One of the most acclaimed singer-songwriters of the 21st century, Chan Marshall — aka Cat Power — is no stranger to a cover. She's been transforming other people's work into something entirely Power-esque across her entire career, including honing the art on her 2000 album The Covers Record and 2008's Jukebox. In 2022, she again dropped a project devoted to reshaping songs originally sung by others with the aptly titled album Covers, unveiling versions of tracks by Frank Ocean, Nick Cave, Lana Del Rey and Iggy Pop. Now, Power has embarked on her most ambitious cover-based project yet, covering Bob Dylan's legendary 1996 Royal Albert Hall set in full in 2022 at the titular venue in London. Receiving rapturous praise, the show is a track-by-track recreation of a legendary set that Dylan performed on his first tour after polarising attendees at the Newport Folk Festival with his new electric sound. Sydney is lucky enough to be the second-ever city to see Power perform this set, with Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert coming to the Sydney Opera House as part of the Vivid Live program. Concrete Playground chatted with Marshall before she headed to Australia to discuss why this set is so important to her, the reaction to its debut in London and the new music she has on the way. ON WHY SHE CHOSE THIS PARTICULAR BOB DYLAN SET "I got an offer to play the Royal Albert Hall in London on Bonfire Night, Guy Fawkes Night... and I was like 'well if I play there, I only want to do Dylan's songs'. And that was just a no-brainer of which songs I would do. I felt pretty alone when I was young — when he was running around being a rockstar and stuff. I wasn't a rockstar, but just knowing that someone was kind of scuzzy, and writing his own shit and saying what he wanted to say and doing his own thing, that was that peer thing he gave people. He narrated and was able to articulate people's points of view during a time of mass confusion and that confusion is the thread of our social constructs." ON HEARING THE SET FOR THE FIRST TIME "It was the film, so it might have been [in] 91 — it was the film Don't Look Back... I just felt transported to this place that reminded me of just floating and thoughts and poetry and the absurd." ON THE TEAM SHE PULLED TOGETHER FOR THE SHOW "We had a rehearsal and I tried to figure out who would be best. Because it's really specific, the style of playing — the heartbeat of that is Bob's style — and on top of that, The Band and that movement of playing. Because I could say that it's a style but there was a certain feeling, I think, that was happening at the time. I asked my friend Henry Munson, he's playing with me. He's in Arsun's band, he has his own bands, too. But he was, no-brainer, going to be the Bob guitar. I had never heard the drummer play before or seen him play or met him, but I said 'well, tell me what kind of band he's in before I go jam with him' and [my friend] said 'oh, he's in a Grateful Dead cover band'. And I said 'okay perfect, he sounds great'. " ONE DEBUTING THE SET AT ROYAL ALBERT HALL "Oh my god. So, for me, I'm secondary to the nature of what's happening when I'm doing it — I feel secondary. My major concern is for the song itself. It's not psychological, it's like I have to do it justice. I don't know. I'm secondary, my physical being is secondary but the song is always the point of me doing what I'm doing. And, I can be very hard on myself but it's the only way that I can be. In the back of my mind, you know, my consciousness, my awake mind was like 'oh yeah, I'm fucking terrified'. I've never been inside that place. I used to walk around it. I used to stay at the Hotel Columbia across the park from there, you know, the rock 'n' roll hotel or whatever. And I'd always walk around that place. I'd never been inside, and to be able to play there, it was some kind of a magic gift or something. That's how it felt. It means something individually to me to do those songs in that venue 'cause of how much I loved Bob growing up." ON THURSTON MOORE'S REACTION TO THE LONDON SET "One thing was that, at the end, there were a bunch of friends there and Thurston Moore was in town and he said — he's gonna kill me — but he said 'Mr Tambourine Man' made him cry. Isn't that sweet?" ON THE MAGIC OF COVERING OTHER ARTISTS' WORK "I knew those songs already, as a little kid, so it was like — I don't want to say second nature because, as someone who's loved all kinds of music my whole life and different things besides music, it wasn't second nature to me — it was just familiar and just easy, because it was like being a kid and singing along. If I play Michael Jackson's song or something, play me the Thriller record, I'm going to sing backup on the whole fucking record with my own harmonies, because I've been singing that shit forever. And different singers bring different shade or colour, or smell or taste, to the same old song. And that's what speaks to a new generation or a new group of people, just different emulations of one song." ON HER CONNECTION TO THE SYDNEY OPERA HOUSE "I did a record of mine called Moon Pix. I think it was the 25th anniversary. [Editor's note: it was the 20th.] I did another Vivid fest, actually... I have the poster for all two of them. And I hope to get the poster for the third. The Moon Pix thing was really moving because I was alive, you know. I wasn't dead. I never thought I'd live this much and I was there and it was great and it was beautiful. I was with Mick [Turner, from Dirty Three] and Jim [White, also from Dirty Three] and we were, all three, alive. And it was beautiful, and it was real, and it was really nice." ON WHAT'S NEXT FOR CAT POWER "I'm going right back into the studio and doing my new record. There's a song called 'Brave Liar', I think it's the good one. Another home recording." Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert is coming to the Sydney Opera House for Vivid Live on Wednesday, May 31. Head to Sydney Opera House website for tickets and further details.
Transcendence feels like a movie out of time. For one, it seeks to pack far too much into its 119-minute run-time, but — more to point — it feels like a movie that's 14 years too late, and not just because it specifically references Y2K without any irony or reminiscence. Set in the 'could be today, could be tomorrow, but in no way distant' future, it concerns itself with married couple and MIT-supergraduates Will and Evelyn Caster (Johnny Depp and Rebecca Hall). They, along with friends and colleagues Max (Paul Bettany) and Joseph (Morgan Freeman), are amongst the world's leading engineers in the pursuit of a fully functioning, self-aware artificial intelligence. Opposing them is a group of militant luddites operating under the banner of 'Unplug', which again — in the age of wireless — seems markedly dated for such a forward-thinking movie. When these 'Unpluggists' (as they're definitely not called) launch a series of coordinated attacks against AI-focused research centres, Will winds up mortally wounded, albeit in a manner so unnecessary and bewildering that it's a genuine mystery how and why it was ever included in the plot. As his final days draw near, Evelyn decides to upload his consciousness to a mainframe in the hope that he can live on inside the machine. It's at this point that things turn bad for both the characters and the film. The compelling ethical questions raised in the first act largely fall away, dismissed with the apathetic resignation of 'oh well, we went and did it so what does it all matter now?' As Will's intelligence rapidly surpasses that of humanity's — a theoretical moment known in conventional science as 'the singularity' and in the film as 'transendence' — his aspirations and ideas become, just like the movie, too broad, too incorporeal and too numerous. Moments of extraordinary innovation and emotion, such as the bestowing of sight upon a man who'd only ever known blindess, are shown and then dispensed with absent almost any sentimentality or drama. It's not that any of the ideas are necessarily bad, it's just that any one or two of them would have made for an excellent film, whereas all of them combined prove little more than a confusing and threadbare mess. The glue that binds it all together is the delightful Rebecca Hall, whose performance as the dutiful, then grieving, then wilfully blind accomplice to Will's increasing 'transcendent interventionism' instills some much-needed humanity to the film. Her stubborn refusal to acknowledge the possibility of confirmation bias in believing the AI she's interacting with is anything but her dead husband is both moving and unsettling, demonstrating how important objectivity is in any scientific pursuit, let alone one with global implications. The recent, exceptional Her raised many of the same questions relating to artificial sentience, and — to put it plainly — did it much better. Given the rate of technological advancement, there's an undeniable sense of inevitability when it comes to the singularity, and doubtless we'll soon see many more films exploring the possibilities (and dangers) of blurring the lines between man and machine. The issues are genuinely fascinating, though future films would do well to learn lessons from Transcendence and explore just one of them instead of all of them. https://youtube.com/watch?v=QheoYw1BKJ4
Last year, David Walsh, founder of Tasmania's Museum of Old and New Art (MONA) first announced plans for an epic five-star hotel — among other things — on the site of the iconic Hobart gallery. Now, it's one step closer to becoming a reality, with Walsh submitting a development application for approval. The Hotel at MONA — which has changed it's name from HoMo to Motown — has been described as the next phase of growth for the museum, which, since opening in 2011, has become one of Tasmania's biggest draws. So now that the wheels are officially in motion, what exactly can visitors (and locals) expect from the proposed addition to the Berridale site? And what other changes do Walsh and co. have up their sleeves? Well, a lot. The hotel, designed by architect Nonda Katsalidis and Walsh, will be built on the museum's current site in Berridale. With rooms elevated over the Derwent River, it's designed to look like an inverted suspension bridge, though in a statement released by MONA, it's described as "a shopping trolley that looks a bit like an inverted suspension bridge". Motown will consist of 176 rooms, including a number of special 'experience' rooms developed by a selection of internationally renowned artists. Rooms facing the northeast will enjoy a view of Kunanyi/Mount Wellington, while rooms facing southeast will look up the river towards Claremont and Otago Bay. It looks nuts. It will also have its own three-storey library to house Walsh's collection of rare books and manuscripts ("a growing nerd fest of bibliophilic paraphernalia") and an indoor theatre with seating for over 1000 people. Most notably, there will also be an outdoor stage and amphitheatre complete with playgrounds designed by textile artist Toshiko Horiuchi MacAdam, American sculptor Tom Otterness and design studio Daily tous les jours. Back inside, there'll be a new bar and 180-seat restaurant, and with MONA already home to the acclaimed Faro — which has its own bespoke James Turrell installations — we can expect it to be impressive. Speaking of Turrell, the world-famous artist, who's best known for his artworks combining light, space and psychology, will be designing the hotel's spa alongside Serbian performance artist Marina Abramović. We don't think there are going to be any of your run-of-the-mill hot stone treatments or mani-pedis here. And how do you get to the colossal hotel, which is perched on the edge of the River Derwent? By Venice-style water taxis, of course. With construction hoping to kick off relatively soon the building is expected to be completed by 2024 — although the plans still need to be approved by the Glenorchy City Council. It's an ambitious project with an equally ambitious price tag: around $400 million. We'll be keeping an eye on this one. Motown is slated for completion in 2024. For more information, head to the MONA website.
While she's been a leader in Australia's creative scene for over a decade, Yasmin Suteja is currently pivoting to a new era of her career. In 2013, the photographer, director, and content creator founded Culture Machine, a creative services and talent agency that focused on collaboration. She worked on Culture Machine alongside the likes of Kath Ebbs, Mimi Elashiry and her brother, Kai Suteja, just as the content creation and influencer era was kicking off. In the years since, Yasmin has become one of Australia's most in-demand creatives, partnering with global brands including adidas, JD Sport, THE ICONIC, Bumble, and many more. [caption id="attachment_84094" align="aligncenter" width="1200"] Declan May[/caption] While the photographer and director was seen as a mentor for Culture Machine's talent for years (despite only being in her twenties herself), Yasmin knew it was time to get her hands dirty and be the least experienced person in the room for the first time in a decade. This drive pushed her to cold email Heartbreak High director Gracie Otto "about twenty times" to get onto a film set. "It was an amazing opportunity. I got to see how TV is made, and how a Netflix show happens—how many people are involved, and what the role of a director is in that capacity." View this post on Instagram A post shared by Second Life Markets Australia (@secondlifemarkets) Alongside her experience assisting on Heartbreak High, in 2023, Yasmin's debut documentary, Dying To Succeed, won the 2023 Fresh Cuts initiative at the Australian International Documentary Conference. Moving to Melbourne from Sydney has been another "game-changing" catalyst in her new career chapter. What began as a three-month contract with a production company has resulted in a fresh perspective and new collaborators. "Melbourne's opened me up to the most incredible creatives. Everyone's so excited to volunteer their time to what I'm trying to do. They really believe in me," she says. As a director, fashion naturally weaves into the stories Yasmin is trying to tell. "The medium of fashion means expression to me," says Yasmin. "I think it's the way that I kind of get to find my people in a lot of ways." [caption id="attachment_84096" align="aligncenter" width="1200"] Declan May - Galaxy Z Flip7 is featured[/caption] While Yasmin's creative energy is often used to art direct other projects, how does personal style influence her expression? "When it comes to my personal style, [I like] blending being comfortable but also having a statement piece where you feel fashionable and put together." "At the same time," she says, "I need to be able to run around, be on set and do my job." Yasmin's experience in shooting for a multitude of fashion clients means that often her creative inspiration connects back to that world. "Fashion comes into my work and craft because it's predominantly what I shoot. My work is known for being tapped [into] fashion and [having] an appreciation for style." [caption id="attachment_1028569" align="aligncenter" width="1920"] Declan May - Galaxy Z Flip7 is featured[/caption] When it comes to her new city, Yasmin credits Melbourne's fashion scene as a big source of inspiration. While searching for more pieces for her photoshoot at the vintage store, Retro Star, Yasmin notes Melbourne's love for unique (and often second-hand) pieces. "Melbourne has inspired me a lot in terms of fashion and style," says Yasmin. "There's a real appreciation for archive designer quality pieces — pieces that have lasted the test of time." As she enters a new era of her creative career, Yasmin also credits the rapid development in technology as something that excites her. "I think [technology] is making way for the next generation." One tool that is helping Yasmin's creativity is the Samsung Galaxy Z Flip7. Yasming uses the phone to snap inspiration, navigate a new city, and log her favourite fashion stores. The phone is supercharged by Google Gemini, making it even easier to discover, capture and share your style. While it's easy to stay in your lane and stick to what you know, Yasmin proves that the first decade is only just the beginning in a creative career. From moving cities to gaining television director credits and finding new creative collaborators, it seems Yasmin's next chapter is going to be a good one. Explore more at Samsung. Gemini is a trademark of Google LLC. Gemini Live feature requires internet connection and Google Account login. Available on select devices and select countries, languages, and to users 18+. Fees may apply to certain AI features at the end of 2025. Flex Mode supported at angles between 75°and 115°. Some apps may not be supported in Flex Mode. Fees may apply to certain AI features at the end of 2025. Results may vary depending on lighting conditions.
