Chalk (Feud), James Remar (Megalopolis), Stephen Rider (What Lies Under the Tree), Madeleine Stowe (Soundtrack) and Rudy Mancuso (The Flash) as his co-stars. Watch the initial IT: Welcome to Derry teaser trailer below: IT: Welcome to Derry is set to stream via Max in Australia and Neon in New Zealand sometime in spring 2025 — we'll update you with an exact release date when it is announced. Images: HBO.
In the ultimate blend of gastronomy and performance art, dynamic duo Sam Bompas and Harry Parr are about to host the most intimate of Valentine's Day parties. The jelly-lovin' brains behind wobbling, edible houses of parliament and the lava-powered barbecue, Bompas and Parr are about to host a whisky tasting — an anatomical whisky tasting, in which guests are invited to taste 25, 30 and 50-year-old whiskies from the bodies of people born the same year the good stuff was casked up. Poured onto the natural contours of 25, 30 and 50-year-old performers, the whiskies will naturally react to the body heat and surface saltiness of each human, bringing out different flavours within each spirit. So you'll taste a 25-year-old single malt from a 25-year-old body — a predicted contrast to a 50-year-old scotch from a 50-year-old body. After you've slurped the smoky goodness from their body, the performer will then spin tales of their life story — they've been alive as long as that whisky has, so you'll add a bit of context to the matured mouthful you just downed. And any bored hesitation you have to hearing their life story, remember, you just drank whisky from the small of their back. They earned it. You'll have to book an airfare to enjoy Bompas & Parr's sensory experiment; the tastings are being held in collaboration with culture journal The Gourmand on February 14 at Shoreditch's Ace Hotel in London. Via Londonist.
One of the top ways to treat yourself is to check into one of the best hotels in Melbourne for a few nights. At these joints, you get a little bit of everything (or even a whole lot of everything). Expect fresh plush sheets (this may seem basic, but god we all know how good this feels), room service that you can eat in bed, pampering packages at spas, pools with epic views and just about anything else your luxurious self desires. And Melbourne is packed full of five-star hotels and brilliant boutique stays that will help you live your best life. So check out our guide to the very best hotels in Melbourne, perfect for those after a luxury staycation or out-of-town visitors in need of a base for exploring the city. Recommended reads: The Best Day Spas in Melbourne The Best Dog-Friendly Hotels in Australia The Best Places to Go Glamping in Victoria The Best Dog-Friendly Accommodations in Victoria
It's the best action movie of this century. The best Australian flick of the same period, too. And, it's one of the very best in general as well. But, because the arid expanse that usually surrounds Broken Hill was too green when filming took place, six-time Oscar-winner Mad Max: Fury Road was actually shot overseas. That won't be the case with its follow up Furiosa, though. Focusing on a younger version of the character played by Charlize Theron in Fury Road, Furiosa is actually a prequel — and it'll begin filming in New South Wales in June this year. The Queen's Gambit lead Anya Taylor-Joy will be stepping into the formidable figure's shoes, and starring opposite Chris Hemsworth. Watchmen's Yahya Abdul Mateen II will also feature and, although no other cast members have yet to be announced, it's safe to expect that plenty of local faces will pop up as well. It has been six years since Fury Road first motored its way across the big screen, so Furiosa can't arrive soon enough. Exactly when the latter will actually hit cinemas is yet to be revealed, but it'll do so after a relatively short gap by Mad Max standards. If you feel like you've been waiting for ages to see the franchise continue, it's worth remembering that there was a 30-year gap between 1985's not-so-great Mad Max Beyond Thunderdome and Fury Road's triumphant arrival in 2015. NSW Premier Gladys Berejiklian announced the news today, Monday, April 19, noting that the shoot "is expected to support more than 850 local jobs and bring in around $350 million into the NSW economy". And while it's all good and well that the Mad Max series is continuing, that it'll be shot in Australia and that it has quite an impressive cast, that'd really mean nothing if director George Miller wasn't involved. Thankfully, he'll be back behind the lens, as he has been on 1979's Mad Max, 1981's Mad Max 2, and both Beyond Thunderdome and Fury Road as well. Obviously, a sneak peek of Furiosa won't be available for quite some time given that it hasn't even begun shooting yet, but you can relive Fury Road's glory in its trailer below: https://www.youtube.com/watch?v=hEJnMQG9ev8 Furiosa will start filming in NSW in June. Exactly when the film will hit cinemas hasn't yet been revealed, but we'll update you with details when they're announced
If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this game-to-TV adaptation, he plays Joel, dad to teenager Sarah (Nico Parker, The Third Day), but consumed by grief and loss after what starts as an ordinary day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration — which screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand, from Monday, January 16 — ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, smart, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The worst thing that can be said about their new television creation is that fans of the original PlayStation title already know where it's headed, but that doesn't mean that there aren't surprises along the way. As a show, The Last of Us builds in backstories for some game characters only seen or spoken about. It introduces new faces. It toils to create not just one man and one girl's tale — plus the direct figures linked to their quest — but a portrait of life when normality as we all know it ceases to be. It devotes significant chunks of its time to people endeavouring to endure exactly as Joel and Ellie are amid an infestation that's turned the afflicted into not only zombies but monsters. In its 2003-set opening, Joel, his younger brother Tommy (Gabriel Luna, Terminator: Dark Fate) and Sarah try to outdrive the sprawling infection, only to learn swiftly, brutally and heartbreakingly how the earth's population responds when a mass-extinction event is upon them. If The Last of Us enjoys the kind of viewer success that earns a second season and then a prequel, and it deserves to, exploring the immediate aftermath from here would be a smart and gripping move for that jump backwards. That isn't the game or this first season's narrative, though, which then finds Joel with the resourceful Tess (Anna Torv, Mindhunter) in Boston's quarantine zone, making plans to go looking for the absent Tommy. They're in survival mode. Noticeably wearied, they've long avoided anything beyond remaining alive. But escorting the 14-year-old Ellie will require a broader mindset. From the outset, but also episode by episode, Mazin and Druckmann excel at world-building. Many will come to The Last of Us' week-by-week instalments having mashed buttons directing Joel and Ellie through their mission, but familiarity with the game is far from a pre-requisite for being whisked away by the series. Indeed, one of the thrills of the television show is its attention to detail in its rendering of a decaying planet, and also its appreciation for the little things that make persisting and persevering in such difficult times worth it. It revels in greenery and rays of light, in moments and sights that offer a rare cosy blast from the past for everyone who remembers the before times, and in discoveries with fresh eyes for the post-apocalyptic generation. It values poignant exchanges and intimate connections, too. Although firmly made for the small screen, The Last of Us looks and feels cinematic from season one's first frames till its last, as Mazin's Chernobyl also did. Perhaps the second-worst thing that can be said about the series, and an observation that was always inevitable, is that it's plain to see how the story works on a console. That applies to surveying spaces, locating supplies, evading or dispensing with threats, seeking paths forward, navigating the mutated Cordyceps-contaminated creatures known as clickers, making new allies, and moving from place to place — aka completing various chapters. Thankfully, just like fleshing out The Last of Us' vision of tainted life, Mazin, Druckmann, and their fellow writers and directors make the gameplay mechanics feel organic as well, using their source material merely as a starting point. When the show sticks close to the exact reason that it even exists, it recreates the video game's specifics carefully, dutifully, but with watching rather than playing in mind. When it expands further, it turns something that's immediately compelling and engaging into something even more special. To go a level further, The Last of Us is spectacular — as a video game adaptation, instantly becoming the best yet, and in general. A key reason: its devotion to people and their relationships over the dangers that lurk everywhere and anywhere, not that it ever ignores the latter. In its take on life, death, and why living and breathing is worth treasuring, getting to know the determined, fiercely loyal Joel and the curious, outspoken Ellie is of the utmost importance. Understanding how they interact and react, what ties them together beyond their shared mission, and what they come to mean to each other, is what makes their troubles and struggles — and our watching — worthwhile. In varying degrees, the same applies to other pivotal characters, including Boston resistance leader Marlene (Merle Dandridge, The Flight Attendant), Kansas City rebel Kathleen (Melanie Lynskey, Yellowjackets), and brother duo Henry (Lamar Johnson, Your Honor) and Sam (debutant Keivonn Woodard). As fantastic, committed and absorbing as Pascal and Ramsey are, him stoic and protective, her soaking in everything she can experience, and both weighed down by the pain and sorrow that Joel and Ellie each carry with them with on every step, The Last of Us' best first-season episode mostly focuses elsewhere. Murray Bartlett (The White Lotus) plays Frank and Nick Offerman (The Resort) is Bill — one no longer defecating in suitcases in swanky surroundings, the other well-versed in all things survivalist after Parks and Recreation. Their involvement in this tale is as tender as the show gets, and as vital a reminder about what it is that everyone is fighting to live for. To be among the last of humanity should mean cherishing everything you can while you can, and with who you can, and this stellar game adaption wholeheartedly understands that. Check out the trailer for The Last of Us below: The Last of Us screens and streams via Foxtel and Binge in Australia, and on Neon in New Zealand, from Monday, January 16.