In the past few years we have seen the reputation of rum go from a rugby spectator's drink of choice to a sophisticated, essential ingredient in many an innovative cocktail. Be it white, golden, spiced or aged, rum is back in the best possible way. Here are the best places in Brisbane to give the new generation of rum drinks a try. COBBLER While this bar is crafting its reputation as a go-to for a fine single malt whisky, Cobbler's also where you'll find one of the classiest rum cocktails in town. Meet the Richard Nixon — a mix of Appleton 8yo, Oloroso Sherry, grape honey and Peychaud's Bitters, served on a sophisticated single rock of ice and dressed with an orange peel. Consider this a gateway to Don Draper-esque sophistication and you'll be discussing social politics in no time. 7 Browning Street, West End LONGTIME Rum, Frangelico, orange-strawberry juice, sesame soy honey reduction, Hellfire bitters and Thai basil. Are you with us? Good. They'll shake this bad boy up, serve it with dehydrated orange triangles, sesame meringue tea drops and more Thai basil. The only remaining question after finding out about this marvellous creation is: what are you still doing here? Run, don't walk, to Longtime on Ann Street, pronto. 610 Ann Street, Brisbane THE WALRUS CLUB At the end of the day, sometimes all you want is to sink into a fine leather couch in a dimly lit bunker and sip away on a quality drop of rum. This is the winning charms of The Walrus Club; while their cocktail list is seemingly endless and rotating, their 300 choices of rum will take you back to Prohibition-era drinking den. Why not sample the Old Fashioned with your cigar? Under the Regatta, Coronation Drive, Toowong DUTCH COURAGE OFFICERS' MESS Though garnering a name as Brisbane's go-to for gin lovers, Dutch Courage in fact offers a smattering of rum-based drinks to satisfy the thirst of the more adventurous or for those looking for something a little different. Why not try the pear and almond martini, wherein "the Empire has reached Barbados", or opt for rum muddled with orchard fruits and aromatic spices in the Sailors' Plantation? All hail the Fall Maple Sangria, where Caribbean goodness comes by the jugful. 51 Alfred Street, Fortitude Valley SUBSTATION NO. 41 RUM BAR For the true rum aficionado, where better to go than Australia's largest rum bar, housed nicely in Brisbane? Substation no. 41 — an arm of the Breakfast Creek Hotel — is where it is about quality and quantity. They boast more than 500 varieties from around the globe, including one of the six bottles of Havana Club Maximo found in Australia, alongside the world's oldest, the Appleton Estate 50-year aged Jamaican Rum. Here you will decipher the the fruity from the spiced, and learn the difference between the French and British Caribbean. Breakfast Creek Hotel, Kingsford Smith Drive JUNGLE Rum can be a fitting drink for any time of the year, but the choices at Jungle in West End will have you dreaming of summer with their fresh palates. The fittingly-named Beachcombers Gold is a sweet and sultry choice with lime juice, house-crafted white grapefruit and cinnamon orgeat to give greater body to the double dash of rum. Here is where you will find a number of rum drink reinventions, with watermelon coolers, punch and daiquiris aplenty to get you in the spirit. 76 Vulture Street, Brisbane
2020 didn't bring much that sparked joy, but it did let Sydneysiders wander through a large-scale, multi-sensory Vincent van Gogh exhibition that projected Dutch master's works onto walls, columns and floors. In 2021, art lovers will be able to repeat the feat, this time with a heap of French Impressionist masterpieces — because Monet & Friends — Life, Light & Colour is heading to town from March. The idea behind Monet & Friends is the same as its predecessor. It stems from the same team as well. As you wander around the Royal Hall of Industries in Moore Park from Friday, March 12, you'll feast more than just your eyes on huge projections of Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, Paul Cézanne and Edgar Degas' work. Light, colour, sound and fragrance are also all part of the exhibition, which is designed to make you feel as if you're walking right into the hefty array of paintings. The list of 19th- and early 20th-century artists showcased goes on, too, including Édouard Manet, Henri de Toulouse-Lautrec, Berthe Morisot, Alfred Sisley and Mary Cassatt. Also featured are Gustave Caillebotte, Armand Guillaumin and Henri-Edmond Cross, plus Paul Signac and Georges Seurat. Once more, the project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 16 years, has hosted immersive exhibitions and gallery experiences in over 145 cities around the world. The company also owns and operates Rome's Museo Leonardo da Vinci. For Monet & Friends, it's once again using state-of-the-art technology that combines 40 high-definition projectors to create multi-channel visuals, all while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. When you're peering at pieces by the 15 featured artists, you'll be doing so in a socially distanced setting — with visitor numbers restricted to maintain enough space (which will exceed the one person per four-square-metres required by New South Wales' COVID-19 rules). So, that means that you'll have less company than you'd usually expect at a big exhibition of French Impressionist art. It also means that sessions are probably likely to get booked out quicker than normal, though. Monet & Friends — Life, Light & Colour opens at The Royal Hall of Industries, adjacent to the Entertainment Quarter, Moore Park on Friday, March 12 — with tickets available via presales from 12pm on Thursday, January 28 and in general sale from 12 on Monday, February 1.
It was 35 years ago in the original 1977 Star Wars film that Princess Leia called for the help of Ben Obi-Wan Kenobi through holographic messaging. At the time we thought anyone would be out of their mind to think such a thing would be possible. We were wrong about a lot of things back in 1977. Educated as an industrial design engineer but always fascinated by lights, Japanese artist Makoto Tojiki turned his head to creating art in 2003 and for five years has worked on his life sized light sculptures. Through the medium of thousands of LED lights and optical fibres, the futuristic celestial like sculptures approach the idea of 'physical presence' in an illuminating way. Tojiki explains his stunning 'No Shadow' light installation sculptures: "An object is seen when our eyes capture light that is reflected from the object. If we extract just the light that is reflected from ‘something,’ are we still in the presence of that 'something?' Using contours of light, I try to express this 'something.' Playing with perception and space, Tojiki encourages the audience to interact with his sculptures from different angles and distances, in turn altering viewer experience. Despite the international success of Tojiki's artworks, his talents are not limited to LED sculptures. Dabbling in interior design and jewellery, Tojiki hopes to see his artworks integrated with fashion brands and featured at events, stores or showrooms. For all you Harry Potter fans, check out Tojiki's 'Horse with No Shadow' installation. Created for Hermes, and probably with no connection to the wizarding world whatsoever, I can't help but see a comparison to Harry Potter's Petronus charm. [Via The Cool Hunter]
Maybe you've experienced the gothic charm of QT Sydney. Perhaps you've enjoyed slumbering at the site of a former cinema at QT Melbourne. At QT Gold Coast, you could've slept in rooftop cabins. At QT Newcastle, you might've bunked down in a clock tower. QT Queenstown comes with alpine views, while QT Auckland heroes the harbour. They're just some of the hotel chain's experiences in Australia and New Zealand, the two countries that it operates in so far — until it launches in Asia in September. Meet QT Singapore, QT Hotels & Resorts' first hotel beyond Down Under, which will open its doors from Monday, September 16, 2024. When it starts welcoming in quests, you'll be able to check into one of 134 rooms in the city-state's Eastern Extension Telegraph building, which dates back to 1927. You'll also be in a prime position: right next to the Lau Pa Sat hawker centre. Behind the striking facade, which is staying the same, the building has undergone a complete interior revamp to deck it out in QT's aesthetic. The brand's look varies from hotel to hotel, but always stands out from other places to stay. Interior designer Nic Graham is doing the honours, with reflecting the city-state's climate and evolution — and the building's location and heritage — the main aim of his approach to the site's decor. Holidaymakers can also expect a signature bar and grill, plus rooftop bar Rooftop by QT, which will sit alongside a sky-high pool for sips and splashes with a view. If you're keen on having a shindig on your getaway, private dining will also be on offer. "We're excited by the liveliness QT will bring to Singapore's diverse tourism landscape and ever-evolving metropolis later this year," said EVT Hotels & Resorts Group General Manager Callum Kennedy. "QT Singapore will be championed by QT's luxurious playful personality, from design to signature service and exciting collaborations, bringing the QT energy and vibrancy guests love from the world to be discovered by locals and travellers in southeast Asia." Leading on the charge on the ground will be QT Singapore General Manager Doron Whaite, a veteran of QT Perth and QT Sydney, who comes fresh from a stint at QT Auckland. Find QT Singapore at 35 Robinson Road, Singapore, from Monday, September 16, 2024 — and head to the hotel's website for further details.
Central's name is accurate in two ways. Located in the Piccadilly Arcade building on Queen Street in Brisbane's CBD, this 80-seater subterranean restaurant is indeed central in the River City. The venue's moniker also takes inspiration from the Central district in Hong Kong, as its menu does with its dishes. Eat at Fish Lane's Southside in South Brisbane, or at Rick Shores in Burleigh Heads on the Gold Coast, and you'll likely grab a serving of dumplings with your meal. Some feature lobster and prawns. Some come stuffed with truffle pork or chilli crab. The bite-sized favourite is a staple of both restaurants, but it isn't the star attraction at either. For a place with that focus — and plenty of love for Hong Kong — the team behind the two beloved eateries has launched Central. Southside Executive Chef Benny Lam, one of Central's driving forces alongside Southside's General Manager Maui Manu and co-owner David Flynn, has worked in the favourite tourist destination, and is now bringing some of the parts of it that he loves to Brisbane — including the rush, the dining-out culture and the flocking to third places. If Central can be that kind of space for Brisbane, the pair will be happy. The menu does its part, with the dim sum range the highlight. Peking duck potstickers and prawn har gao sit beside mushroom dumplings, barbecue pork puffs, king crab and prawn spring rolls, and more. Eager to hang around for a bigger dinner? Just like serving up snack-sized options if you're dropping by on your way elsewhere, Central can cater for it. Mixing Cantonese meals with western influences, Central's other dishes include lobster noodles and wagyu short ribs, both to share; drunken chicken with aged shaoxing rice wine, plus red date and golden sesame, as a starter; smoked foie gras with youtiao, aka Chinese fried dough, plus Davidson plum, also to begin; and traditional steamed Queensland grouper among the bigger fare. Char siu pork and roasted half duck feature as well — and for dessert, mango pudding leads the list. Whatever you pick — dim sum, raw plates, barbecue, sweet treats and more — it's whipped up in the venue's raised kitchen. After helping revamp Gerard's Bistro, architect and designer Jared Webb of J.AR OFFICE turned his attention to Central, where granite and timber are heroed among exposed-rock walls. The lighting remains low, befitting the restaurant's underground berth. Another inspiration comes from one of the space's past guises. Primitif Cafe called it home in the 50s and 60s, with jazz and poetry a feature. As for the drinks, sommelier Peter Marchant — also the Group Wine Director — has built a wine list of around 30 drops that can be mixed and matched with the food menu. Available by the glass, half glass and bottle, it spans both Australian and overseas tipples, and also vino from producers doing new and exciting things in the industry. The cocktails nod to the Hong Kong nightclub scene, as well as to Primitif, including a house harvey wallbanger, a Sichuan Martini Sidecar and a nitrogen-compressed piña colada.
Two months ago, Australia and New Zealand finally introduced the trans-Tasman bubble, which allows folks from either country to travel across the ditch without needing to go into quarantine upon arrival. During that time, the arrangement has been suspended on several occasions on a state-by-state basis — including during Victoria's recent lockdown, and in response to New South Wales' current outbreak — and now, with COVID-19 cases growing across Australia, NZ has put a pause on the bubble nationwide. Announced on Saturday, June 26 and in effect until at least 11.59pm NZ time (9.59pm AEST) on Tuesday, June 29, the suspension applies to quarantine-free travel from all Aussie states and territories. The initial timeframe will span 72 hours, which is NZ's usual first step. Whether it extends that period or not will obviously depend on coronavirus case numbers. "There are now multiple cases and outbreaks in Australia in differing stages of containment and the health risk for New Zealand in response to these cases is increasing," said NZ COVID-19 Response Minister Chris Hipkins in a statement. "As a result, the Government has taken the precautionary step of temporarily widening the current pause with New South Wales to include all of Australia." https://twitter.com/covid19nz/status/1408712957630902282 When NZ Prime Minister Jacinda Ardern announced the two-way bubble between Australia and New Zealand back in April, she noted that it could and would be paused if and when outbreaks occur — so none of the suspensions so far, including this one, are surprising. The NZ Government advised that this current pause will not only give it "time to get a better understanding of the developing situation," but will also enable it "to consider the potential implementation of a range of measures to make the bubble safer, such as the introduction of pre-departure testing for all flights from Australia to New Zealand." At the moment, Sydney's Bondi cluster keeps growing, with 112 locally acquired cases reported as at 8pm on Saturday, June 26. The Greater Sydney area is currently in a two-week lockdown, while positive cases — some linked, some not — have also been reported in Queensland, Victoria, the Northern Territory and Western Australia. Whether you're an Australian on holiday in NZ or a New Zealander who has recently returned from across the ditch, anyone now in NZ who has been in Australia since Friday, June 21 is asked to monitor their health, and keep an eye on the exposure sites lists in various Australian states — such as NSW, Victoria, Queensland, the NT and WA. You're also requested to contact NZ's Healthline if you experience any symptoms. To find out more about the status of COVID-19 in Australia, head to the Australian Government Department of Health's website. To find out more about the virus and travel restrictions in New Zealand, head over to the NZ Government's COVID-19 hub.
The eighth season of Game of Thrones won't hit our screens until 2019 — and while waiting it out might just be the less-frosty equivalent of facing a White Walker, there's something more painful in store. As you probably already know and have tried to forget, the next run of episodes will be the show's last. That said, HBO isn't letting go of its hugely popular commodity completely While we'll all be saying goodbye to Jon Snow, the scheming Lanisters, and Daenerys and her dragons when the series wraps up, Westeros isn't going anywhere. Last year, the US network announced it was considering five different prequel ideas, and it's now doing more than that, greenlighting a pilot for a spinoff set thousands of years before the events of Game of Thrones. Co-created by A Song of Ice and Fire author George RR Martin with British screenwriter Jane Goldman (Kick-Ass, X-Men: First Class, X-Men: Days of Future Past, and the two Kingsman movies), the unnamed series will chronicle "the world's descent from the golden Age of Heroes into its darkest hour", Variety reports. Although HBO have only agreed to make an initial episode to test the waters, you don't have to be the Three-Eyed Raven to see that it's highly likely the show will get the final go-ahead. If/when that eventuates, expect to start feasting on your new favourite show in 2020 at the earliest. Via Variety.
Thought you’d be eating vacuum packed meals in space? Think again. Fruit and veges could now be part of everyday space cuisine as part of EDEN’s (Evolution and Design of Environmentally-Closed Nutrition Sources) latest research initiative to grow fruit and veges in outer space with LED lights. The German Aerospace Centre (DRL) has picked up new Heliospectra LED lighting technology which the company has developed to help researchers explore conditions that can be used to grow fruit and veges in outer space. These space greenhouses could potentially function and feed a crew millions of miles above the clouds and prove particularly useful in harsh environments like a greenhouse module on Mars, or on slightly closer turf at the Neumayer Station III in Antarctica. One of the current projects at the German institute investigates testing the greenhouse module in the hostile Antarctica environment where a team lives in total isolation for nine months straight. Researchers hope to discover the ways whereby food could be produced for the crew and investigate how plants influence humans in isolation. [via inhabitat]
Why should humans get to have all the beer-drinking, bar-attending fun? If you have a pet pooch, you've probably spied the look in its eyes when you head out for a beverage, or the curiosity when you're sipping something at home. This March, booze hounds on all fronts unite for Brewsvegas. From 2pm on March 11, Atticus Finch is throwing open their doors to drinkers of the two- and four-legged kind, with brews on offer for both. At Hair of the Dogs, you and I can enjoy a frosty Brewdog, Parrot Dog, Moon Dog and more (yes, there's a theme), while puppers can lap up a BeerDog Bitter beef flavoured 'beer' (yes, it's a non-alcoholic beer made for dogs). Cheers to that.
In 1963, "muckraking" journalist Jessica Mitford (the staunchly left-wing sister-in-law to the UK's most famous pre-war fascist leader) wrote the seminal expose of the funeral industry: The American Way of Death. Mitford revealed funeral-parlour up-selling, lay-by burial rip-offs and a whole seedy underbelly that would sound pretty familiar to anyone who was scared of the undertaking competitors in Six Feet Under. For Matters of Life and Death, the Performance Space has pulled together a number of productions with a similar urge to pry into our fears of the workings of the unspeakable hereafter. Each ruminates on death and our anxieties about this looming personal apocolpyse. To get a better idea of how the undiscovered country has affected their mindset, Concrete Playground asked some of the people behind this season's productions their views on a few pertinent, eschatological questions. Unsettling Suite Is there a theory of death from life, myth or fiction that appeals most to your work? In Bone Library, which will be presented in Unsettling Suite as only a fragment of a much, much larger work. This work was inspired in its earliest stages by the historic repatriation of burial pouches, full of incinerated bone meal, to the Aboriginal people of Tasmania by the British Museum. Traditional Aboriginal burial rituals are really beautiful, I think, if it were still possible under Commonwealth law, which it isn't, of course, I'd love to meet my end in a traditional way. The body of the person is left out, above ground, inside a cave or a hollow log. The animals and insects feast on the remains, and after the bones have been picked clean, the skeleton is retrieved. The bones are regarded as objects of absolute preciousness, of course, they are the only physical remainder of your loved one. So the bones are distributed among the family, who carry the bone with them. One of the most shocking and irreconcilable things about death is the sudden and absolute absence of the person. Even if a person declines slowly, the moment of death is always sudden and always a shock to us emotionally and spiritually. I really think we have been stripped of whatever tools we once had to deal with this most basic fact of our humanity. I do wish that that I could carry the bones of the people I love, and that they could carry mine, with the knowledge that the rest of me has gone back into the land to nourish the continued cycle of life. Sarah-Jane Norman's Unsettling Suite is on February 23 to March 10. Photo by Penelope Benton. The Last Supper What is your production's view of death? It's odd that the word production is used in the same sentence as death — they don't sit well together. I'd never say that our Last Supper project is about death. It's about a lot of things: life, history, fame, executions, revolution, change, eating too much, eating too little. We serve last meal requests from prisoners who were on death row Texas. It takes the title of an event from a man who was also to be executed 2000 years ago, but we're serving food. And some of that food has meant the death of something else. If I start to get involved in this thought process, I find myself becoming stuck in a repeating cycle. You know the experience of experiencing this performance will die away, eventually. Or it will change. Or it might inspire another performance. I do hope so. Mole Wetherall answered on behalf of Reckless Sleepers. The Last Supper runs February 27 - March 9. NightTime: Live and Let Die Is there a theory of death from life, myth or fiction that appeals most to your work? Albert Brooks' 1991 Defending Your Life is my favourite movie about the afterlife. Purgatory is an LA courtroom where your life is examined to see if you're brave enough to go to heaven. Also Meryl Streep is really good in it. Our edition of Nighttimes will hopefully be a similar. People being as brave and adventurous as they can, while you sit back and judge them. With some death metal thrown in. Eddie Sharp is the guest curator for Matters of Life and Death's Nighttime: Live and Let Die on March 2. Photo by Lucy Parakhina. Mortality talking - Gas Bag What is your production's view of death? If we have an intimate relationship with the fact that our life — all life — will and does end, then this impacts on the choices we make, and the quality of our time in this fleshy envelope. This gasbag. This is why it's imperative to get the social and cultural practices around death (eg the funeral industry) and dying (as a medicalised experience) re-contextualised as the inevitable extension of our birthright. Back into our vocabulary, our thoughts, understanding and — for those who want to — our hands. How to create death literacy? That's what my practice as a death literacy educator, celebrant, artist and counselor is about and those are the ideas that Mortality Talking is playing with. Victoria Spence responded on behalf of Mortality Talking- Gas Bag. It plays on March 9. There's also a questionnaire feeding into the performance. Photo by Heidrun Lohr. Death (cha) Kucha What is your productions' view of death? At the Centre for the History of Emotions we are particularly interested in the emotional aspects of death and dying. One powerful example is suicide. Suicide is hard to talk about. It involves immense psychic pain, both on an individual level and amongst society more broadly. If we can uncover various forms of emotional response to suicide from various cultures across history, then we can begin to place our own understanding of that impulse and its consequences in perspective. This kind of historical understanding has the potential to inform current medical practices. At Death(cha) Kucha we will be discussing suicide, as well as executions, infanticide and other social taboos. Our aim is to critically engage our audience with their own attitude towards death; right before they sit down to Reckless Sleepers' The Last Supper. Gabriel Watts responded on behalf of the death-focused pecha-kucha, Death(cha) Kucha: with the Centre of Excellence for the History of Emotions, on March 8. Image of the Dance of Death. Performance Anxiety What is your production's view of death? Some of the characters die, some are killed, some kill, some stare death directly in the face; and some are consumed by the overwhelming sense of loss that the death of a loved one can bring. Performance Anxiety acknowledges that death is inevitable. Alongside this acknowledgement of death, though, it also seeks to embrace life,and especially an approach to life that is not unnecessarily encumbered by fear and anxiety. Brian Lucas's Performance Anxiety is on February 27 - March 8. Photo by Fiona Cullen. Desensitising Death: A Night of Film What culture do you think deals best with death? In comparison to other cultures, the Western World shrouds death in secrecy and still refuses to integrate it into our lives. This cannot be said when it comes to popular culture and the world of entertainment. Since the birth of cinema, death has been exploited on the screen for its entertainment value. Miss Death and Jay Katz's Desensitising Death: A Night of Film plays at the Clubhouse program, March 9. Image from Psycho.
Back in 2018, the big friendly giant of the streaming world announced that it had found itself a golden ticket, with Netflix planning to bring the work of beloved author Roald Dahl to its platform. But if that news made you more excited than Charlie Bucket walking into Willy Wonka's chocolate factory, you've probably noticed that nothing else has happened over the past year — until now. While Netflix's new Dahl-based shows aren't hitting the streamer just yet, the company has revealed just what it's focusing on to begin with — and who they're working with. To the surprise of no one given that it has already been adapted into a movie twice, as well as into a stage musical, Charlie and the Chocolate Factory is the first book getting the Netflix treatment. To the delight of fans of Boy, What We Do in the Shadows, Hunt for the Wilderpeople and Thor: Ragnarok, Taika Waititi will be writing, directing and executive producing two series based on the beloved tale about a poverty-stricken boy visiting a sweet and wondrous place. The first, called Charlie and the Chocolate Factory, will be based on the world and characters of the book — so you can probably expect everlasting gobstoppers and chocolate rivers aplenty, plus appearances not only by the Bucket family, but by Veruca Salt, Augustus Gloop and Willy Wonka, too. If you noticed that we didn't mention Oompa-Loompas above, that's because they're getting their own show. It's named The Oompa-Loompas, naturally, and it'll offer a new take on the factory's small human workers. [caption id="attachment_573711" align="aligncenter" width="1280"] Hunt for the Wilderpeople[/caption] Fresh from winning an Oscar for Jojo Rabbit, Waititi is presumably slotting the two animated programs onto his schedule after upcoming Marvel sequel Thor: Love and Thunder. Whenever the Netflix shows do join the New Zealand filmmaker's increasingly busy resume, they'll "retain the quintessential spirit and tone of the original story while building out the world and characters far beyond the pages of the Dahl book for the very first time," according to the streaming platform's announcement. In total, a whopping 16 of Dahl's classic books are in Netflix's sights. Teaming up with The Roald Dahl Story Company, the outfit is turning everything from Matilda to The Twits into new animated television shows — and The BFG, Esio Trot, George's Marvellous Medicine, The Enormous Crocodile, The Giraffe and the Pelly and Me, Henry Sugar, Billy and the Minpins, The Magic Finger, Dirty Beasts and Rhyme Stew as well. Dahl's autobiographical efforts Boy – Tales of Childhood and Going Solo will also hit the service, with one detailing Dahl's youth and the other delving into his journeys to Africa as well as his service in World War II. For many, including the tales about the author himself, it'll be the first time that they've been adapted for the screen. Netflix plans to turn Dahl's stories into event series and specials — so limited-run shows across a number of episodes, plus one-offs. There's still no word on when work will start, however, or when Waititi's or any of the other series will start dropping on the platform — although you can watch the 90s live-action versions of Matilda and The Witches on the streamer right now. If you're keen for a taste of the first-ever screen adaptation of Charlie and the Chocolate Factory, revisit the trailer for 1971's Willy Wonka and the Chocolate Factory below: https://www.youtube.com/watch?v=2cBja3AbahY Top image: Willy Wonka and the Chocolate Factory.
Ending the year as you mean to go on is the ultimate New Year's Eve mantra, and it seems that Australia's weather has taken the sentiment to heart. After the country clocked up its third-warmest year on record in 2018, it kicked off 2019 with toasty spells in both Sydney and Melbourne — and another country-wide spate of hot, hot heat is on its way. It is summer, of course; however the next run of warm weather will see the nation affected by a heatwave from Monday, January 14. According to AAP and The Guardian, every state and territory will feel the heat. The mercury will hit the 30s in every capital city, although the impact will differ around the country. And again, while sunny, sweaty days are part and parcel of this time of year, each capital will experience temps above its average maximum for January. The Bureau of Meteorology predicts that Sydneysiders can expect at least a five-day stretch of 30-plus temperatures from Tuesday, while Brisbanites will swelter through the same temps for the whole week. In Melbourne, a maximum of 37 degrees is forecast on Monday, followed by 35 on Tuesday, before easing off down to 21 on Saturday. https://twitter.com/BOM_au/status/1084218154782478337 In what's proving to be a particularly hot start to 2019 in South Australia, Adelaide will reach 41 degrees on Tuesday and 40 on Wednesday — part of a southern spike that'll also see Hobart make it to 30 degrees on Tuesday and Canberra endure a four-day span of temperatures between 38–40 degrees. Perth will bake on Saturday, when a 37-degree day is expected, while Darwin will stay above 30 all week. Wherever you're spending the next seven days, air-conditioning, pools and the beach are your friends.
In Disney's non-stop quest to not only remake its animated hits, but to make them look as lifelike as possible, the Mouse House has already brought Dumbo, Aladdin and The Lion King back to our screens so far this year alone. But it's not done yet, with the company's new streaming platform set to welcome another high-profile do-over before the end 2019: a live-action version of Lady and the Tramp. To answer the question you've all been wondering, yes, it'll feature real spaghetti and meatballs. In all seriousness, the film does actually star real dogs — not photo-realistic canines cooked up by a special-effects team. The adorable pooches have still be given human voices, as the first trailer showed a few months back, with Tessa Thompson lending her tones to everyone's favourite pampered pupper and Justin Theroux doing the honours for her street-smart love interest. Playing an American cocker spaniel and a schnauzer, Thompson and Theroux aren't the only big-name talents going to the dogs. A Star Is Born's Sam Elliott gets gravelly as a bloodhound, Catastrophe's Ashley Jensen is a Scottish terrier, Avengers: Endgame's Benedict Wong voices a bulldog and Janelle Monae pops up as a pekingese. They're joined by a few cast members who are sticking with their two-legged forms, including Hearts Beat Loud's Kiersey Clemons, Me and Earl and the Dying Girl's Thomas Mann, and Community co-stars Yvette Nicole Brown and Ken Jeong. Story-wise, the film wags the same tale, as the upper middle-class Lady crosses paths with, eats pasta with and learns to appreciate the whole wide world with a downtown stray called Tramp. In the just-dropped second trailer, viewers can get a glimpse of more of their antics — and more of the other cute canines they interact with on their action-packed journey. Directed by The Lego Ninjago Movie's Charlie Bean and co-written by US indie filmmaker Andrew Bujalski (Computer Chess, Results, Support the Girls), Lady and the Tramp will sport a few changes when it drops on Disney+ upon the service's November launch, however. Monae is reworking 'The Siamese Cat Song' to remove the original's offensive connotations, and will also perform two new tunes for the soundtrack. Check out the latest trailer below: https://www.youtube.com/watch?v=P4NtWb4WX20 The live-action Lady and the Tramp remake will be available on Disney+ when it launches Down Under on November 19.