By almost every conceivable metric, 2020 wasn't great. It was downright terrible, in fact. We know that you already know this, but let us share a sliver of good news: it was still a fantastic year for cinema. That's true even with picture palaces across Australia, New Zealand and the rest of the world closing for considerable periods. Indeed, when silver screens reopened again Down Under, and everyone was able to once again sit in darkened rooms and stare at celluloid dreams blown up big just as they're meant to be, we all remembered why the term 'movie magic' exists. And, in those theatres with their popcorn smells and booming sounds, we were able to see truly exceptional films. Every year delivers a treasure trove of movies — so much so that, here at Concrete Playground, we always put together multiple lists of film gems. As part of our end-of-year wrap-ups for 2020, we've already highlighted ten excellent movies that hit cinemas but sadly didn't set the box office alight, as well as 20 other standout titles from this year that really you owe it to yourself to have seen. From everything that flickered through a projector in general release in 2020, we're now down to the pointy end. Each year delivers awful, average and astonishing movies, and we've picked the cream of the crop when it comes to the latter. Some released pre-pandemic, in what seems like another life. Some are yet to hit cinemas, but will before the year is out. From movies that'll have you dancing in the aisles to unsettling head trips, these are the ten absolute best films of 2020 that made their way to the big screen. https://www.youtube.com/watch?v=DSFpK34lfv0&feature=youtu.be NOMADLAND Frances McDormand is a gift of an actor. Point a camera her way, and a performance so rich that it feels not just believable but tangible floats across the screen. That's the case in Nomadland, which will earn her another Oscar nomination and could even see her win a third shiny statuette just three years after she nabbed her last for Three Billboards Outside Ebbing, Missouri. Here, leading a cast that also includes real people experiencing the existence that's fictionalised within the narrative, she plays the widowed, van-dwelling Fern — a woman who takes to the road, and to the nomad life, after the small middle-America spot she spent her married life in turns into a ghost town when the local mine is shuttered due to the global financial crisis. Following her travels over the course of more than a year, this humanist drama serves up an observational portrait of those that society happily overlooks. It's both deeply intimate and almost disarmingly empathetic in the process, as every movie made by Chloe Zhao is. This is only the writer/director's third, slotting in after 2015's Songs My Brothers Taught Me and 2017's The Rider but before 2021's Marvel flick Eternals, but it's a feature of contemplative and authentic insights into the concepts of home, identity and community. Meticulously crafted, shot and performed, it's also Zhao's best work yet, and 2020's best film as well. Read our full review. https://www.youtube.com/watch?v=OsWV2qTX21k NEVER RARELY SOMETIMES ALWAYS When some movies mention their titles, they do so via a line of clunky dialogue that feels forced, overstressed and makes viewers want to cringe. Never Rarely Sometimes Always isn't one of those films. It does indeed task a character with uttering those exact words, but the scene in which they're voiced is the most devastating and heartbreaking movie scene of the year. Given the premise of writer/director Eliza Hittman's latest feature, that perhaps comes with the territory. It shouldn't, which is one of the points this layered film potently makes, but it does. Upon discovering that she's expecting — and being told by her local women's centre that she should go through with the pregnancy — 17-year-old Autumn (first-timer Sidney Flanigan) has no other choice but to take matters into her own hands. With her cousin Skylar (fellow feature debutant Talia Ryder), she hops on a bus from her Pennsylvania home town to New York to seek assistance from Planned Parenthood. Given that Skylar has stolen the funds for Autumn's abortion out of the cash register at work, and that they don't have enough to cover a place to stay, this isn't a straightforward quest. Hittman's naturalistic style, as previously seen in 2014's It Felt Like Love and 2017's Beach Rats, makes every second of Autumn's ordeal feel intimate, real and unshakeably affecting, as does Flanigan's internalised but still expressive performance as well. Read our full review. https://www.youtube.com/watch?v=97nnV0fNd30 AMERICAN UTOPIA On paper, American Utopia's concept doesn't just sound excellent — it sounds flat-out superb, stunning and spectacular. A new David Byrne concert film, capturing his acclaimed American Utopia Broadway production, as directed by Spike Lee? Sign the world up, and now. In the most welcome news of the year, the execution matches the idea in this instant masterpiece (and wonderful companion piece to 1984's Stop Making Sense). It'd be hard to go wrong with all of the above ingredients, but Lee's second film of 2020 (after Da 5 Bloods) makes viewers feel like they're in the room with Byrne and his band and dancers like all concert movies strive to but few achieve in such engaging a fashion. Every shot here is designed with this one aim in mind and it shows, because giving audiences the full American Utopia experience is something worth striving for. Byrne sings, working through both solo and Talking Heads hits. He waxes lyrical in his charming and accessible way, pondering the eponymous concept with an open and wise perspective. And he has staged, planned and choreographed the entire performance to a painstaking degree — from the inviting grey colour scheme and the open stage surrounded by glimmering chainmail curtains to the entire lack of cords and wires tethering himself and his colleagues down. Read our full review. https://www.youtube.com/watch?v=W-fxRXzfi0U KAJILLIONAIRE Awards bodies don't tend to recognise performances like Evan Rachel Wood's in Kajillionaire, but they should. It's a career-best effort from an actor with an array of terrific work to her name (most recently in Westworld), and it operates so firmly on the same wavelength as the film she's in that it's impossible to imagine how it would work without her. Kajillionaire is filmmaker Miranda July's latest movie, following Me and You and Everyone We Know and The Future, so it was always going to stand out. It was always going to need a knockout portrayal at its centre, too. Wood plays a 26-year-old con artist called Old Dolio Dyne, who has spent her whole life working schemes and scams with her parents Robert (Richard Jenkins, The Shape of Water) and Theresa (Debra Winger, The Lovers) — to the point that it's all that she knows, and it has made her the closed off yet still vulnerable person she is. But when her mother and father take lively optometrist's assistant Melanie (Gina Rodriguez, Annihilation) under their wing, Old Dolio is forced to reassess everything. That might sound standard, but July has never made a movie that's earned that term and she definitely doesn't start now. Kajillionaire is a heist-fuelled crime caper, and an eccentric and idiosyncratic one; however, it's also a rich and unique character study, an astute exploration of family and a love story — and Wood is essential at every turn. Read our full review. https://www.youtube.com/watch?v=kFqCTIdF7rs POSSESSOR The possibility that someone could hijack another person's brain, then use their body as a vessel to carry out corporate-sanctioned murder, is instantly distressing and disturbing. Whatever your mind has just conjured up reading that sentence, it has nothing on Brandon Cronenberg's vision of the same idea — as Possessor, his sophomore feature, illustrates in a brilliant and brutal fashion. As chilly and also as mesmerising as his first film, Antiviral, this horror-thriller spends its time Tasya Vos (Andrea Riseborough, The Grudge). It's her job to leap into other people's heads and carry out assassinations, and she's very good at it. When