Some events feel like they've always been part of Brisbane's cultural scene, and Stones Corner Festival is one of them — even though it'll only host its eighth fest when it returns in 2023. That's the sign of something special, with this street party swiftly becoming one of the city's must-attend festivals. Come Sunday, April 30, Stones Corner Festival will once again unleash a day of food and music on the inner east. And when that happens, the event is going big. On the lineup: Art vs Science, local legends Resin Dogs and the retro stylings of Yacht Rock Revival. They'll be joined by Good Will Remedy, Jem Cassar-Daley, John Hanley & The Hurricanes, Dusty and Andy Martin. As well as dancing in the street, you can also expect more than 20 craft breweries pouring beers. Your Mates Brewing Co, 4 Pines, Slipstream, Balter, Eumundi, Brookvale Union, Stone & Wood and Green Beacon will be doing the honours, and Burleigh Brewing, Newstead Brewing, Young Henrys, Heads of Noosa and Better Beer will be on hand as well. Eating-wise, a heap of food trucks will pop up to keep your stomach lined — including with burgers, paella, tacos and pizza. And as for what else awaits on the corner of Logan and Old Cleveland roads — and during the Labour Day long weekend, handily — there'll also be market stalls via The Market Folks. If you're planning a big one, that public holiday the next day is oh so convenient. Also, this is a great day out for your pooch, too, because dogs on leashes are welcome. And, entry remains free, but giving a gold coin donation to the MND and Me Foundation is recommended.
It was one of the biggest celebrity scandals of the 90s, and it's now heading back to screens. When a sex tape featuring Baywatch star Pamela Anderson and her then-husband Tommy Lee was stolen from their home in 1995, then leaked online, it fuelled tabloid headlines (and internet downloads) for years and years. Now, the whole saga has been turned into a drama called Pam & Tommy — starring Lily James (The Pursuit of Love) as Anderson and Sebastian Stan (The Falcon and the Winter Soldier) as the Mötley Crüe drummer. Even better: streaming platform Disney+ is bringing the eight-part show Down Under in February and, after dropping the first teaser for the series in 2021, it has just unveiled the full Pam & Tommy trailer. James obviously dons the red swimsuit that Anderson was so famous for wearing for 76 episodes of everyone's favourite 90s lifeguard drama, because you really couldn't make a series about her without it. Also, given that the focus is squarely on the couple's intimate recording, how it became public, and the impact it had on Anderson and Lee, things clearly get chaotic rather quickly. In both sneak peeks so far, a mullet-wearing duo played by Seth Rogen (An American Pickle) and Nick Offerman (Devs) can't quite believe what they've stumbled across. That's the main focus of the first trailer, alongside Anderson and Lee's reaction when the tape makes its way out into the world — and the second trailer goes big on the latter. Pam & Tommy's stars firmly look the part — calling James' appearance a transformation definitely fits — and the trailer sports an expectedly hectic vibe. Australian-born director Craig Gillespie has jumped into larger-than-life true tales before with I, Tonya, so he's in somewhat familiar territory. He also keeps being drawn to decades gone by: the 90s here and in I, Tonya, the 80s in aerobics-focused dark comedy series Physical, and the 70s in 2021's live-action Cruella as well. Disney+ will start streaming Pam & Tommy in Australia and New Zealand from Wednesday, February 2, dropping the first three episodes on that date and then streaming the rest week-to-week afterwards. Yes, there's something to add to your 2022 must-see TV list. Check out the full Pam & Tommy trailer below: Pam & Tommy will start screening via Disney+ Down Under from Wednesday, February 2.
There are a lot of gadgets, bits and bobs you can purchase to pretty-up your bicycle. From detachable bike speakers to personalised frames and toilet seats, there are a plethora of things you can attach to your bike to give it character. But the Feats Per Minute prototype bike, created by a team of Dutch designers, is in a league of its own. Unveiled at the Dezeen Space Platform exhibition in London, this bike's designers have reconstructed an old German Alpina Bike they bought for $80 to create a cycling/music machine that plays vinyl records as you ride at a consistent speed. According to its creators, the biggest challenge in creating the vinyl-playing bike was to "make sure that the needles would stick to the record and follow the grooves, without skipping too much." No kidding. It's still a work in progress and only at prototype stage, but as their video report of the Dezeen Space Platform exhibition suggests, once perfected, it is sure to make many people's filmic fantasies come true. https://youtube.com/watch?v=TCxyIKYJ-xo
David Attenborough may have turned 94 in 2020; however the acclaimed broadcaster and natural historian isn't slowing down anytime soon. Fresh from narrating and presenting two new TV series last year — Our Planet and Seven Worlds, One Planet — and even appearing at Glastonbury to promote the latter, he's now bringing his latest movie-length documentary to cinemas. Called David Attenborough: A Life On Our Planet, the film sees Attenborough look back on his more than nine decades on earth, the sights he has seen and the changes he has witnessed. Specifically, he reflects upon humanity's enormous and damaging impact on the natural world. Produced by wildlife filmmakers Silverback Films and global environmental organisation WWF, the resulting doco us described as "a powerful message of hope for future generations". In the film's trailer, Attenborough doesn't hold back. "The living world is a unique and spectacular marvel, yet the way we humans live on earth is sending it into a decline," he comments — before further noting that "human beings have overrun the world". He calls the film his "witness statement" and his "vision for the future", exploring humankind's actions over its existence and how moves can be made to address the planet's current environmental state. Naturally, Attenborough's wise words are combined with striking footage — as you'd expect of anything that the broadcaster is involved in. Originally due to hit the silver screen for one night only, A Life On Our Planet was slated to show in cinemas Down Under in April — but, due to the COVID-19 pandemic, its release was postponed. It'll now premiere on Monday, September 28 and stick around for a longer cinema season, with the film paired with an exclusive cinema-only conversation between Attenborough and Sir Michael Palin. There's nothing quite like seeing stunning nature footage on a big screen; however if you miss out or can't make it along, the documentary will also head to Netflix before spring is out. Check out the trailer below: https://www.youtube.com/watch?v=TLVkqjHrAzw&feature=youtu.be David Attenborough: A Life On Our Planet will screen in Australian and New Zealand cinemas from Monday, September 28, before hitting Netflix before spring is out. Top image: WWF; Joe Fereday, Silverback Films.
Something delightful is happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are starting to reopen — spanning both big chains and smaller independent sites in Sydney and Brisbane (and, until the newly reinstated stay-at-home orders, Melbourne as well). During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made over the past three months, including new releases, comedies, music documentaries, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. https://www.youtube.com/watch?v=W_vJhUAOFpI THE NEW MUTANTS For the 13th film in the X-Men franchise, The New Mutants has come up with the perfect way to explain where this series currently sits. The movie traps five teenagers in an eerie, inescapable facility, tries to placate them by promising that they'll soon be able to venture to greener pastures if they just dutifully stomach what they're being subjected to for now, but taunts them with pain and terror while they wait. Logan aside, that sums up this saga's past five years rather astutely. Fans have sat through average and awful chapters in the hope that something better will come in the future, only to be met by more of the same (or worse). Yes, Deadpool and its sequel were hits, but squarely of the one-note, overdone, easily tiring variety. And the less remembered about the overblown and underwhelming X-Men: Apocalypse, the instantly forgettable Dark Phoenix and now the teen horror-meets-X-Men mashup that is The New Mutants, the better. Shot in 2017 but delayed several times since, The New Mutants takes a concept that's equal parts The Breakfast Club and One Flew Over the Cuckoo's Nest, adds in angsty adolescents just coming to terms with their hormones and superpowers, and serves up a thoroughly flat affair. When Native American 16-year-old Dani Moonstar (Another Life's Blu Hunt) survives a traumatic incident on her reservation that she can't remember afterwards, she awakens in a hospital run by Dr Cecilia Reyes (Kill Me Three Times' Alice Braga), which she's told is for kids just like her. Her fellow patients (Emma's Anya Taylor-Joy, Game of Thrones' Maisie Williams, Stranger Things' Charlie Heaton and Trinkets' Henry Zaga) are all aware of their extra abilities, though. Dani doesn't even know what she's capable of; however the fact that her arrival coincides with a series of unsettling incidents needling through the minds of her new pals gives everyone a few clues. Alas, all it gives the film is a flimsy excuse to trot out a heap of teen, horror and superhero tropes, with writer/director Josh Boone (The Fault in our Stars) and his co-scribe Knate Lee delivering a suitably moody but also oppressively generic film. Indeed, when Buffy the Vampire Slayer clips play in the background in a couple of scenes, they're instantly more entertaining than anything The New Mutants has to offer. Read our full review. https://www.youtube.com/watch?v=AI03TFsUZ68&feature=emb_logo WILD GRASS Gazing out of her window, banishing away the sounds of home via her walkman, teenager Yun Qiao (Ma Sichun, Somewhere Winter) dreams of a different life. A talented dancer with big plans to leave for a lucrative career in Japan, Li Mai (Zhong Chuxi, Adoring) shares the same hopes — as does trumpet player Wu Feng (Huang Jingyu, Operation Red Sea), who tries to get by doing odd jobs for local heavies. It's the 90s, and these three strangers are all eager to change their futures. Fate, however, has something else in store. Jumping between its three protagonists, Wild Grass weaves these tales together, never leaving any doubt that the trio's plights are all related. Accordingly, this Chinese drama asks audiences to spend their time joining the dots as climactic events — car accidents, brutal attacks and gangster showdowns, for instance — upend its characters' intersecting lives. The overall message, and hardly an unexpected one: that they'll each weather their significant woes, twists and turns, and ideally come out stronger on the other side. Thankfully, what Wild Grass lacks in narrative or thematic surprises, it makes up for in its sumptuous imagery. The debut feature from Chinese director Xu Zhanxiong (writer of 2017's Ash), this is an instantly visually mesmerising film — especially when it lurks in alleyways, clubs and other neon-lit spaces; watches Li Mai showcase her fancy footwork across a plethora of different venues in both joyous and troubling circumstances; and stares deeply at its characters' often-pensive expressions. While The Wild Goose Lake will take some time to unseat as the best-shot, most alluringly lit Chinese film to reach cinemas of late, Wild Grass and its sometimes inky, sometimes glowingly amber-tinted frames take a firm stab at the title. The movie's three lead performances also hit their marks, especially when the plot proves a little too content to cycle through a parade of obvious developments. https://www.youtube.com/watch?v=2tSd7JtLhh8&feature=emb_logo FATIMA When a ten-year-old Portuguese girl and her young cousins claim to see a vision of the Virgin Mary as the First World War rages, the faithful come running in Fatima. Based on the true tale of Lúcia dos Santos — also known as Sister Lúcia after becoming a nun later in life and, 15 years after her death in 2005, currently in the process of being canonised by the Catholic Church — the film's powers-that-be clearly hope their movie will incite the same reaction. Primarily dramatising events from over a century ago, Fatima may also step forward to 1989 and cast Harvey Keitel as a sceptical writer determined to query Lúcia's story, but there's no question where the feature's allegiances reside. Indeed, from the moment that the film begins with the girl's (Terminator: Dark Fate's Stephanie Gil) first encounter with the mother of Jesus (The Man Who Killed Don Quixote's Joana Ribeiro), it splashes its devotion across every frame. As a result, while it plays up the clash between believers and cynics across two time periods, Fatima always remains a tension-free affair. When Keitel's Professor Nichols chats with the great Sônia Braga (Aquarius) as Lúcia, it's immediately clear that he'll warm to her candid and open demeanour. And, in the details she's recounting, it's also always evident that her steadfast commitment to her faith as a girl will win out. In its 1917-set scenes, Lúcia's own devout mother (Hero on the Front's Lúcia Moniz) proves doubtful, and the town mayor (Santa Clarita Diet's Goran Visnjic) is downright contemptuous — but, in constantly counteracting their distrust with lyrical imagery of scenic fields, other rural landscapes and even glowing skies, writer/director Marco Pontecorvo (Partly Cloudy with Sunny Spells) couldn't paint a clearer picture in support of their protagonist. Visually, he's following in Terrence Malick's footsteps, but without the same texture, thoughtfulness or impact. Thank goodness, then, for strong performances by Gil, Moniz and Braga, which are the only elements of Fatima that stand out. If you're wondering what else is currently screening in cinemas, check out our rundown of new films released in Australia on July 2, July 9, July 16, July 23, July 30, August 6, August 13, August 20 and August 27 — and our full reviews of The Personal History of David Copperfield, Waves, The King of Staten Island, Babyteeth, Deerskin, Peninsula, Tenet and Les Misérables.
You can glean much about an artist by the way that they commit their own likeness to paper. You can discover plenty about someone through their possessions, too. Art lovers are accustomed to exploring what made Frida Kahlo tick through her self-portraits, and they do indeed feature at Australia's latest exhibition dedicated to the icon. Her personal belongings are as much in the spotlight, however, at Aussie-exclusive showcase Frida Kahlo: In Her Own Image at the Bendigo Art Gallery. Announced in 2024, open at the regional Victorian venue since Saturday, March 15, 2025 and on display until Sunday, July 13, this tribute to the Mexican painter sees how she bared her soul in her work, especially in pieces where she stares back at audiences — but it also dives into a treasure trove of items belonging to Kahlo as well. Garments that she wore, her favourite cosmetics, hand-painted medical corsets that she donned following spinal surgeries: they're all on display, all direct from the Museo Frida Kahlo in Mexico. Many of the artworks and items featured have never been seen in Australia before. In fact, some were sealed for 50 years in her family home when Diego Rivera ensured that the site would become a museum after Kahlo passed away in 1954, and that her most-personal objects were stored in the bathrooms away from public eyes. It isn't just paintings, plus items such as clothes and makeup that've made the trip to Bendigo, but also mementoes, sketches and photographs. As a result, a visit to this exhibition will get you peering at traditional Mexican garments, including a headdress from the Oaxaca region — and Revlon cosmetics, such as lipstick, nail polish and an eyebrow pencil. Among the medical corsets, one featuring a broken Tuscan column to represent her spine is a highlight. From the art pieces included, Appearances Can Be Deceiving, a self-portrait drawing that provides a view through her clothing to her corset x-ray style, is another. 1940's Self Portrait with Thorn Necklace and Hummingbird is also one of the works displaying in Australia for the first time ever — and add 1951's Still Life with Parrot and Fruit to the same list. "It is such an honour to have the opportunity to work with the Museo Frida Kahlo to tell the story of one of the world's most mythologised artists. This remarkable collection rarely travels outside Mexico, and has never before been seen in Australia," said Bendigo Art Gallery Director Jessica Bridgfoot. "Kahlo's much-loved home La Casa Azul, now the Museo Frida Kahlo, was the embodiment of her art, philosophies, and design influences," Bridgfoot continued. Australia keeps heroing Frida Kahlo: In Her Own Image's subject at institutions around the country, with this exhibition following the Art Gallery of South Australia's 150-work Frida & Diego: Love & Revolution showcase of Mexican modernism in 2023, and also Sydney Festival's multi-sensory Frida Kahlo: Life of an Icon the same year. Frida Kahlo: In Her Own Image displays at Bendigo Art Gallery, 42 View Street, Bendigo until Sunday, July 13, 2025. Head to the gallery's website for further details. Images: Bendigo Art Gallery.