the movie opens, however, she experiences difficulties on a gig. Then she takes on another, infiltrating Colin's (Christopher Abbott, Vox Lux) brain, and struggles to maintain control over his personality and actions as she attempts to kill his fiancé (Tuppence Middleton, Mank) and her business mogul father (Sean Bean, Snowpiercer). Possessor's writer/director is the son of David Cronenberg, of Shivers, Scanners, Videodrome and The Fly fame, so exploring unnerving body horror has been implanted into his own head in a way, too. He certainly carries on the family name in a daring, determined and expectedly gruesome manner. Also striking and unforgettable here: the concepts that Possessor probes, including present analogues to Possessor's body-jumping technology. Read our full review. https://www.youtube.com/watch?v=PLNXHJB5Mto BABYTEETH Filmmaker Shannon Murphy made her feature debut with Babyteeth, but she shows no signs of merely cutting her chompers on this heartwrenching film. Based on the Rita Kalnejais-penned play of the same name and scripted for the screen by the writer as well, this Australian drama tackles a well-worn premise — that'd be: terminally ill teen falls in love as she endeavours to manage her grim health situation — with such shrewdness, vivacity and understanding that it puts almost every other movie about the same concept to shame. Milla (Eliza Scanlen, Little Women) is the cancer-afflicted high schooler in question. When she meets and clicks with 23-year-old small-time drug dealer Moses (Toby Wallace, Acute Misfortune), it takes her pill-popping mother Anna (Essie Davis, True History of the Kelly Gang) and psychiatrist father Henry (Ben Mendelsohn, The Outsider) time to adjust. Their struggles have nothing on Milla's own, though, because Babyteeth sees its protagonist as a person rather than an illness, and as someone with their own hopes, dreams, troubles and disappointments instead of the reason the folks around her have their lives disrupted. That's such an important move, but's just one of the many that the movie makes. Aided not only by superb (and AACTA Award-winning) performances all round, but also by arresting visuals and clever but realistic dialogue, Babyteeth proves both raw and dynamic from start to finish. Read our full review. https://www.youtube.com/watch?v=VFOrGkAvjAE SOUND OF METAL It's one thing to tell viewers that the character they're watching is losing their hearing. It's another entirely to ensure that they understand exactly how that feels. Sound of Metal adopts two methods to achieve the latter feat — one expected but still extraordinary, the other truly earning the usually overused term that is 'immersive'. Firstly, Riz Ahmed (Venom) gives his all to the role of heavy metal drummer and ex-heroin addict Ruben Stone. Realising that one of his senses isn't just fading but disappearing obviously upends every facet of Ruben's life, which Ahmed conveys in a powerfully physicalised performance (and his second portrayal of a musician coping with health struggles after this year's festival hit Mogul Mowgli, too). Just as crucial, however, is the soundscape created by debut feature director Darius Marder and his team. It mimics what Ruben can and can't hear with precision, and it couldn't be more effective at plunging the audience inside his head. Both choices — lead casting and the film's audio — invest weight and depth into a story that isn't lacking in either anyway. Putting his tour with his bandmate and girlfriend Lou (Olivia Cooke, Ready Player One) on hold, Ruben reluctantly moves to a rural community for addicts who are deaf to learn to live with his new situation, does whatever is necessary to rustle up the cash for a surgically inserted cochlear implant and faces more than few hard truths along the way. Read our full review. https://www.youtube.com/watch?v=7gOs6gKtrb4 THE LIGHTHOUSE It initially hit cinemas pre-pandemic, but The Lighthouse might just be the most relatable movie of 2020. There are no prizes for guessing where it is set, but The Witch filmmaker Robert Eggers has zero time for scenic seaside escapades, turning his attention to two men holed up in the coastal structure, unable to leave and going stir-crazy (to put it mildly) instead. Those lighthouse keepers are played by Willem Dafoe (At Eternity's Gate) and Robert Pattinson (Tenet), who both commit to the narrative with gusto. The former steps into the shoes of cantankerous sea dog Thomas Wake, while the latter endures quite the uncomfortable welcome as eager newcomer Ephraim Winslow — and, as anyone could predict given their talents and respective filmographies, they're gripping to watch. That sensation only increases when a storm sweeps in, with the fact that Winslow frequently fondles himself while holding a mermaid figurine marking just the beginning of The Lighthouse's claustrophobic chaos. Shooting in black and white, and boxing the film in via the 1.19:1 Movietone aspect ratio that's a throwback to a century ago, Eggers dives right into a vivid and entrancing nightmare that simultaneously unpacks masculinity, unfurls a manic head-trip and explores how people react when they're thrust together in a heightened scenario. Read our full review. https://www.youtube.com/watch?v=EU-Z90SEqGQ CORPUS CHRISTI An Oscar nominee this year — losing the Best International Feature Film category to Parasite — Corpus Christi examines faith with blistering and unflinching intensity. This quietly powerful Polish drama doesn't just contemplate what it means to believe, but how the supposedly pious actually enact their convictions (or don't, as the case often proves). Freshly released from reform school, Daniel (Bartosz Bielenia) is drawn to the seminary after connecting with the facility's head priest, Father Tomasz (Lukasz Simlat), during his sentence. Alas, his record instantly excludes him from following that calling, even though he's only 20 years old. Then, through a twist of fate that always feels organic, he's given the opportunity to act as the new spiritual advisor in a rural town after its residents mistake him for a man of the cloth. Given that this is an imposter tale, Corpus Christi proves inherently tense and bristling from the outset; however, just as much of that mood and tone stems from the way that Daniel's new community say one thing but act in a completely different manner involving a recent tragedy. Warsaw 44 and The Hater filmmaker Jan Komasa willingly steps into thorny territory as he tells the young man's tale (with top-notch help from Bielenia), and wonders why it's so easy for so many to cling to centuries-old concepts and stories, but so hard for most to put them in a modern, realistic and everyday context. Read our full review. https://www.youtube.com/watch?v=nzqevBnUUZU THE ASSISTANT Charting an ordinary day in the life of a junior staff member at a film production office, The Assistant is as unsettling as anything else that reached screens in 2020. Jane (Julia Garner, Ozark) has the titular position, working an entry-level job for a demanding head honcho who everyone in the office indulges — although viewers never get to meet him. She arrives at work before daylight, trudges through menial tasks and is treated poorly by her male colleagues. She's expect to anticipate everything that her boss could ever need or want, or face his wrath if she doesn't. And, as the day progresses, she realises just how toxic her workplace's culture is and how deep its inappropriate conduct burrows. Seeing how predatory the man she works for acts on a daily basis, and how his behaviour has a significant impact, she also learns how those who even try to speak out can still be powerless to effect change to stop it. If you've kept abreast of the #MeToo movement over the past few years, you'll know exactly what has inspired The Assistant, of course. However, Australian filmmaker Kitty Green wants her audience to experience this devastating scenario via Jane, rather than merely read about it. She doesn't just succeed; although she's working in fiction here, she directs a film as searing and perceptive as her last project, the excellent documentary Casting JonBenet.
When it comes to travel, the early bird really does get the worm. Or in this case, the best value fares. Singapore Airlines has just launched its Early Bird Fare Deals, with flights taking off from all major cities and many regional centres through their partnership with Virgin Australia. And if you're a Type A planner, this is for you. From return fares like Adelaide to Brussels from $1,473, Sydney to Milan from $1,669 or Perth to Manchester from $1,555, Singapore Airlines' Early Bird Fares are full of great value options. Every Early Bird customer can unlock exclusive Pelago discounts on tours, passes and experiences — and KrisFlyer members booking selected European destinations can also earn 50% bonus KrisFlyer miles. So, if you're looking to lock in your holiday plans for 2026 at exceptional value, here's how to do it. Book High-Demand Destinations Early Paris in winter, Rome in summer, London in spring. Whenever you plan on taking off, Europe books out fast. The smart move? Secure your flights now. With Singapore Airlines' Early Bird fares, you can choose from more than 100 destinations, including popular spots like Milan, Barcelona, Amsterdam, Copenhagen and Brussels. By the time everyone else is emailing their boss to ask for annual leave, you'll already have your dream itinerary locked in. Maximise Your Annual Leave Speaking of time off work, here's where organised travellers win big: mapping your trip around long weekends and public holidays. With a few carefully placed leave days, you can plan your trip abroad to perfection. For example, in 2026 Easter Monday lands on April 6. If you take the four days before (March 30–April 3) as annual leave, you'll end up with a ten-day break, perfect for a European spring escape. Planning ahead also gives you first pick on leave at work, and helps you line up those rare sweet spots where flights, events, and time off align. Time Your Trip Around the Seasons Australia's summer is Europe's low season, and vice versa. So, planning a future trip based on the season lets you dodge peak crowds and chase the weather that works best for you. You could swap the beach for ski slopes and hot chocolates in January, or book for August to catch the last long golden evenings of a European or North American summer. Luckily, the sale covers travel between January and September 2026 so you can choose your favourite time to go — just keep an eye on blackout dates. Avoid School Holidays Another bonus of forward planning? You can sidestep the chaos (and higher prices) of school holiday periods by travelling in the quieter in-between weeks with available Singapore Airlines' Early Bird Deals. Aiming for off-season windows means more choice, less crowding and smarter value. Plus, if you're travelling with the kids, the sooner you book your flights the more likely you are to nab those prime departure times — no 6am alarms or overnight layovers unless you want them. Reserve Bucket-List Experiences in Advance Want to dine at a three-Michelin-star restaurant in Paris, explore street markets in Ho Chi Minh City or snag tickets to Wimbledon? These experiences often sell out months in advance. By locking in flights now, you can get a head start on bookings that make a trip unforgettable. When you book a Singapore Airlines' Early Bird flight, you'll unlock exclusive Pelago perks (including up to 10% off tours, airport transfers and even Eurail passes) make ticking those experiences off even easier. Make the Most of Extra Rewards Booking early doesn't just save you money and give you something to look forward to, it adds extra value to your trip. With selected Early Bird bookings to Europe, KrisFlyer members can earn 50% bonus KrisFlyer miles to put towards their next trip. All Early Bird customers will unlock Pelago perks — including up to 10% off tours and passes, plus a free 1GB global roaming eSIM. There's a $10 Kris+ sign-up offer available for new users. All the more reason to get that 2026 trip out of the group chat and into the calendar. Don't Wait Until It's Too Late Singapore Airlines Early Bird Fare Deals run only until Tuesday, September 30 2025, with fares across Economy, Premium Economy and Business Class cabins. Book now, and by the time 2026 rolls around you'll be counting down the days, not scrambling for last-minute options. Find out more and book your Early Bird fare for select travel dates in 2026 here.
While it seems the large majority of Australian expats have decided to put down roots in London or New York, Hong Kong has one heck of an Australian population — especially in the culinary scene. From Melbourne-style coffee bars and roasteries to underground contemporary Chinese fusion restaurants and Western Australian iron ore mine-themed cocktail bars (really), Honkers is brimming with little pieces from home for Australian travellers. Embracing the traditional cooking styles of HK with a little contemporary twist, these Aussie expat hubs aren't just for travellers, seeing locals queue up as much as visitors every day and night of the week. If you're planning a visit to Hong Kong, pop by and see how Aussies are representing. THE IRON FAIRIES One of the most talked about cocktail bars in Hong Kong is themed around nothing less niche than a Western Australian iron ore mine. Think Flintstones-like private cave nooks, gritty mining tools lining the back bar, live jazz, and a casual 10,000 dead butterflies suspended from the ceiling. Prolific Australian designer Ashley Sutton simply ran with what he knows — he really is a former miner from Western Australia. Sutton makes his own gin, Iron Balls, which features in a few of the highly decadent cocktails (a craft beer or wine-focused bar this ain't). Try the 'Underground Martini'. Pull up a leather Chesterfield armchair around what looks like a macabre bonfire of bodies but is actually a pile of iron fairies (hence the bar's name). Each fairy has its own name and personality — word is that each is named for Sutton's ex-girlfriends. Don't steal them like a jerk, instead you can buy a fairy and have it packaged up with magic dust and wishes. But what's this tunnel, and where does it lead... LG, 1 Hollywood Road, Central. J.BOROSKI Followed the tunnel? You've emerged into one of the city's newest, most unique and most visually jaw-dropping cocktail bars. Also designed by Ashley Sutton and run by owner/mixologist Joseph Boroski, this bar is a syndication of its sister bar in Bangkok and apparently operates on an invitation-only basis. Horned beetles tile every inch of a curved tunnel ceiling, while framed giant spiders line hidden alcoves made for intimate conversations. There's no cocktail menu at J.Boroski, only particularly intuitive bartenders who'll quiz you on your preferences before producing your perfect elixir. "Have we shown you the sex room?" asks the manager. We can't tell you about the sex room, but we can tell you it exists and involves 1950s porn. You'll just have to find it for yourself. Your only clue? Follow the spiders. Secret location. To request an invitation call +852 2603 6020 or email hk@jboroski.com. HO LEE FOOK Taiwan-born chef Jowett Yu has created one heck of a Hong King must-visit with his modern Chinese, Elgin Street restaurant in Central, Ho Lee Fook (say it out loud, you got it). The name literally translates to "good fortune for your mouth" and is inspired by old school Hong Kong cha chaan tengs (tea restaurants) and late night Chinatown haunts in 1960s New York. Yu's known in Australia for his Tetsuya's training and for co-opening Sydney restaurants Mr Wong and Ms.G's with Eric Koh and Dan Hong. You won't have trouble missing this highly publicised spot — just look for one of the most Instagrammed walls in the city, a clinquant assembly of waving cats. Just try and keep tipsy passersby away from this selfie trap. Downstairs, in his dimly lit, Chinese street art-adorned basement, Yu weaves contemporary Chinese magic through street food staples like French toast (Yu hides peanut butter in his version, and casually serves it with condensed milk ), prawn toast done okonomiyaki-style, and roast wagyu short ribs with jalapeño purée. But it's the roast goose that has foodies aflutter at HLF — order that bad boy 48 hours in advance. 1 Elgin St, Central, Hong Kong PEEL STREET ESPRESSO If you're looking for a little piece of Australian cafe life in Hong Kong, head for Central and seek out Peel Street Espresso, the brainchild of Scottie Callaghan from local wholesale roasting company Redback Specialty Coffee (co-owned by Keith Regan and Craig Jackson). Opened in February 2016, this modernist, cement corridor space looks straight out of Melbourne or Sydney, and plays host to locals and visitors to the city alike, with the Ho Lee Fook team regular coffee fiends. Perch up at the window bar with a black, white or filter coffee ($3.30 each), a freshly baked and schmeared bagel ($5-11) or the quintessentially Australian avo toast ($14) before a big day of exploring. If you pop back after closing time, the coffee beans are whisked away and the space transforms into a wine bar. 38 Peel Street, Central, Hong Kong, www.redbackcoffee.com.hk [caption id="attachment_600511" align="alignnone" width="1280"] Maison Libanaise[/caption] MAISON LIBANAISE Fancy a spot of Lebanese in the middle of Hong Kong? Head for SoHo's Maison Libanaise, a three-storey, canteen-style restaurant inspired by 1960s Beirut, the 'Paris of the Middle East' with its French-inspired architecture and contemporary food scene. On the ground floor you'll find takeaway nosh from Le Comptoir, on the first floor lives Le Salon, a seated, sharing-focused restaurant doing Lebanese mezze, and on the rooftop you can sip on a wine or two at La Buvette, overlooking SoHo's streets. Head chef James Harrison hails from Melbourne and trained under Greg Malouf at MoMo. He's dishing up honey-glazed haloumi, eggplant fattoush and hearth baked pita bread daily. 10 Shelley Street, SoHo [caption id="attachment_600509" align="alignnone" width="1280"] Ophelia[/caption] OPHELIA Yeah, yeah this one's another Ashley Sutton, but look at it. An epic peacock-themed cocktail bar inspired by 19th century opium dens and located in the nightlife-happy area of Wan Chai, Ophelia polarises bar fans in the city (like any venue boasting a penchant for blatant voyeurism, decorated female performers and onstage debauchery). Chef Angus Harrison, who's previously worked with Martin Boetz and Luke Mangan, does tapas here, perfectly paired with the bar's Asian herb-heavy cocktail menu. Shop 39A-41A,1/F, The Avenue, Lee Tung Avenue, Wan Chai. OTHER AUSTRALIAN-HELMED RECOMMENDATIONS Belon Carbone Le Garcon Saigon Images: Shannon Connellan unless otherwise specified. Concrete Playground travelled as a guest of the Hong Kong Tourism Board.