Everyone has a childhood memory about discovering chocolate chip cookie dough ice cream. A staple at several ice cream chains, the flavour is as simple as it sounds. Take some ice cream, add chocolate chip cookie dough, then mix it all together — with dessert fiends then able to lick their way through a creamy but also chunky mashup of two sweet treat favourites. Ben & Jerry's is one of the brands that has been dishing up the frosty treat for years, introducing it in 1984. In 2021, however, it has just launched a range of cookie dough chunks that don't come with ice cream. Available for a limited time only, you can snack them from the packet rather than enjoy them in a cone or cup. Two types are on offer, in 180-gram and 227-gram pouches. If you're all about choc chips, you can grab a whole packet of doughy chunks filled with them. If you're keen to mix it up, you can opt for both chocolate chip cookie dough and fudge brownie pieces in the same packet — so a version of Ben & Jerry's Half Baked flavour, sans ice cream. The separate packs of cookie dough chunks are only available until sold out, with the range on offer in select Ben & Jerry's Scoop Stores now — in Manly, Bondi and Chatswood in Sydney; Flinders Lane, Burwood Brickworks and St Kilda in Melbourne; Mooloolaba, Noosa, Surfer's Paradise and Pacific Fair in Queensland; and Hillarys, Joondalup, Fremantle and Northbridge in Western Australia. Ben & Jerry's cookie dough chunks are available at select Ben & Jerry's stores in New South Wales, Victoria, Queensland and Western Australia for a limited time — in 180-gram and 227-gram packs.
A small grey moon passes silently through the dark, desolate vacuum of space. No wait, not a moon, a space station. Suddenly from within that manmade menace, a thunderous blast of brilliant green light tears forth, obliterating the planet of Alderaan. Elsewhere, a frail Obi Wan Kenobi shudders and fretfully remarks: “I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror, and were suddenly silenced. I fear something terrible has happened”. Fast forward a long, long time to Tuesday April 7, 2015, and once again, one senses a great disturbance has come to pass, only this time, Harrison Ford and the gang are playing for the other team. In a landmark decision by Australia’s Federal Court, iiNet and several other internet service providers (or ISPs) have been ordered to disclose the names and contact details of almost 5000 of their Australian customers accused of illegally sharing the 2013 film Dallas Buyers Club. If you’re currently sitting there with BitTorrent open in the background, chances are you’re one of the millions suddenly crying out in terror. But just how afraid should you be? ISPs, WHERE SIZE DOES MATTER The first question to ask is: which ISP do you use? Telstra, TPG and Optus were all ignored by the rights holders (at least for now), meaning yesterday's ruling only applies to customers of iiNet, Dodo, Internode, Amnet and Adam Internet. If you’re not with them, you’re not in the firing line. TORRENTING: A SEEDY PRACTICE Note the absence of the word ‘downloaded’ above. This case drew a critical distinction between those who downloaded the film and those who seeded the torrent (i.e., those who made it available for others to download). Since it’s impossible to identify downloaders, the names to be provided by iiNet and the other ISPs will only be of those who “made the film available online to other persons; electronically transmitted the film to other persons; and made copies of the whole or a substantial part of the film”. Put another way, if you downloaded Dallas Buyers Club but never shared it, you’re probably in the clear. But if you did seed it (and that does happen automatically through some torrenting software), what happens next? ROUND 1 TO HOLLYWOOD Nothing for the next 28 days at least, which is how long those ISPs have to appeal the decision. The chance of them doing that, however, seems unlikely given the comments by iiNet’s CEO David Buckingham that: "We're very happy with Justice Perram's judgment and his balanced approach to both the studio's and consumers' rights.” In all likelihood, then, four weeks or so from now there are going to be around 5000 letters sent out across Australia courtesy of the film’s rights holder — Dallas Buyers Club LLC. ON A SCALE OF ZERO TO ALDERAAN, HOW SCREWED ARE YOU? Three years ago, a Minnesota woman was famously ordered to pay $1.5 million in damages for illegally downloading just 24 songs from the internet. The plaintiff in that case, the Recording Industry Association of America, never had any real expectation of recovering the money from her because, of course, money wasn’t the point. Sending a message was why they’d pushed so hard, and the same may be said of Dallas Buyers Club here. With this ruling, both they and the court have sought to declare an end to the age of anonymous copyright infringement in Australia. BUT IT WASN'T ME, IT WAS THE ONE-ARMED MAN! Just because you receive a letter from Dallas Buyers Club doesn't mean you're actually guilty of copyright infringement. All it means is your name and contact details are attached to the IP address that was identified in the sharing of the file. Who was doing that sharing is an entirely different matter: your flatmate, a sibling, a child or even an unscrupulous neighbour who cracked your Wi-Fi password (seriously, was it 'password'?). Proving actual guilt will be an additional hurdle that Dallas Buyers Club will still have to jump for each and every case it pursues. OKAY, I AM THE ONE-ARMED MAN So let’s say, for argument’s sake, you’re one of the names about to be provided to Dallas Buyers Club. The ‘balance’ in the decision that David Buckingham was referring above to centres on two key points: 1. Your names won’t be made public; and 2. Every single letter that Dallas Buyers Club intends to send out must first be shown to, and approved by, Justice Nye Perram. That second point is more significant than it may sound, because it seriously limits the ability of Dallas Buyers Club to use those letters as a means of intimidation, otherwise known as ‘speculative invoicing’. Recently in America, Dallas Buyers Club sent similar letters to US-based infringers claiming they were liable for damages of up to US$150,000, but noted they’d be prepared to settle out of court for US$7000. It’s unlikely they’ll be permitted to do the same thing here, though they will almost certainly seek some level of remuneration for the infringement. CLICK HERE TO DOWNLOAD THE FUTURE Does this ruling mean Australians will immediately stop torrenting? Of course not. Australia is Olympic-level bad when it comes to copyright infringement, with BitTorrent accounting for more than 25% of all internet use in the region, and Australians responsible for a full 11.6% of the worldwide illegal downloads of Game of Thrones season four. Crucially, nobody ever disputes that it’s wrong, but everyone finds their own little way of justifying it. For most, that justification sits squarely in what’s termed 'The Australia Tax' — a consistently unreasonable price disparity of up to 400% between here and the rest of the world on everything from automobiles and electronics to music, software, games and films (here’s lookin' at you, Adobe). Coupled with inexplicable delayed releases (something that proved a financial disaster for The LEGO Movie), Australians justifiably feel they shouldn’t have to pay extra for something they want, only to then unjustifiably download the whole thing without paying a single cent. ARISE A KNIGHT The game changer in all of this will be Netflix, which finally launched here last week. In the United States, it's almost singlehandedly credited with reducing torrenting from 31% of all internet traffic to just 5.65% in a mere six years, and there’s no reason to doubt a similar trend in Australia. Cinemas have also wised up, with Village Roadshow CEO Graham Burke declaring last year that in Australia, “movies will [now] be released day and date with the US. Movies will come out at the same time.” Of course, yesterday’s decision may yet be overturned, but it’s a sure sign of the changing times and it would indeed seem the days of torrenting with anonymous impunity are numbered. That's not to say technology hasn't proven remarkably adept at circumventing any measures to control it, just as this author isn't blind to the fact that the Rebels ultimately prevailed over the Empire. Still, this a war neither side is prepared to back away from, so next time you’re thinking about downloading something, perhaps just ask yourself: what if I'm Alderaan? Formerly an intellectual property lawyer with the global firm Allens Linklaters, Tom Glasson is a writer, film critic and TV presenter best known for his work as host of Australia's daily satirical news show The Roast on the ABC.
Stare at The False Mirror at Magritte, one of the Art Gallery of New South Wales' just-announced big summer exhibitions, and the masterpiece of a painting from 1929 will peer right back. One of Belgian surrealist René Magritte's most-famous creations, the piece features a giant eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of the 2024–25 Sydney International Art Series. Another striking painting that's hitting the Harbour City from Saturday, October 26, 2024–Sunday, February 9, 2025: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. [caption id="attachment_959955" align="alignnone" width="1920"] René Magritte 'Golconda (Golconde)' 1953, oil on canvas, 80 x 100.3 cm, The Menil Collection, Houston, V 414 © Copyright Agency, Sydney 2024, photo: Paul Hester.[/caption] At Magritte, which is exclusive to Sydney, The False Mirror, Golconda and 1952's The Listening Room (La Chambre d'Écoute) — which shows an oversized apple — will have ample company at AGNSW's south building Naala Nura. In total, 100-plus works are set to display. This will not only be a huge retrospective dedicated to the artist, but also Australia's first retrospective dedicated to the artist. More than 80 of the pieces will be paintings, demonstrating why he's considered one of the most-influential figures in 20th-century surrealism; however, archival materials, photographs and films will also feature. Sydney International Art Series isn't just about one major exclusive showcase, of course. From Saturday, November 30, 2024–Sunday, April 13, 2025, AGNSW will also host Cao Fei: My City. Over at the Museum of Contemporary Art Australia from Friday, November 29, 2024–Sunday, April 27, 2025, Julie Mehretu will be on display as well. [caption id="attachment_959956" align="alignnone" width="1920"] René Magritte 'The listening room (La chambre d'écoute)' 1952, oil on canvas, 45.2 x 55.2 cm, The Menil Collection, Houston, gift of Fariha Friedrich, 1991-53 DJ © Copyright Agency, Sydney 2024, photo: Adam Baker.[/caption] Cao Fei: My City is also an Australian-first retrospective and the largest showcase of its namesake's pieces Down Under, putting the Guangzhou-born, Beijing-based artist in the spotlight. Expect cyber futurism to grace AGNSW's walls in a 1300-square-metre space in Naala Badu, the gallery's south building, as part of an exhibition designed by Cao Fei with Hong Kong's Beau Architects. Your entry point: a replica of a Beijing cinema from the 60s. And your exit point isn't a gift shop, but a Sydney yum cha restaurant. As for Julie Mehretu, it will be the southern hemisphere's first major survey of the Ethiopia-born, New York-raised artist's output, spanning over 80 paintings and works. Some will date back as far as 1995. Others have been created just for the exhibition. Mehretu herself will also be in Sydney for the showcase's opening. [caption id="attachment_959957" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] "Magritte and Cao Fei are giants of their respective times and leading figures in both the modern and contemporary art worlds. Magritte will consider the Belgian artist's groundbreaking contribution to surrealism in an exhibition that highlights the uniqueness and independence of his artistic vision. This Art Gallery-exclusive exhibition will give Australian audiences the chance to experience Magritte's practice in deeper and more profound ways than ever before, providing a real glimpse into the evolution of his practice," said Art Gallery of New South Wales Director Michael Brand. "Naala Badu, our new SANAA-designed building, allows us to stage inventive kinds of exhibitions as never before, and the imaginative format of Cao Fei: My City is Yours befits the playfulness of one of the world's most prominent and innovative living artists. This exhibition builds upon the Art Gallery's proud history of staging exhibitions of Chinese art since the 1940s, and with this show we celebrate the pioneering creativity of this globally acclaimed artist, as well as the boundless possibilities that art offers for deeper understanding and connection. With both Cao Fei and Magritte on show this summer, we have an unmissable offering for visitors to Sydney and local art lovers alike," Brand continued. [caption id="attachment_959961" align="alignnone" width="1920"] TRANSpaintings (green ecstatic), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (emergence), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (recurrence), 2023, Pinault Collection; TRANSpaintings (skull), 2023, courtesy the artist and White Cube; TRANSpaintings (mask), 2023, courtesy the artist and White Cube; Your Eyes are two blind eagles, That Kill what they can't see, 2022–23, private collection. Installation view, Julie Mehretu. Ensemble, 2024, Palazzo Grassi, Venezia. Ph. Marco Cappelletti © Palazzo Grassi, Pinault Collection.[/caption] "The Museum of Contemporary Art Australia is delighted to be presenting to audiences in Australia this remarkable exhibition by an artist who is undoubtedly one of today's most exciting living painters, and whose dynamic language of abstraction speaks so powerfully to the contemporary world in which we live," added MCA Australia Director Suzanne Cotter about the Julie Mehretu exhibition. "The experience of Mehretu's paintings is nothing short of a visual and physical event. We are proud to present this year's Sydney International Art Series with Julie Mehretu to build upon the MCA's history of introducing to the public in Australia the work of today's most influential artists." [caption id="attachment_959954" align="alignnone" width="1920"] René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.[/caption] Sydney International Art Series 2024–25: Saturday, October 26, 2024–Sunday, February 9, 2025 — Magritte, Art Gallery of NSW Friday, November 29, 2024–Sunday, April 27, 2025 — Julie Mehretu, Museum of Contemporary Art Australia Saturday, November 30, 2024–Sunday, April 13, 2025 — Cao Fei: My City, Art Gallery of NSW [caption id="attachment_959963" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] Sydney International Art Series 2024–25 runs from October 2024 — head to the AGNSW and MCA websites for further details. Top image: excerpt of René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.