Look, in our book, every single day is gin day. But this Saturday, June 11, the drink that launched a thousand drunk texts (and counting) will be officially celebrated the world over. It's World Gin Day. And considering the experimental foodie age we live in, it doesn't seem appropriate to celebrate with just another gin and tonic — not when you can have it infused with ants or steeped in red wine grapes, anyway. So we've found two new weird Australian gins that won't only make for an unconventional G&T, but will spark a few conversations and raised eyebrows too. ANGRY ANT GIN — BASS AND FLINDERS Up and coming gin barons often differentiate themselves and their product by distilling the botanicals of the local area to give a distinctive, but familiar, flavour and scent. Australian species lend themselves perfectly to the task — but for the chaps down at Bass and Flinders Distillery in Victoria's Mornington Peninsula, that simply wasn't weird enough. They've distilled a gin made with a special ingredient: ants. Like all gin, Angry Ant is made up of a selection of botanicals. But along with the usual juniper berries and lemongrass, the essence of ants has also been thrown in. That's because ants release a pheromone during the distillation process, which produces a flavour that complements the other botanicals to create a damn fine gin. While they're not the first people to use the tiny insects in gin — Copenhagen's Nordic Food Lab produces an Anty Gin that costs a bomb per bottle — they're certainly the first in Australia, with the ants sourced from Wooleen Station in WA. Grab a bottle here, if you dare. BLOODY SHIRAZ GIN — FOUR PILLARS Ron Swanson may say that "clear alcohols are for rich women on diets" and while we usually take his word as gospel, we couldn't disagree more with him on this one. But if you want to add some colour (and kick) to your 5pm G&T, look no further than Four Pillars' brand new Bloody Shiraz Gin. The revolutionary gin created by Victorian gin legends Four Pillars is exaaactly what it sounds like — a Shiraz and gin blend. To create this bloody monster, they steeped Yarra Valley Shiraz grapes in their high-proof dry gin for eight weeks before pressing the fruit and blending it with the gin, and hoped like hell it would turn out well. It did. The pretty, deep purple hue combined with a potent alcoholic content (37.8 percent, compared to an average 30 percent in sloe gin) and sweet undertones make the Bloody Shiraz Gin a near perfect specimen. Four Pillars are releasing the mix on World Gin Day — you can head down to their Healesville distillery to try it or buy it on their website. And on that day, we'll raise a toast to all the gins that were and to all the weird, delicious gins that will soon be. Cheers to you gin, you glorious bastard!
What would you do if you were a little less freaked out by consequences? Would you talk to more new people, fear a bit less, dance a little more like FKA Twigs, or quit your desk job and start that business you've always wanted to give a red hot go? Some sparkling young Australians are already flinging their inhibitions into a ziplock bag and seizing this little ol' life with both hands. Concrete Playground has teamed up with the Jameson crew to give you a sneak peek into the lives of ten bold characters who took a big chance on themselves. They've gone out on a limb and rewritten their path, encapsulating 'Sine Metu', the Jameson family motto which translates to 'without fear' — getting outside your comfort zone and trying something new. After all, we only get one shot at this. Take notes. No stranger to the idea of taking a massive risk and steering one's life on to a completely new path, founder and co-owner of Sydney's Ramblin' Rascal Tavern Charlie Lehmann had a completely different plan before opening his own bar. From his early days as a bright-eyed bar back to the opening of his first venue, Charlie affords much of his recent success to the talents of those around him. Encouraged to turn away from politics and dive head first into the bartending world, his story shows just what can unfold when you're willing to take a chance. CHOOSE BARTENDING OVER POLITICS — REALLY Like a lot of us, Charlie first found himself behind the bar as a way of putting himself through university. Spending his days at UTS with his head in the books, his nights were filled with the less than glamorous duties of a bar back at the Hilton Hotel's swanky Marble Bar in Sydney. "I was clearing glasses like any great bartender starts off... and at the time I was studying, I thought I was going to go into politics or something like that," says Charlie. After paying his dues here for nearly a year, Charlie landed his first lucky break as a 22-year-old-student. "I got a chance to work up in Zeta Bar [the Hilton's premier cocktail bar] one night when they were down a man, and I watched the sequence of service, the professionalism and standards set by some great bartenders," he explains. But it didn't all go quite as planned. "I was making a whisky sour and completely kooked it — I forgot to put egg white in," he says. After being "taken aside and shown everything that's put into the cocktail and why," a burning curiosity for knowledge was sparked that, to this day, remains very much alive. SEIZE OPPORTUNITY IN UNEXPECTED PLACES "Studying politics, I became very jaded, and watching people who are a part of the political machine... I really didn't like it." Three unhappy months in the big smoke were more than enough to get Charlie searching for greener pastures — working casually for a share trading company didn't help either. Itching for an escape, his nights kicking back with a well-earned drink coincidently happened to offer up the perfect solution. "During that time I had been going to The Baxter Inn heaps and saw a job opportunity going there," says Charlie. Built on the philosophy 'everyone's welcome', owners Anton Forte and Jason Scott (responsible for the Swillhouse locations Shady Pines and Frankie's Pizza) gave Charlie the change he'd been craving for with a full-time post at Baxter's. A far cry from the cutthroat corporate attitudes of his last gig, Baxter's "had this family culture... We look after each other. Every single shift was like having a party, but with the highest of standards of service and interactions with customers," Charlie says. And it didn't take long for his 'rents to jump onside, with the venue placed in the Top 10 of the World's Best Bars for 2015, as voted for in Drinks International. TAKE A BIG OL' CHANCE — LIKE OPENING YOUR OWN BAR Amidst the tower seas of liquor, Charlie pulled long nights at The Baxter Inn for the next two years. "Learning the ins and outs of the bar, that's how you get to that level where my mentors or idols were," he says. Quenching his thirst for knowledge with every cocktail book he could get his hands on, Charlie rose up the ranks to become one of the most senior bartenders of the Swillhouse Group. Surrounded by such a talented crew of bartenders (turned fully-fledged mates) got Charlie considering his next projects. Alongside ex-Swillhouse pals Sebastian Soto and Dardan Shervashidze, years of bartending expertise and a few friendly knock-off sessions inspired the lads to open up a bar of their very own. Spoiler: it's a damn good one too. Not one to shy away from a challenge, Charlie rose to the task of delivering a knock-out proposal to secure a space for what would become the inner-city drinking den Ramblin' Rascal Tavern. "We were one of twelve people to put in our proposal for the site," he says. "I sat for two days busting out this proposal of what we wanted to do. It's pretty much just like selling yourself and your vision for the site." ENJOY THE BIG PAYOFF (AND TAKE A LITTLE ADVICE) Charlie's unwavering gusto worked and saw the birth of Ramblin' Rascal in April 2014, specialising in tongue-in-cheek cocktails, dark spirits and $6 tinnies. Charlie still nods back to the influence of his time working as a bar back and the general sense of camaraderie he felt as crucial to pushing him towards this latest venture. So what nuggets of wisdom does this seasoned bar owner have to offer up? First rule: "You have to do the hard yards." All of us have to start somewhere, as Charlie reveals, "I watched some of the best people in the game... and read a lot." Sure, turning down a stable corporate spot might seem like a step in the wrong direction. But as Charlie shows, taking a bit of a chance, channelling a little 'Sine Metu' and venturing into the unknown can go on to pay off big time in the end. "I have a degree. I finished my degree and really didn't want to use it. I was going out into the world and finally finding this place where I was really comfortable." Want to experience a little bit of 'Sine Metu' yourself? Thanks to Jameson and The Rewriters, one extremely fortunate Concrete Playground reader (and their even more fortunate mate) will get the chance to 'fear less' and go on a big ol' adventure to Ireland. In addition to two return flights departing from your choice of Sydney, Melbourne or Brisbane, this epic giveaway comes with five night's accommodation and $500 spending money you can use to paint the Emerald Isle red. ENTER HERE. For more about how 'Sine Metu' influenced John Jameson's journey visit Jameson's website.
God knows we all spend way too much time looking at our phones. Whether you're texting, tweeting or chasing imaginary Japanese monsters, it seems like people constantly have their eyes glued to tiny screens. At best, it can be a wee bit anti-social. At worst, it can actually be really dangerous. Case in point: this teenager who got hit by a car while playing Pokémon Go. Fortunately for the technology-addicted, artist and designer Ekene Ijeoma has created a new mobile app designed to get people to tear their faces away from their phones. Look Up New York City causes your phone to vibrate whenever you're approaching an intersection, while also drawing data from the New York Department of Transportation to give each intersection an "energy score." The higher the score, the more frequent the number of accidents that take place there, and the more users should maybe think about paying attention to where it is they're walking. The purpose of the app is twofold, with its creators hoping to reduce the number of accidents while also encouraging social interaction. "Whether it's strangers making eye contact and saying hello or friends hugging, Look Up hopes to tear down the digital walls we build up, opening us to seeing, acknowledging and valuing the people and city around us," reads a statement on the Look Up website. Look Up is currently available on Android devices, with an iOS app coming soon. No word on whether they're planning on branching out beyond NYC, although we can easily imagine it taking off across the world. In the mean time, if you're reading this on your phone, please keep an eye on where you're going. https://vimeo.com/171683941 Via PSFK.
Berlin is a city that's constantly evolving. But despite the change, one thing will remain true – the German capital will always be cool. Yes, the days are gone when Berghain youths could pay a mere Australian $150 a month to rent a loft-like penthouse we could only dream of, but don't let the Berlin locals tell you that that means the city has been gentrified. The anarchist vigour that was born out of a city in political and economical shambles for the last 60 years lives on, and the middle finger to the man attitude in Berlin is present in almost everything. We asked an actual local to show us where we should spend our time in Berlin to ensure an unforgettable experience. If you've been thinking about booking that European holiday, do it now. Swapping your Australian winter for a European summer is a great way to make your 2017 something to look forward to. In partnership with Topdeck, here is the first instalment of our Less Obvious city guides. Episode one: Berlin. [caption id="attachment_589108" align="alignnone" width="1280"] @streethaus via Instagram.[/caption] PACK A PICNIC AND HEAD TO KORNERPARK Hidden in Neukolln, Berlin's answer to Fitzroy in Melbourne or Surry Hills in Sydney, Kornerpark is a pretty breath of fresh air compared to the suburb's usual grungy surrounds. Pack a picnic and enjoy the views of manicured flora while people-watching the local cool kids who hang out in this palace garden-esque retreat. On Sundays there's a free guided tour of the art gallery that overlooks the grounds. [caption id="attachment_589109" align="alignnone" width="1280"] @mr.akman via Instagram.[/caption] VISIT A GALLERY IN AN OLD RAILWAY STATION For all the contemporary art lovers out there, the Hamburger Bahnhof Museum boasts one of the best collections of Andy Warhol, Joseph Beuys and Keith Haring you'll find in Berlin. The former railway station was turned into a gallery in the mid-90s and its architecture is just as impressive as the artwork inside it. Entrance to the main building and temporary exhibitions will set you back €14 but with over 10,000 square meters of gallery space the bang is well worth the buck. As with all museums and big city attractions, avoid going on the weekend. Instead, get in first at 10am, the earlier in the week the better. Still check out some of Berlin's street art though – there's a reason it's so famous. [caption id="attachment_589113" align="alignnone" width="1280"] @burgermeisterberlin via Instagram.[/caption] TRY A GERMAN BURGER AT BURGERMEISTER Berlin has a slight burger obsession. For the true enthusiasts, make your attempt at getting through a patty three thumbs thick at The Bird near Schonleinstrasse train station. Or, brace yourself for the omnipresent line at Berlin Burger International (BBI) on Neukolln's Pannierstrasse. The true Berlin burger experience can be found at Burgermeister on Shlesisches Tor in the original hipster town of Kreuzberg. It's underneath the train station built into what used to be public toilets. Yum. Nowadays It's totally sanitary and arguably the best burger in town. Don't forget to order chilli cheese fries on the side. [caption id="attachment_589220" align="alignnone" width="1280"] @olamajaw via Instagram.[/caption] FLY A KITE AT TEMPELHOFER FELD There are over 2,500 public parks and gardens in Berlin but Tempelhofer Feld is undoubtedly one of the most unique. A functioning airport until 2008, the city of Berlin eventually claimed back the space (it's 386 hectares) and turned it into the number one BBQ destination for Berliners in summer. Grab a kite, dust off your skates or bring some beers and a frisbee to enjoy the ultimate Berlin park experience. Whilst you're in the area walk through Schillerkiez, one of Berlin's most covetable living destinations, get a burger and Augustiner beer from one of the many restaurants, cafes and spatis (small milk bars that sell alcohol) that you'll discover walking through the streets. [caption id="attachment_589225" align="alignnone" width="1280"] @___feede___ via Instagram.[/caption] DRINK FREE WINE? AT WEINEREI In a city where beer is often cheaper than water, it's not hard to drink on a budget. Even still, a pay-what-you-want wine bar has its appeal. In the yuppie happy suburb of Prenzlauer Berg you'll find Weinerei. Dodge the prams and start-up entrepreneurs and head straight to the wine bar run by Bavarian and Argentinian connoisseurs Jurgen Stumf and Mariano Goni. There are three different locations but the Forum Cafe & Weinbar is easily the most popular. Get tipsy in atmospheric candlelight and when it's time to move on, use your discretion and pay what you think you owe in a small money box left at the bar. [caption id="attachment_589120" align="alignnone" width="1280"] @markthalleneun via Instagram.[/caption] DEVOUR SOME MULTICULTURAL FOOD AT MARKTHALLE NEUN (MARKET HALL 9) Bringing all the multicultural food flavours you can enjoy in Berlin together under one roof, Markthalle 9 officially reopened in 2011, exactly 120 years after its first opening. Inside the huge hall, there's a Breakfast Market held every third Sunday of the month or the Naschmarkt (snack market) held once a quarter with all the snacks and sweet delicacies you could imagine. Your best bet though is Street Food Thursday. Get there early at 5pm to avoid the huge crowds and struggle with the agonising decision over what to order. British pies, Thai tapioca dumplings, Mexican tacos, Allgäu cheese spaetzle or Nigerian FuFu? It's a delicious smorgasbord. Don't worry if you can't make it on either of those special days, the market is open every day of the week. ENJOY AUTHENTIC GOZLEME AT THE TURKISH MARKET For a true local's experience, take a stroll along the Turkish Market on Maybachufer canal every Tuesday and Friday. Everything from fresh fruit and vegetables to flowers to yards of fabric is on offer at this sort-of farmer's market. It's organised by the Turkish community living in Berlin (the city is home to the largest Turkish community outside of Turkey), and the produce is fresh and unbelievably cheap. Snag a carton of avocados for under €5 (seriously) or grab a freshly baked spinach and cheese gozleme and join the crowd of impossibly cool kids listening to the busker who sets up shop at the end of every market. [caption id="attachment_589134" align="alignnone" width="1280"] @chrisfosterrr via Instagram.[/caption] SAVOUR RARE TABLE SERVICE AT NATHANJA AND HEINRICH At the end of bar-laden Weichselstrasse in Neukolln you'll find Nathanja und Heinrich. With the typical Berlin bar vibe with raw walls, exposed brick and mismatched furniture, Nathanja's is equally as great for an afternoon coffee as it is for an evening gin and tonic. Order first and pay later, at this bar they often play the blues and even offer table service, a rare occurrence in Berlin. Like almost all places that serve alcohol in the city, smoking inside is allowed after 9pm. It's a popular local hangout so make sure you arrive before 8pm on weekends to grab a table. Visit Europe (including Berlin) with a Topdeck trip and make 2017 a year to remember. Book early (that means now) and save up to $999.