Like karaoke? Fond of singing along to well-known songs, especially with a drink in your hand? Happy to belt out a tune in a crowd? If you answered yes to all of the above questions, then it's time to up your crooning game during Pub Choir's new Australian tour — aka the boozy sing-along that's all about giving your lungs a workout between sips. Since early 2017 in Brisbane, Pub Choir has been amassing brew-loving music fans in venues around the Queensland city. The regular event asks its attendees to learn a particular song in three-part harmonies, with talented professionals on hand each time to show everyone the ropes and lead the way. Every evening then culminates in a big boozy singing session, with the event making its way to bigger Brissie locations over the years, as well venturing around the country. Now, it's hitting up every Aussie capital across January and February 2022 — including The Tivoli in Brisbane on Tuesday, February 1 and Wednesday, February 2. The vibe: a far more organised version of exactly what happens whenever someone puts 'Wonderwall' or 'Weather With You' on the pub jukebox. And, now that communal singing in public is back after all the various pandemic-related restrictions that've come our way over the past two years, you can expect this tour to feel particularly celebratory, too. Pub Choir was a big hit during lockdowns, and as life started to return to normal as well; you might've taken part in Couch Choir in 2020, or watched the Australia's Biggest Singalong special on SBS earlier in 2021. Run by Astrid Jorgensen and Waveney Yasso, its IRL events are mighty popular, too — unsurprisingly — with tickets getting snapped up very quickly each time. So if you're keen to sing and drink with a theatre full of people, you'll want to book asap.
Wine lovers visiting New Zealand's biggest city are truly spoilt for choice. A cluster of award-winning and family-owned vineyards sit less than an hour's drive from the CBD, making it the perfect destination for your next short break. Dotted among the hillsides and bays of northern Auckland, Matakana has a warm climate that produces elegant reds — there are 28 varieties planted in the region, which makes it one of the most diverse wine growing areas in New Zealand. Here you'll find the only vineyard in the country to specialise solely in Italian grapes, French-inspired drops and an elaborate 'if you build it, they will come' sculpture park. Flights to Auckland from Sydney, Melbourne and Brisbane are super short — around three-and-a-half hours on average — and Air New Zealand flies direct from all three cities and offers great everyday fares. SCULPTUREUM A Nike-wearing alligator, inspirational quotes from Steve Jobs, an exotic bird aviary and an 80-seat restaurant — Sculptureum isn't your average vineyard. After 12 years of design and development, Auckland-based lawyers Anthony and Sandra Grant opened the doors to their elaborate 'if you build it, they will come' space. The 25-acre site is located less than five minutes' drive from the Matakana village en route to Omaha (north of Auckland). After strolling through art-filled gardens, seeing a massive chandelier created by American glass artist Dale Chihuly and spotting large rabbits in a grassy arena named Rabbiton, it'll finally be time to sit down for a wine. On a sun-soaked hill beyond the gardens is the vineyard that produces Sculptureum's award-winning wines. Current varietals available include chardonnay, Bordeaux blend, syrah and rosé. They're best enjoyed by the glass with a meal at on-site restaurant Rothko — though you can always grab a bottle for later, too. BRICK BAY WINERY Brick Bay is another spot that incorporates boutique wines, a sculpture trail and a top-notch restaurant. Nestled amidst a patchwork of native bush and farmland, the winery is a magical setting for a short break out of the city. For a little over 32 years, the brand has made a name for itself crafting sustainable wines, notably the classic pinot gris and berry-driven rosé. If you want to see what all the fuss is about, tastings are held any time at on-site restaurant The Glasshouse for $8. Designed by respected architect Noel Lane, the building is exactly as the name suggests — a light-filled glass box, which sits over a lily-filled pond. For an additional fee, you'll also be given the opportunity to stroll around the sculpture trail and see work by some of New Zealand's top contemporary sculptors, including Paul Dibble, Terry Stringer and Judy Darraugh. The full trail takes around an hour to complete. HERON'S FLIGHT Heron's Flight is the only vineyard in New Zealand to specialise solely in Italian grapes. The winery was established 31 years ago by David Hoskins, whose work as a chemist, philosopher and winemaker makes him quite the renaissance man. Heron's Flight has been consistently committed to sustainable winemaking and can be found in the wine lists of top restaurants up and down New Zealand. Heron's Flight works with two grape varieties: sangiovese, which translates to 'the blood of Jupiter', and dolcetto, a variety which is often both dry and full-bodied. Tastings are available seven days a week, excluding public holidays. MATAKANA ESTATE Matakana Estate has been around since the boutique wine region first sprung to light more than 30 years ago. Under the care of Australian winemaker Richard Robson, the estate produces stylish, full-bodied chardonnay, syrah and pinot gris. With expansive views over the vineyard — the largest in the region — the tasting room is one of the most popular to visit for an afternoon of sniffing and swirling. That said, it's recommended to call ahead if you're looking to try a specific varietal. If you haven't sorted transportation for your return journey, the estate boasts a luxury lodge, which stands proudly on a ridge overlooking the Matakana valley and hills. It has room for up to eight merry guests. RUNNER DUCK ESTATE Runner Duck Estate is a boutique vineyard nestled in the Matakana valley, specialising in small quantities of French-inspired syrah, Bordeaux blends, pinot gris, sangiovese and rosé. After leaving behind a successful business in Mumbai and purchasing the estate, it was the objective of owners Clyde and Farida to produce a small amount of iconic red wine that would impress the world's most discerning wine drinkers. Staying true to their word, the pair will not produce wine under the label unless the year been outstanding. The estate's cellar door can be found at celebrated vineyard restaurant, Plume, which offers tastings of any five wines for $7 per person. Alternatively, tastings are free with any bottled purchased. Book your flights to Auckland with Air New Zealand and start planning your next long weekend away. Plus, Vinomofo has released a case of wine featuring six delicious wines representing the diverse and unique sub-regions of Waiheke, Kumeu and Matakana. Every case has a one in 50 chance of winning return flights to Auckland (from Sydney, Melbourne and Brisbane). T&Cs apply.
One-shot movies fall into two categories. Some hide their edits to make it appear as though they've been filmed in one continuous take, such as Alfred Hitchcock's Rope and the Oscar-winning Birdman. Others achieve the feat without resorting to cinematic trickery, including historical drama Russian Ark and Iranian thriller Fish & Cat. Either way, the intended effect is the same. By presenting an unbroken image free from cuts and interruptions, filmmakers try to plunge the audience so deeply into the on-screen action that they simply can't bear to tear their eyes away. Wandering from a Berlin nightclub to a cafe to a life or death bank heist, the adrenaline-fuelled Victoria joins the fold, unfolding in a single, unstaged take. Like all films that employ this technique, there's no denying the underlying technical wizardry on display in this heart-pounding German thriller. But writer/director Sebastian Schipper does more than simply jump on the latest movie-making bandwagon. Indeed, in his skilled hands, Victoria rarely feels like a gimmick. As the titular Spanish traveller (Laia Costa) catches the eye of the flirtatious Sonne (Frederick Lau) during a night out, and then tags along with him and his mates as they make the leap to the wrong side of the law, the uncut footage endeavours to take the audience along for the ride. Describing cinematographer Sturla Brandth Grøvlen's camera as one of the film's characters might be a cliché, but it's fitting. Victoria doesn't just want to make viewers watch its protagonist's wild night. It wants them to feel like they're in the thick of the frenzy, experiencing every single moment along with her. Here, variety and movement is key. While the screenplay crafts its own convincing dramas of the criminal and romantic kinds, it's not just the real-time story and changing locations that offer up a few unexpected elements. Equally unpredictable is the way Schipper uses the frame. Sometimes the visuals are claustrophobically precise and tight, while other times they're coasting and loose. The images lurch and circle, simultaneously going with the narrative's flow and creating their own momentum, and mimicking the feature's freewheeling mood while imparting their own urgency and personality as well. Of course, with the film clocking in at 138 minutes, Victoria's style does eventually threaten to overstay its welcome. Thankfully, Costa's naturalistic performance offers the pick-me-up fatigued audiences might need, even when she appears to be tired herself. The cast's improvised efforts add another layer of realism to a movie that could've just been the latest one-shot stunt. Instead, it's one of the most absorbing, surprising films we've seen in quite a while.
UPDATE: JUNE 26, 2020 — Since publication of the below, Coles has also reintroduced nationwide restrictions at all supermarkets, express stores and online. The new limits include one pack per customer of toilet paper and paper towel. Further limits are in place at Victorian supermarkets and those on the NSW border. Everyone remembers the great supermarket chaos of just a few months back, when stores looked like post-apocalyptic film sets, people were everywhere but shelves were bare. And, as a response to the huge onslaught of panic-buying when the COVID-19 pandemic first hit — with shoppers hoarding everything toilet paper and hand sanitiser to pasta and milk — we all remember the item limits put in place by Aussie chains. Two months after local supermarkets started to lift those caps (and after the great bog roll crisis of 2020 seemed like it was over), Woolworths is now reintroducing restrictions — on toilet paper and paper towel. It seems that whenever COVID-19 cases start to spike, Aussies just can't stop stocking up on absorbent paper. Indeed, announcing the news today, Friday, June 26, Woolies advised that the decision follows "a recent surge in demand across different parts of the country". Toilet paper and paper towel will now be limited to two packs per transaction, with the caps in place across the entire nation. On Wednesday, the supermarket chain reintroduced restrictions in Victoria on other everyday items such as flour, sugar, pasta, rice, mince, long-life milk and eggs, too, and Coles followed suit — however Woolies' bog roll and toilet paper rationing is now going country-wide. Explaining the national rollout, Woolworths Supermarkets Managing Director Claire Peters noted that Woolies has "regrettably started to see elevated demand for toilet roll move outside Victoria in the past 24 hours. While the demand is not at the same level as Victoria, we're taking preventative action now to get ahead of any excessive buying this weekend and help maintain social distancing in our stores." The key words: 'preventative action'. Woolies stresses that there's no current shortage, it has plenty of stock and it has just ordered 650,000 additional packs — increasing its usual order by more than 30 percent of its usual volumes. Given Australia's TP-buying frenzy back in March, though, you can understand why the supermarket is both stocking up and limiting customer purchases. No end date has been given, with the restrictions in place for the foreseeable future. "The sooner we see buying patterns return to normal levels, as was the case throughout May and most of June, the quicker we'll be able to wind back limits," said Peters. https://twitter.com/VicGovDHHS/status/1276037207174889472 Woolies' actions — and the renewed clamouring for the one item no Australian seems to be able to live without — comes in response to Victoria's recent spike in COVID-19 numbers over the past couple of weeks, with new cases on the rise in the state and community transmission levels increasing. As the Australian Health Protection Principal Committee (AHPPC) noted in a statement on Sunday, June 21, 83 percent of Australia's newly confirmed COVID-19 cases over the week prior were in Victoria. Of those 116 new Victorian cases in total, 87 "are largely associated with community transmission". The rising Victorian case numbers have already sparked action at the state government level. Victoria's State of Emergency has been extended for four more weeks, and Premier Daniel Andrews also announced the tightening of some gathering restrictions — reintroducing smaller caps on at-home groups, gatherings out of the house and the numbers of patrons allowed in venues. The state has also singled out ten Melbourne suburbs as hotspots, and is implementing a testing blitz over the next ten days. 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. For more information about Woolworths' reinstated limits on toilet paper and paper towel, head to the supermarket's website.
Ever been on a bushwalk or beach stroll and and wondered if you can eat that shrub or flower? Maybe it was a pepperberry or some type of edible beach succulent — but who really knows. Well, now you can now go foraging for wild food more easily than ever, thanks to a new app developed by René Redzepi, chef and co-owner of Noma. He made the announcement yesterday at World's 50 Restaurants 15th anniversary talks event in Barcelona. The app, which is called VILD MAD (meaning 'wild food' in Danish), shows you what edibles are nearby according to landscape. There are also instructions (in both Danish and English) on how to eat and cook them, including a few recipes. Plus, you can record your foraging adventures and keep notes on what you find. Redzepi is perhaps the most famous champion of native foods, and, as well as cooking with them at his Copenhagen restaurant, he made the most of Australia's native ingredients when Noma popped up in Sydney in 2016. "Knowing your ABCs in nature, the flora and the fauna, the patterns in the landscape, and the rhythms in the seasons is as important, we believe, as learning math, learning to read, learning to write — especially today when people think cacao milk comes from brown cows," Redzepi said at the 50 Best Talk, as reported by Eater. The app is just one part of a bigger initiative led by the Danish chef. Along with lots of useful resources on his MAD website, Redzepi is also leading some serious foraging education opportunities, including workshops to be delivered all over Denmark by park rangers and a curriculum for Danish school kids. His aim? To get people to pick food from nature like they do from supermarket shelves. While a lot of the content is specific to Denmark, anyone can download VILD MAD for free at the App Store or Google Play and identify some ingredients. While we'd love an Australian and New Zealand app like this to be developed, in the meantime, you can get acquainted with Australian native foods and which restaurants use them over here. Via Eater.
As COVID-19 continues to affect daily life in Australia, a whole host of regular activities have come to a pause. For Melburnians, heading to the Australian Centre for the Moving Image's home away from home at The Capitol for Melbourne Cinémathèque's weekly sessions is one such shuttered event, with screenings suspended for the time being — so ACMI and Melbourne Cinémathèque are going virtual. Available to movie buffs everywhere — not just in Melbourne — Virtual Cinémathèque will host weekly sessions from Wednesday, March 25. Cinephiles, folks looking for something to watch in self-isolation and everyone who has exhausted their Netflix queue can expect double bills showcasing both new and old movies, as linked by a common director, performer or theme. The folks at ACMI and Melbourne Cinémathèque will be on curation duty and, where possible, they'll be accompanying each week's lineup with introductions and further information about the films showing — just as Melbourne Cinémathèque usually does at its in-person events. They'll also do their best to pick flicks available on free and easily accessible platforms, so getting your movie fix won't cost you a cent. For details of what's on each week, keep an eye on ACMI and Melbourne Cinémathèque's social media channels. 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.
Four years ago, legendary Rock and Roll Hall of Famers Fleetwood Mac toured Australia with Christine McVie, who'd just rejoined the band after a 16-year absence. This year, when the British-American group tours the country, the lineup will look a little different. Mick Fleetwood, Stevie Nicks, John McVie and Christine McVie will be joined on stage in August by Crowded House frontman Neil Finn and Mike Campbell, from Tom Petty and the Heartbreakers, with Lindsey Buckingham controversially axed from the band early last year. Despite the switch-up — it's not the band's first personnel change, and probably won't be its last — the band will be performing all its biggest hits, from 'Dreams' to 'The Chain' and 'Go Your Own Way'. The six will head to Australia's west coast first, hitting up Perth on August 9, before flying east to perform shows across the east coast — with one show in Brissie, and two in Sydney and Melbourne. Fleetwood Mac is one of the world's best-selling bands, selling in excess of 100 million albums worldwide, with the album Rumours one of the best-selling of all time. Their Aussie tour follows the band's 50-show tour of the US. FLEETWOOD MAC 2019 TOUR DATES Perth — RAC Arena, August 9 Brisbane — Brisbane Entertainment Centre, August 20 Sydney — Qudos Bank Arena, August 27 and 29 Melbourne — Rod Laver Arena, September 2 and 4 Fleetwood Mac pre-sale tickets are available from midday (local time) on Thursday, January 24, 2019, with general on-sale is at midday (local time) in Sydney and Perth, and 1pm in Melbourne and Brisbane, on Friday, January 25, through Live Nation.
So, I guess it's been a while since Myspace taught us HTML and horrible dancing babies set the standard for viral videos. Today, Facebook turns ten years old, and with this milestone they bring us one of the most sophisticated (and downright pretty) social media apps to date. With a clean, image-based design and multipurpose usability, the recently launched Facebook Paper may well be the future of the gargantuan Zuckerberg empire. The differences between the current Facebook app and Facebook Paper (not to be confused with the existing beautiful notebook app Paper) are enormous. There's no trademark blue colouring, the feed is horizontal and self-refreshing, and through a dynamic design you have access to not only your friends' updates and photos, but separate sections of your choosing. These include subjects like news and current events, the latest in art and design, and a section of trending online comedy tactfully titled 'LOL'. Though this is a welcome change for many lovers of news and design out there, the app is by no means mandatory — a clever move to avoid people kicking up a fuss like the great Timeline debacle of 2011. However, that's not all Facebook is giving us for their birthday. In a showing of enforced sentimentality, they've created a personalised video (A Look Back) for each user. Featuring your oldest photos and most popular status updates, the video plays for just over a minute with a strange and uplifting musical track that makes you feel like you're the female lead of a romantic comedy finding her feet in the Big Apple. For many, this feels a little amiss as no one feels all that nostalgic about their drunk teenage photos or sarcastic status updates about Girls quite yet. All in all, like the platform itself, Facebook's birthday is a mixed bag. They've given us a little to cringe about from the past, and a lot to look forward to in the future. Facebook Paper is available for iOS devices in the Apple App Store. It is currently only available in the US but, as always, there are ways to get in early.
A lighthearted tech agency, Aesthetec, is resurrecting the general concept of Tamagotchi — albeit updated for the 21st century — in the form of Little Robot Friends. That's right, soon the black pit of loneliness and despair occupying the centre of your existence could be filled by an 8-bit 32K Arduino-compatible microcontroller with eyes. The Kickstarter campaign for this magical initiative has been so popular, it's already far overshot its goal and is gaining more pledges as I type. Aesthetec has already created plenty of cute and pretty things, like their glowing, interactive SMILE cubes that have lit up both exhibitions and parties. What's so good about these new miniature robots Aesthetec have been developing for over a year? The little tykes respond to light, sound and touch, and even have programmable personalities, allowing their owners to get some early tech education. The ostensibly simple construction of each robot actually features touch-sensitive hair, RGB LED eyes, a sensor for ambient light, microcontroller, MEMs microphone and lrDA tranceiver. Watch the video below and you'll hear the cute noises they make when spoken to. Apparently their behaviour changes as well, depending on how you treat them — bringing back vivid memories of your plaintive Tamagotchi whining in the next room when you hadn't fed it for a whole day. These guys don't seem to complain, thankfully, but it's likely that with more development (and the inevitable sharing of new programming ideas as they enter the market), all manner of human-like personality traits will emerge, some good, some bad. As Aesthetec say on their website: "We know that most adults are really just kids in a grown up body. Everybody loves to play with blinking lights and musical toys. We create custom projects for events as well as bringing existing projects for temporary installations. Our projects are designed to inspire and bring out the smiles."
You're successful in your career, but your personal life suddenly takes an unwanted turn. Then, your childhood best friend-slash-crush and Keanu Reeves both turn up. That's the premise of Netflix new rom-com Always Be My Maybe, which follows celebrity chef Sasha (Ali Wong), who reluctantly reconnects with her dependable old buddy Marcus (Randall Park) after falling out with him 15 years earlier — only for a slick newcomer (Reeves) to threaten their reunion. If that sounds like your idea of a good night in, that's what the streaming platform is counting on. As well as serving up highly binge-able TV shows and plenty of viewing options with a strong female lead, Netflix loves flicks of the romantic and comedic persuasion, especially among its original content. Clearly audiences love a rom-com too, which is why the service keeps making them. Always Be My Maybe arrives with an impressive pedigree, with director Nahnatchka Khan known for Fresh Off the Boat and Don't Trust the B____ in Apt. 23, and stars Wong and Park co-writing (with Grimm's Michael Golamco) and co-producing as well. Cast-wise, the stacked lineup also includes Lost's Daniel Dae Kim, Broad City's Michelle Buteau, Miracle Workers' Karan Soni and Paper Heart's Charlyne Yi, plus Lyrics Born and Keanu, of course. Check out the trailer below and then watch the film on Netflix immediately. https://www.youtube.com/watch?v=iHBcWHY9lN4&feature=youtu.be You can now stream Always Be My Maybe on Netflix. Updated: June 28, 2019. Image: Ed Araquel / Netflix.
The pandemic, an idea and a twist. That's the path that brought Rita's, Teneriffe's new — and proudly unauthentic — taco and tequila joint to fruition. First, when COVID-19 started wreaking havoc in 2020, Aleks Balodis and Ollie Hansford were made redundant from their jobs as Head Sommelier and Executive Chef at Stokehouse Q. That inspired them to open Vernon Terrace spaghetti bar Siffredi's; however, they also kept being asked to whip up cocktails. So, they decided to take over the space next door, and to go heavy on tortillas and everyone's favourite agave spirit — but neither had been to Mexico, and nor had Daniel Pennefather (ex-Blackbird Bar & Grill), who joined the venture with them. Rather than try to serve up traditional dishes, the trio decided to embrace that lack of first-hand experience by coming up with their own blatantly unorthodox Australian-influenced taco menu. And they really have taken their cues from local sources, complete with a braised kangaroo tail taco that comes with Sriracha mayonnaise, salsa and pickled apple. The biggest Aussie nod: the kransky taco, which is Rita's ode to the humble Bunnings snag. Featuring both caramelised and crispy onions, as well as curry sauce, the highly creative taco came about exactly as you'd expect, with Balodis and Hansford spending a heap of time at the hardware chain. On Saturdays, they tucked into snags during their visits, naturally. That led to Balodis joking that they should do 'snag and mustard' on a taco, a concept the pair ran with. Other Rita's menu highlights include Korean cauliflower tacos with macadamia cream, crispy buffalo bug tacos with pickled red onion and grilled snapper tacos with potato. Patrons can also tuck into oysters with mezcal mignonette, grilled scallop and caramelised cashew skewers, raw tuna tostadas, and black bean and goat's cheese empanadas, as well as a tres leches cake made with salted tequila caramel for dessert. As for those much-requested cocktails, Rita's mixes up three types of signature margs thanks to Balodis and Pennefather, so you can sip versions with vanilla and coconut, prosecco and Aperol, and honey and lemon citrus. Or, there's both classic and Tommy's options, two Mexican lagers and Rita's own pale ale. And, obviously, tequila is a big feature — heroing small-batch boutique tipples.
New Zealand chocolatier Whittaker's has released a special Easter treat for folks looking for something other than eggs and bunnies to indulge in in 2024. While it might seem a little early to be planning your Easter egg hunt and lining up Australia's best hot cross bun, it's never not the right time to indulge in Whittaker's chocolate. Whittaker's Choc Cross Bun Block fuses two of the best parts of Easter — hot cross buns and chocolate, of course — into one creamy block. Whittaker's classic milk chocolate is flavoured with raisins, spices and orange oil to capture the sweet citrus flavours of a traditional hot cross bun. Crafted in Porirua, like all Whittaker's chocolate, this limited-edition chocolate block is a great alternative for adults who may not be interested in the admin involved in an Easter egg hunt. It also ties into one of the best Easter trends each and every year: seeing how chocolatiers, restaurants and bars can whip up new and inventive treats for the occasion. You'll only find this one at Coles supermarkets. The Whittaker's Choc Cross Bun Block will be available in Coles stores across Australia while stocks last.
UPDATE: MARCH 18, 2020 — Organisers have announced that all remaining sessions of the 2020 Alliance Francaise French Film Festival have been cancelled from Thursday, March 19 — hopefully to be rescheduled at a later date, but with further details to be decided down the line. The decision comes "following the Australian Government's additional restrictions on non-essential social gatherings". Ticket holders will receive a full refund. 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. In one of the films screening at this year's Alliance Française French Film Festival, Oscar-winner Jean Dujardin (The Artist) takes his obsession with a deerskin jacket to quite the extreme. In another of movies on the 2020 program, Eva Green (Penny Dreadful) rockets into space, playing a single mother who's also the only woman in the European Space Agency's astronaut training program. And, in yet another flick showing at the fest, voodoo, a secret literary society and a Haitian teen all combine. In other words: no matter what kind of French film you're looking for, you'll likely find it on the event's 31st lineup. If you're eager to catch the three aforementioned movies, then put Deerskin, Proxima and Zombi Child on your must-see list. There's more where they came from, of course, with the 2020 festival screening 49 new and classic French flicks when it tours the country from March 10. It all begins with Olivier Nakache and Éric Toledano's The Extraordinary, which dramatises the real-life efforts of Frenchman Stéphane Benhamou — who runs his own Parisian shelter for autistic youth who aren't cared for by the system otherwise. And, when the fest comes to a close, it'll do so with comedy The Bare Necessities. In the Cannes-premiering title, a radio show agony aunt in a small village is completely unaware that her adult sons have been calling in with their own problems. https://www.youtube.com/watch?v=TIsEZ2tTavU Other highlights: Xavier Dolan's Matthias & Maxime, which stars the acclaimed Mommy filmmaker as one of two friends forced to confront their feelings for each other; Oscar-nominee Les Misérables, about clashes between cops, teens and gangs in Montfermeil; and the 1968-set How to Be a Good Wife, which sees Juliette Binoche run a housekeeping school that prepares teenagers to become housewives. Or, French film lovers can catch Farewell to the Night, where The Truth's Catherine Deneuve is forced to deal with her grandson's radicalisation; Invisibles, a comedy abut an illegal women's shelter; and rom-com Room 212, the latest movie by Sorry Angel's Christophe Honoré. For those particularly interested in How to Be a Good Wife, this year's fest is putting on special bushfire-relief sessions in all capital cities that'll donate 100 percent of the ticket sales to the Australian Red Cross Bushfire Appeal and Rural and Remote Mental Health — so you see a movie and support a good cause. The same will be the case with In the Name of the Land, a drama about French farmers. Elsewhere, French and Russia trade nuclear threats in submarine thriller The Wolf's Call, a secret manuscript sparks a twisty whodunnit in The Translators, and life in 90s Afghanistan gets animated in book-to-screen adaptation The Swallows of Kabul. Because TV is increasingly finding a place on the film festival circuit, small-screen fans can also feast their eyes on the first three episodes of French series Vernon Subutex, which stars Romain Duris as an ex-record store owner trying to work out what to do next with his life. The Alliance Française French Film Festival tours Australia from March 10, screening at Sydney's Chauvel Cinema, Palace Norton Street, Palace Verona, Palace Central and Hayden Orpheum Picture Palace from March 10–April 8; Melbourne's Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Kino Cinemas and The Astor Theatre from March 11–April 8; Perth's Palace Raine Square, Cinema Paradiso, Luna on SX, Windsor Cinema and Camelot Outdoor Cinema from March 11–April 8; and Brisbane's Palace Barracks and Palace James Street from March 18–April 14. For more information and to buy tickets, visit the AFFFF website.