Obliterating your eardrums by throwing mad shapes too close to the speakers at Listen Out is one thing. Wearing a subwoofer on your own personal wrist so you can feel that bass is another. One of these things is much better for your body, and it's being funded on Kickstarter as we speak. Because 2016, the world's first wearable subwoofer is seeking crowdfunding, claiming "sound is meant to be felt, not just heard." Created by a Berlin-based startup founded by Daniel Büttner and Gwydion ap Dafydd from Ableton and Native Instruments, The Basslet is a watch-like gadget that sits on your wrist and delivers the beats directly to your body, letting you "experience powerful bass — anywhere you go." Best bit? It's 100 percent silent to the rest of the world. Y'hear that, beats-hungry commuters? SILENT. Intending to block out every other sound from the world around you, The Basslet works with music, gaming and VR, connecting to your smartphone, laptop, console, VR headset — even with your old Walkman. It doesn't need an app and promises a powerful, wholly immersive sound experience beyond headphones — with the full bass spectrum (10-250 Hz). Rather than being just a mere force to eat up hectic Hud-Mo drops, The Basslet could have some serious potential for people who are deaf or have limited hearing. Sound isn't the only way to enjoy music. Check out The Basslet's Kickstarter page. Via Protein.
When Australian audiences embrace our own films, we tend to do it in a very big way. Last year, Lion had viewers everywhere in tears. In the years prior, we were turning out in droves for The Dressmaker and Mad Max: Fury Road. And, even when local efforts aren't setting the box office alight, our homegrown flicks are still tearing up cinema screens with a showcase of Aussie talent. The Babadook, Snowtown, Mystery Road, Goldstone, Tracks, These Final Hours, 52 Tuesdays, Holding the Man, Sherpa, Hounds of Love, Jasper Jones, Ali's Wedding — they're just some of the ace Australian films that've reached theatres in recent years. In 2018, they'll be joined by these ten movies you need to put on your viewing list. https://www.youtube.com/watch?v=sYKBG1znk4A SWEET COUNTRY An Australian western set during the late 1920s in the Northern Territory, Sweet Country boasts plenty of well-known talent, including Bryan Brown, Sam Neill, Matt Day and Ewen Leslie. It's the director behind the movie that should grab your attention, however, with his long-awaited second fictional feature absolutely essential viewing. In an impassioned race-relations drama that finds the struggles of the past painfully still relevant to Australia in the present, Samson & Delilah's Warwick Thornton crafts a searing piece of cinema about an Aboriginal stockman, a cruel station owner and the fallout when they cross paths. Make no mistake, it'll be gathering a heap of shiny trophies when Aussie awards season rolls around at the end of 2018. In cinemas January 25. https://www.youtube.com/watch?v=SMrhANU1-X4 CARGO He's already played Tim from The Office, Bilbo Baggins and John Watson — and now, Martin Freeman takes on the guise of a father trying to save his baby during the apocalypse. Based on Ben Howling and Yolanda Ramke's Tropfest short of the same name, the South Australian-made film plunges into dystopian sci-fi territory amidst Australia's sparse landscape, and takes locals such as Susie Porter, Anthony Hayes and David Gulpilil along for the ride. Oh, and for added thrills in what proves an involving, gorgeously shot, environmentally and Indigenously-minded addition to a well-worn genre, there's zombies as well. A hit at last year's Adelaide Film Festival, it's destined for Aussie cinemas and Netflix. Release date TBC. https://www.youtube.com/watch?v=qNndmppBgwM HAVE YOU SEEN THE LISTERS? There's only one way to respond to the question posed by the title of Aussie documentary Have You Seen the Listers? The answer, of course, is yes. If you've walked along a city street in Brisbane, Sydney or Melbourne, you've seen Anthony Lister's work at least once, even if you didn't realise it. Directed by All This Mayhem's Eddie Martin — with the same flair for an engaging story told with insight and authenticity — the film charts his graffiti and art career, and the about-face he faced in Brissie when the council that once paid him to paint decided to take him to court for vandalism. Compelling and moving in equal measure, and candidly personal too, it's a portrait of chasing a dream, finding success and then coming down the other side. In cinemas April 5. https://www.youtube.com/watch?v=hY8KFlOm7qo BREATH Returning to Australia's film industry after nearly two decades, Simon Baker doesn't just feature in Breath, the adaptation of Tim Winton's best-seller of the same name. He also ventures behind the camera, making his directorial debut. In both guises, he impresses — particularly, as the feature's guiding force, in coaxing illuminating performances out of standout young stars Samson Coulter and Ben Spence. In a visually, emotionally and tonally assured effort, the pair play surf-obsessed teens who come to idolise Baker's ageing ex-professional wave-rider, and grow close to his retired skier wife (Elizabeth Debicki). In cinemas May 3. [caption id="attachment_653802" align="aligncenter" width="1920"] Jennifer Kent's The Babadook[/caption] THE NIGHTINGALE Don't worry, Jennifer Kent's second feature won't have you peering under beds, being scared to look in cupboards and thinking twice about pop-up books. Instead, The Babadook director is trading one kind of thrills for another, this time telling the tale of a young woman in Tasmania in the early 19th century. A quest for revenge drives the narrative, with Game of Thrones actress Aisling Franciosi, Their Finest's Sam Claflin, and Aussies Ewen Leslie and Damon Herriman helping to bring it to life. When Franciosi's 21-year-old convict witnesses the death of her family by soldiers, her vengeance begins, as does her journey through the wilderness with an Aboriginal tracker. Release date TBC. https://www.youtube.com/watch?v=_u4P4Isv6Zk 1% If Sons of Anarchy was made in Perth, it might look like 1%. Diving into the depths of warring motorcycle gangs, and exploring both internal and external turf wars, it has all of the familiar elements: gritty aesthetics, violent altercations, power struggles, a clash of generations and the club's second-in-charge facing off against his veteran leader all included. And yet, with Ryan Corr and Matt Nable both putting in memorable performances, and Abbey Lee and Aaron Pedersen also among the cast, the debut feature from Stephen McCallum rides its own trail through the brutal bikie genre. Nable also wrote the script, while the film itself started doing the rounds of international festivals late last year. In cinemas August 30. HOTEL MUMBAI In 2008, Mumbai's Taj Mahal Palace Hotel was attacked by terrorists. At least 167 people killed. Making his first feature, Australian writer/director Anthony Maras recreates the horrific incident, which understandably proved harrowing for locals and tourists alike. And, he's doing so with a familiar face to Aussie cinemagoers, with Dev Patel helping lead a noteworthy international cast after doing such a stellar job in 2017 hit Lion. Also on screen: Red Dog: True Blue's Jason Isaacs, 52 Tuesdays' Tilda Cobham-Hervey and Call Me By Your Name's Armie Hammer. In cinemas November 22. [caption id="attachment_585206" align="aligncenter" width="1280"] Filmmaker Abe Forsythe[/caption] LITTLE MONSTERS After attacking the Cronulla riots with a sense of humour that made clear the stupidity of racist thinking and hateful actions, Abe Forsythe has a zombie comedy in his sights for his next film. Yes, Aussie filmmakers really are loving the undead this year. Called Little Monsters, it follows a musician who agrees to chaperone his nephew's school excursion, the kindergarten teacher he falls for in the process, a kid's TV entertainer who forms the third part of their love triangle, and the shuffling, brain-eating masses trying to munch on the children. Down Under's Alexander England stars opposite 12 Years a Slave Oscar winner Lupita Nyong'o and Beauty and the Beast's Josh Gad. Release date TBC. [caption id="attachment_653812" align="aligncenter" width="1920"] Undertow[/caption] UNDERTOW Slated to debut at this year's Melbourne International Film Festival as part of the fest's Premiere Fund, Undertow tussles with grief and obsession as a mourning woman begins to stress about her husband's connection with a pregnant teenager. Namechecking Black Swan and Wish You Were Here as influences on its crowdfunding page, the film is clearly stepping into the psychological thriller realm. Actress-turned-debut feature filmmaker Miranda Nation both writes and directs, and Laura Gordon (Joe Cinque's Consolation), Josh Helman (Wayward Pines) and Olivia de Jonge (Better Watch Out) star. Release date TBC. [caption id="attachment_653809" align="aligncenter" width="1280"] Slam[/caption] SLAM An Australian-made and -set effort by Indian-born filmmaker Partho Sen-Gupta (Sunrise), Slam wades into complex — and all-too-topical — territory. When Ameena (Danielle Horvat), a young hijab-wearing Aussie of Palestinian origin, disappears after attending a slam poetry night, the media is quick to paint her as something more than a missing person. For her brother Ricky (Adam Bakri) and mother Rana (Darina Al Joundi), it's an expectedly tense time filled with easy labels and suspicions. Complicating matters is the personal struggle of the police inspector assigned to the case (Rachel Blake), who has just returned to work after losing her soldier son. Release date TBC.