UPDATE, January 15, 2021: John Wick: Chapter 3 - Parabellum is available to stream via Netflix, Binge, Foxtel Now, Google Play, YouTube Movies and iTunes. Cinematic beauty comes in many forms, and the John Wick franchise perfects one of them. The term 'balletic' couldn't better describe the series' hypnotic action sequences, with its array of frenetic fights and carnage-dripping set pieces all meticulously choreographed like complex dance routines. In fact, when ballerinas actually pirouette across the screen in John Wick: Chapter 3 — Parabellum, they seem bland in comparison. As 2014's John Wick and 2017's John Wick: Chapter 2 proved, murderous mayhem has rarely looked as stunning as it does in this ultra-violent saga. Whether its eponymous assassin is unleashing his fury with fists, firearms or knives (or, in the latest flick, killing one enemy with a book and dispatching others by wielding a horse as a weapon) the result is simply exhilarating to watch. As played with the steely stoicism that Keanu Reeves wears oh-so-well, John Wick finds many other ways to eradicate his adversaries in Parabellum. Motorcycles aren't just for riding, belts don't only hold up pants, and attack dogs, swords and axes all come in handy. With the movie energetically picking up where the last film left off (mere moments afterwards, to be exact), the retired triggerman isn't short on opportunities to unleash his deadly flair. In the first flick, he was lured back to the hitman life after his car was stolen and his puppy killed, while the second chapter chronicled the savage fallout not only from his vengeance, but from his determination to stay retired. Now, after breaking the assassin code, there's a $14 million bounty on his head — and dear Jonathan, as his friend and hotelier Winston (Ian McShane) calls him, has been cut off from the slick facilities and tools of his underworld profession. With its name meaning 'prepare for war' in Latin, Parabellum follows John's kill-or-be-killed quest, pitting the supremely skilled hitman against the rest of the world's contract murderers. To the surprise of no one, copious amounts of bloodshed results. The story ponders loyalty, purpose and honour, however the details don't overly matter, with returning screenwriter Derek Kolstad and his three co-writers throwing everything they can at their anti-hero. That includes old acquaintances (Anjelica Huston and Halle Berry), difficult head honchos (Jerome Flynn and Saïd Taghmaoui), a fanboy foe (Mark Dacascos) and an adjudicator (Asia Kate Dillon) tasked with punishing John's misdeeds — as well as the return of Reeves' Matrix co-star Laurence Fishburne as the king of New York's gun-toting homeless population. They're all grist for the mill; with more characters and conflicts comes more excuses for the franchise's trademark visual displays. Every actor should hope that their former stunt double becomes a director, because it's turning out swimmingly for Reeves and Chad Stahelski. Like its predecessors, Parabellum blends a martial arts movie's dizzying moves with a shoot 'em up thriller's murky mood, and the ex-Matrix stuntman turned filmmaker delivers both superbly. The climactic showdown throws a few blows too many, as does the 132-minute flick itself, but that's a minor complaint after such an enjoyable onslaught of brutal brawls mixed with brooding glares. Set in dazzling glass surroundings, the film's final confrontation also demonstrates something that the John Wick series doesn't always get enough credit for: its sumptuous production design. Battles that unfurl like performances, placed in spaces that look like art — it's still a winning combination, with Stahelski expertly assisted by two-time franchise cinematographer Dan Laustsen and production designer Kevin Kavanaugh, as well as three-time stunt coordinator Jonathan Eusebio. John Wick's commitment to fleshing out the rules and requirements of the assassin life has always gone hand-in-hand with its action and aesthetics, too, building an involving world that's both sleekly stylised and lived-in. Of course, all of that sheen and fury would mean nothing without the right person at its centre. Gifted a role that ranks alongside Theodore 'Ted' Logan, Johnny Utah and Neo in the iconic stakes, Reeves continues to be the series' not-at-all-secret weapon. Parabellum's painstakingly staged frays are a sight to behold, but they prove all the more powerful when paired with its star's piercing stare and calm demeanour. It's a part that Reeves could play forever; here's hoping that he does. https://www.youtube.com/watch?v=_BULB0aX4lA
It's easy to delay playing tourist in your own backyard. We've all done it, thinking that we'll head overseas now and see Australia's sights later. Looking for motivation to make 2025 the year that you finally visit some Aussie must-sees, wandering around Uluru, relaxing on Hamilton Island or touring Tasmania? Virgin Australia's latest sale on domestic flights is here to help. You've got until Sunday, March 2 to nab a discounted fare — unless they're all snapped up earlier — for flights between Wednesday, April 30, 2025–Wednesday, February 11, 2026. That gives you options for most of this year and the start of next, and across all four seasons, whether autumn, winter, spring or summer getaways best suit your schedule. Prices start cheap at $49. Where can you head? To Byron Bay from Sydney for that low fare, which covers a one-way flight. Other specials include Brisbane–Proserpine from $59, Melbourne–Launceston for the same price, Sydney–Gold Coast from $65, Sydney–Sunshine Coast from $69, Melbourne–Adelaide for $85, Brisbane–Hamilton Island from $105 and Melbourne–Uluru for $109. Or, travel from Sydney–Hamilton Island, also from $109; Brisbane–Uluru from $129; Melbourne–Perth from $189; and Brisbane–Darwin from $195. The list goes on. This sale kicked off on Tuesday, February 25, 2025 — and the cheap fares, which cover both directions between each point in the discounted route, start with Virgin's Economy Lite option. With the travel periods available, all dates vary per route. Inclusions also differ depending on your ticket and, as usual when it comes to flight sales, you'll need to get in quick if you're keen to spend some, part or even most of April 2025–February 2026 anywhere but home. [caption id="attachment_976496" align="alignnone" width="1920"] Darren Tierney[/caption] Virgin's 'Gotta get away' sale runs until 11.59pm AEST on Sunday, March 2, 2025 — unless sold out earlier. 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.
When the Queensland Symphony Orchestra turned 75 in 2022, it put on a huge free concert to celebrate, taking over QPAC's Concert Hall for an evening. It doesn't have a milestone birthday to mark in 2023, but it is hosting another free gig anyway — this time outdoors as part of a new annual tradition. Taking place at Roma Street Parklands, Queensland Symphony Orchestra's Symphony Under the Stars will enjoy its debut hour-long outing on Saturday, March 25, in what's set to launch a yearly show. Attendees will hear 'Fanfare for the Common Man' by Copland to begin, followed by Tower's 'Fanfare for the Uncommon Woman'. Also on the list Dvořák's 'Carnival Overture', Delius' 'Summer Evening', Dohnányi's 'Symphonic Minutes', Tchaikovsky's 'Capriccio Italien' and Glinka's 'Overture to Ruslan and Lyudmila'. Given how popular last year's 75th-birthday show was, expect the maiden Symphony Under the Stars to prove the same. Although attendance is free, registration from 9am on Sunday, February 26 via the QSO website is recommended. Bringing picnic baskets is encouraged, too, and there'll be food options available onsite. If you're wondering about the history of the QSO, it made its debut on March 26, 1947, with 45 members playing to a crowd of 2500 people at Brisbane City Hall. It now boasts 74 musicians, and is the state's largest performing arts organisation. Images: Peter Wallis.
This Valentine's Day, the sound of tap, tap, tapping will be echoing around Victoria Park's mini golf course. While that's hardly unusual, it'll be making hearts go all a-flutter between Thursday, February 10–Monday, February 14. Because nothing says romance like getting putting — or so Victoria Park hopes — the venue is celebrating the date with a themed makeover. Yes, it has also previously marked easter, Halloween and Christmas in much the same way; however, this time one of its greens will be turned into a lovers' lane. Hearts, flowers and the colour pink feature heavily at the course's revamped first hole, and there's also a pop-up seltzer bar from 5pm onwards each day — aka your go-to for a pre-game drink. This temporary makeover is much shorter than Victoria Park's past pop-ups — but if you're looking for an excuse to compete with your other half for mini golf glory, or just find putt putt inherently romantic, this'll be the event for you. Grab your special someone and swing by from 6am–10pm on the Thursday and Sunday, or between 6am–11pm on the Friday and Saturday — which means that you can stop by on your way to work, during your lunch break or after quittin' time as well, with tickets costing $20 and online bookings essential. Images: Pandora Photography. Updated February 11.
The top level of Chermside shopping centre is undergoing quite the revamp, with Event Cinemas sporting a hefty makeover (complete with a glam new bar) and boozy mini golf venue Holey Moley opening its doors onsite. Come March, they'll also have company thanks to the first Brisbane Hijinx Hotel — the OTT challenge room bar concept that's been winning fans in Sydney and, since December 2022, in Surfers Paradise. If you're new to Hijinx Hotel, which hails from Funlab — the company behind Strike, Holey Moley, Archie Brothers Cirque Electriq, and B Lucky and Sons — we have a few questions that explain the idea. What looks like it takes its design cues from The Grand Budapest Hotel, The Shining's Overlook Hotel and Willy Wonka's chocolate factory? What gives the escape-room concept a game-fuelled twist and drips with nostalgia as well? What also combines all of the above with cocktails for the ultimate in kidulting fun? This is Funlab's adult-focused twist on sleuthing your way through various spaces with a beverage or several in your hand, inviting patrons to play and sip your way through it. It'll open its doors at Chermside on Friday, March 31, forming a mini game-fuelled — and 350-person-capacity — precinct alongside Holey Moley. Instead of escaping at Hijinx Hotel, patrons hit up challenges. So, the Chermside venue will spans ten game rooms filled with entertaining things to do. That'll include two brand-new spaces that haven't been seen at other sites: Battleship, based on the submarine-themed game, which'll involve trying to sink ships for points; and Cute as a Button, a new version of its Who Meme game, where you'll solve cartoon puzzles that feature characters from your childhood. Chermside will also get the Big-style piano room with a giant keyboard across the floor, ball pits and a giant version of Scrabble. Basically, the whole concept is a bar decked out like a hotel, but getting attendees to complete challenges rather than get a-slumbering in its various spaces. It also gleans inspiration from all those supremely Instagrammable pop-up installations that include ball pits, but this one is sticking around Brissie permanently. And, it boasts bars for cocktail-drinking opportunities, nods to New York hotels in its facade, and just generally overflows with homages to movies and board games from the 80s and 90s. Shaking off your regular routine is clearly the name of the game here, and partying like you would've before you were old enough to drink alcohol — but with the hard stuff definitely on offer. That all starts when you enter via the faux hotel lobby bar, which is full of colour and surrealist touches. Instead of merely checking in, though, that's where you'll find cocktails. As for the not-quite-hotel rooms themselves, you gain access by heading to reception t0 pick up a swipe card. Also a highlight: those creative cocktails, breaking up all that kidulting with drinks like the Bubble and Pop and the Penthouse Party. Some of the venue's tipples are designed to share, most of them look ace on your Instagram feed, and there's also a range of non-alcoholic drinks — and food to line your stomach. When Hijinx Hotel opens at Chermside, it'll see Funlab boast 14 venues across Queensland, all aiming to make you forget your age. Find Hijinx Hotel at Chermside shopping centre, on the corner Gympie and Hamilton roads, Chermside, from Friday, March 31. For further information in the interim, keep an eye on the Hijinx Hotel website. Images: Mitch Lowe / Zenniesha Butts / Funlab.
Summer music festivals are all about embracing the best things in life — good vibes, great friends, and epic tunes. But Secret Garden Festival is about to turn the happiness factor up to out of control joy, announcing it'll host an actual wedding ceremony when it returns to Brownlow Hill Farm next February. Held from February 24-26, the annual festival is a 48-hour celebration of music, creativity, and disco-infused fun, held against a lush forest backdrop, just one-and-a-half hours outside of Sydney. It's renowned for its stellar lineup, with Gang of Youths, Montaigne, and Parquet Courts just some of the acts to have graced its stages in the past. But at 4pm on Saturday, February 25, the main stage will host a very different kind of celebration — the nuptials between Sydneysiders Alexis and Jimmy. Festival director Clare Downes says her crew is pretty stoked to be taking on wedding planner duties, promising one hell of a party for the lucky lovebirds, their friends and family, and all other festivalgoers who'll be getting in on the loved-up fun. "Alexis and Jimmy sent us an email a couple of months ago and I had to rewrite my response about nine times because I was way too overexcited," she told Concrete Playground. "They had already locked in the February 25 for their wedding, but they were just really struggling to find a venue and a celebrant etc — so it was a no brainer. I'm just so stoked they are letting us organise their wedding." While past years have seen Secret Garden host kissing booths, faux weddings, and plenty of dance floor pashes, Alexis and Jimmy's February knot-tying will mark its first official wedding ceremony. We just hope you've got your invite — tickets to the festival is already sold out. ❤️ Secret Garden's first ever REAL wedding... and they have asked us to plan it 😏💥🎉 A video posted by Secret Garden (@secretgardenfestival) on Dec 12, 2016 at 1:25pm PST Secret Garden Festival will take place on February 24-26, 2017 with Alexis and Jimmy's wedding taking place at 4pm on the Saturday on main stage. For more info on the festival, visit secretgarden.com.au.
Fancy seeing one of Brisbane's most popular spaces in a completely new light? Or, to be more accurate, with different lights flickering over the top of its lush greenery? As every home renovation-focused TV show has told us time and time again, a splash of colour can make a world of difference — and, at Roma Street Parklands' Enchanted Garden, it can turn an already picturesque space into a bright, festive wonderland. While this is a family-friendly affair running from Friday, November 29 to Friday, December 13 as part of the city's Christmas fun, don't go expecting the kind of setup that you've been ignoring on every street corner in Brissie's suburbs. Lights will twinkle and decorations will sparkle; however, this isn't a tacky DIY display. Nope, not at all. That said, a word of warning: people love glittering lights, so prepare for crowds. The brightness will dazzle from 6–9.30pm (with last entry at 9.15pm) and, if you're organised enough, you can always pack a picnic, arrive early and enjoy dinner beforehand. Plus, you can BYO drinks to one of the few public places that allows them in our fair town — although Roma Street Parklands' licensed areas are only licensed until 8pm. Food trucks will also be onsite if you don't get around to taking care of your own nosh.
Just when you thought IKEA had ruined enough relationships with its 'easy-to-follow' 'three-step' 'anyone-can-do-it' DIY furniture, they're now giving punters the opportunity to do it all again over dinner. The Swedish company will next week launch The Dining Club, a pop-up 'DIY' restaurant on London's Shoreditch High Street. If you're thinking a 'DIY restaurant' sounds a little suss — it is. It's like a restaurant in that there will be tables, chairs and food, but less like one in that you have to cook the meal yourself. There will be a sous chef and maître de on-hand to help out though. The whole thing is meant to allow punters to have "an intimate foodie experience in a homely kitchen environment", according to a statement on IKEA's website. Sittings will run for brunch, lunch and dinner, and will feature "a range of modern sharing dishes, including some Scandinavian classics" — which we'll take to mean meatballs will totally be on the menu. The whole experience — including the food, drinks and service — is free of charge but there's only 38 up for grabs in a ballot-like system. Hopeful hosts can register their interest (which includes dreaming up a creative answer to 'who would you invite?') and, if selected by the IKEA gods, can bring along 7-19 friends. Earlier this year IKEA announced it will finally launch an online store for Australian customers — so who knows, maybe a pop-up kitchen will be coming our way too? The Dining Club will run from September 10-25 at 3-10 Shoreditch High Street, London. If you're in London, you can register your interest for a booking at ikeathediningclub.com. Image: Jay Wennington.