"I had to believe that people wanted to watch a pilgrim horror movie set in early New England, but I didn't think that it would be like this," says Robert Eggers. Indeed, the first-time filmmaker couldn't have predicted the reaction to his debut effort, a labour of love that took four years to research and finance, plus another year to make, shoot and edit. Since The Witch premiered at the 2015 Sundance Film Festival and won the dramatic directing award in the process, audiences and critics alike have been buzzing. Given that the film paints a nightmarish vision of a family haunted by loss and overcome with fear, complete with a creepy presence in the woods and some sinister livestock, there's certainly plenty to talk about. There's the feature's approach, for example, with Eggers taking pains to faithfully recreate the movie's setting, period and language. The writer/director laughingly describes himself as "an annoying bearded hipster, but instead of making pickles, I'm going into the past", after all. Then there's the many interpretations of the tense and atmospheric effort, with The Witch hailed by feminists and Satanists alike over the past year. With the film releasing in Australia, Eggers spoke with Concrete Playground about his inspirations, his commitment to authenticity, the responses to the movie and its place in the horror genre. ON DRAWING UPON THE CREEPY NEW ENGLAND WOODS FROM HIS PAST "I grew up in New England and you know, these rural New England towns are sort of full of the past. It can't be ignored — there's all these dilapidated colonial farmhouses and graveyards in the middle of the woods. And like many New England kids that had a house in the woods, I felt like the woods was also haunted by the past. "I was always very interested in witches. The earliest dreams of mine that I can remember are about witches. So I wanted to make an archetypal New England horror story, something that would feel like a nightmare from the past. Like an inherited nightmare, an inherited puritan nightmare that would sort of awaken ancient half-forgotten fears, and articulate the idea of New England's mythic past that I had as a kid." ON PLUNGING THE FILM BACK TO PURITAN TIMES (AUTHENTICALLY) "I love the past, and I love antiques, and I love learning about how people lived and the history of how things were made. When I went to the Globe Theatre reconstruction in London, to their museum, they had a doublet that was made out of a kind of silk that is so insanely perfect. And no one knows how to make silk like that any more — the people who made that have all died and it can't be done "Things like that are very interesting to me. So, I can fetishiSe objects and that makes me happy personally. But authenticity doesn't mean good design or good filmmaking at all. Some films that I love aren't authentic in any way, they're just good. "With this film, I really felt that if the witch was going to be real, if the evil witch was going to be real for an audience and she was going to come across as a given the way she did for these New England Calvinist puritans, we needed to go back to the 17th century and really be immersed — and really believe and be in their mindset. And without the attention to detail across the board, we wouldn't have been able to invest as an audience." ON GETTING SIMULTANEOUS SNAPS FROM SATANISTS AND FEMINISTS "I was just trying to tell a story about how this kind of family from this period would actually have believed witchcraft to be. In doing that, I discovered a lot of different things. Feminism was bursting out of the pages of history, and while I didn't intend to make a film about female empowerment, it seems that if you're telling a witchcraft story, that's kind of what you're doing — and I'm pleased with that, very pleased with it. "I aimed for archetypal storytelling. And if they work at all, then archetypes are always reconstituting again. I mean, lots of people are talking about lots of different kind of feminist issues. There are Satanists who like the film. I got an email from a Calvinist pastor who loved the film. I've had people ask me if I was thinking about Syrian religious refugees. Whatever you want to read into it, I'm happy with it." ON THE WITCH'S PLACE IN THE HORROR LANDSCAPE "I think that most horror films aren't this boring, you know? We tend to like to romanticise the past and say, 'Well Rosemary's Baby and The Exorcist and The Shining, well you know those are those great films.'. And we remember them, but we don't remember the trillions and zillions of horrible movies that sucked. "As a first time filmmaker, I think some of my influences are maybe too clear. I think this film smells like The Shining in a strong way, but I think that some of the effectiveness of certain parts might not exist without that. That's a film that I watched a ton in my mid-twenties when I was trying to really to make something which sustained tension." The Witch is now showing in Australian cinemas.
JumpFromPaper, a fashion company straight out of Taiwan, want you live out your dream of a Saturday morning cartoon world with their range of trippy accessories that look they’ve have jumped right out of the TV and onto your shoulder. Just look at them. Don't you just want to take this backpack called 'Adventure' and going exploring around the city? And this 'Summer Breeze' rounded bag somehow begs you to put on a crisp white tennis skirt and do some loosely choreographed exercise. You may just give a stranger in the street an existential crisis with this little cartoon-like 'Spaceman' backpack. They've even got a range for you dapper gents out there. Honestly, how are these three-dimensional? Trouble is, once you have one, it may be near impossible to stop holding your own artistic fashion shoots. Look at these whimsical ladies on their way to the movies. And if your girlfriends all get one then there's really no other option but to form a girl band, so you can have whacky photos like this as your album cover. Shipping to Australia you can get anything from wallets for $30 to backpacks for $139. You'll be paying for something that looks like it's made of a single sheet of paper, but we guarantee your inner child will thank you everyday. Images: JumpForPaper.
Back in 2017, the Fortitude Valley watering hole formerly known as Fringe Bar and Kerbside became The Osbourne Hotel. That name isn't quite new. Instead, at this spot on the corner of Ann and Constance streets, it dates back over a century and a half. In fact, that's what the pub was called right up until 1992 — when it became The Dead Rat Hotel, and then the Rat & Parrot. To jump backwards even further, in 1864, The Osbourne Hotel was the second hotel to open in the Valley — a fact that's certain to have made it popular. All these years later, the site enjoys the benefits of a visible multimillion dollar makeover both outside and in, which restored the building to its original colourings, fittings and layout. [caption id="attachment_847140" align="alignnone" width="1920"] Drag bingo at the Osbourne Hotel in Brisbane[/caption] The Osbourne Hotel features 94 taps throughout the now 800-person venue, as well as a 400-seat glass-ceiling bistro and beer garden. For those after more than a casual drink and a meal, the old boarding rooms on the first floor have been transformed into function and meeting rooms, as well as a private dining area for hire. With two bespoke copper bulkheads boasting 31 taps each — and proving the only two of their kind in the country — thirsty visitors can expect a beer-heavy drinks menu focusing on craft, local and international brews. Also a highlight is a cocktail list providing new takes on old favourites, such as blueberry Tommy's margaritas, banana bread old fashioneds and and apricot sours. The Osbourne Hotel kitchen dishes include all-day pizzas, chargrilled meat and fish tacos. Classics like beer-battered fish and chips, chicken parmigianas, steak sandwiches and salt-and-pepper calamari abound, while duck pancakes, sweet corn arancini and cured salmon pastrami also make an appearance. And if you're keen on watching a game, you'll find four HD TVs outside and four inside — plus a massive stadium screen.
