Awarded Unearthed Artist of the Year at the 10th annual J Awards last night, Meg Mac — or Megan McInerney to her folks — is the Melbourne-based soul-pop artist making a serious name for herself in the indie music scene. The 23-year-old singer songwriter has come a long way from recording lyrics on her phone while still in high school. If her fast-growing fan-base, sell-out performances and distinctive, soulful sound are anything to go by, McInerney is definitely one to watch. Here are the top five things you should know about her. She's no one-hit wonder Though you may have already heard her powerful first single 'Known Better' played on triple j in the lead-up to the J Awards, don't overlook McInerney's more recent tracks. These songs showcase her bold, rich vocals – think 'Roll Up Your Sleeves' – as well as her talent for raw, personal lyrics — check out 'Every Lie'. 'Turning' also highlights the soul-meets-electronica sound she's developing, a unique style that has already captivated audiences. She takes cues from Motown, Irish folk and French chansons McInerney recently admitted to triple j Unearthed that, when she was nine, "I could not get enough of Vanessa Amorosi… please don't judge me. 'Absolutely Everybody' was my favourite." Lucky, then, that her dad introduced her to soul, primarily Motown, while her mum would sing her Irish folk ballads from an early age. It wasn't until she was 17 that she started writing her own songs and working on a personal style, inspired by her love of "big voices and a bit of that drama — [artists who] sing because they have to or they would die sort of thing, like Edith Piaf". She also counts Ray Charles and Sam Cooke among her primary influences, and more recently, James Blake and Frank Ocean. She's going from strength to strength It's an understatement to say 2014 has been a big year for the up-and-coming artist. In September she released her first EP, the self-titled MEGMAC, featuring four original tracks plus an impressive cover of a classic Bill Wither's song, 'Grandma's Hands'. The EP launch kicked off a national tour, with Melbourne and Sydney shows selling out in days, and Brisbane and Perth following soon after. Later nominated as Breakthrough Independent Artist of the Year, McInerney opened the Australian Indie Music Awards in October. #dogswearinghats A photo posted by MEGMAC (@megmacmusic) on Oct 10, 2014 at 12:11am PDT Her second favourite thing to do is dress up animals in human clothing When she isn't performing or making music, McInerney likes nothing better than to play dress ups with her dog. She told Music Feeds that she and her sister sent a photo of their pet to the Facebook page Dogs Wearing Hats, where "she got more Facebook likes than my whole music page in one hour." Following her knock-out live performances, its safe to say this is about to change. . @megmacmusic @kcrw So very welcome — Jason Kramer (KCRW) (@kcrwkramer) August 13, 2014 An international career is on the horizon While McInerney is gaining a serious fan base here, she's also making waves internationally, with 'Roll Up Your Sleeves' recently played on independent US radio station KCRW. The singer is already considering a trip to the US, where, she told Music Feeds, she'll "catch up with some label type people [who] want to meet me. It is exciting to think I can reach people away from my home." You can catch her at Falls Festival for NYE But before she jets off, McInerney will be taking on her first major festival as winner of the Falls Festival competition. Next to the likes of John Butler Trio, La Roux, Vance Joy and Empire of the Sun, she'll be performing some newly written songs with her sister as backing vocalist. Expect more bold piano sounds, big vocals and electronic elements from this promising young artist with a big future ahead of her.
Sometimes, only your favourite coffee order will do. At other times, your caffeine-loving tastebuds crave the taste of something new. Toby's Estate's Brisbane flagship, which has opened in Newstead, can cater for both instances. And if you're keen to try a heap of different types of coffee, it'll serve up more than 84 different kinds each year. Sleek digs, a hefty array of specialty brews, a full kitchen: they're all part of Toby's Estate's new River City setup as well. The brand has made its home on Longland Street, adding its Brissie base to a global footprint that includes similar sites in Chippendale, where its Sydney roastery is located, as well as Singapore, Indonesia, the Philippines and the Middle East. You won't miss the curved coffee bar when you walk in — which is by design by Melbourne architects Russell & George. Sitting in the middle of the room, the round centrepiece includes an espresso bar, filter bar and training bar. While perched at it, you also won't miss the chance to witness the coffee-making process and hear from the baristas pouring your brew. Otherwise, in a venue that uses sustainable vinyl and raw ply heavily — and aims for a look that mixes 70s-style retro with modern touches — tables and chairs are scattered around the place for you to settle in and sip cuppas at. Caffeine fiends can choose from a wide range of choices on the coffee menu, including the limited-edition Flavour Savour blends and the single-origin picks that'll offer new picks monthly. Food-wise, cooked meals and sweet treats are available.
When it comes to art exhibitions, second chances aren't common. A big-name showcase may display at several places around the world, but it doesn't often hit the same venue twice. French Impressionism is about to become an exception, then, when it returns to the National Gallery of Victoria in Melbourne in 2025 after initially gracing the institution's walls in 2021. When it was first announced for that debut Australian run, French Impressionism was set to be a blockbuster exhibition — and with 100-plus works featuring, including by Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Mary Cassatt and more, it's easy to understand why. But 2021 wasn't an ordinary year, like 2020 before it. Accordingly, when this showcase of masterpieces on loan from Boston's renowned Museum of Fine Arts opened Down Under, it was forced to close shortly afterwards due to the pandemic. [caption id="attachment_977038" align="alignnone" width="1920"] Camille Pissarro, French (born in the Danish West Indies), 1830–1903, Spring pasture, 1889, oil on canvas, 60 x 73.7 cm, Museum of Fine Arts, Boston Deposited by the Trustees of the White Fund, Lawrence, Massachusetts, Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Cue another season in this part of the world four years later, thankfully, with French Impressionism returning to NGV International from Friday, June 6–Sunday, October 5, 2025. This is one of the largest collections of the eponymous art movement to ever make its way to Australia, complete with works that've never been seen here before. The exhibition's Australian comeback is the result of "long dialogue and negotiation with the MFA Boston", Dr Ted Gott, NGV's Senior Curator of International Art, tells Concrete Playground. "I think both parties, the NGV and the MFA, realised what a tragedy it was that this fantastic show closed after just a few weeks in 2021 due to COVID." [caption id="attachment_977037" align="alignnone" width="1920"] Pierre-Auguste Renoir, French, 1841–1919, Woman with a parasol and small child on a sunlit hillside, c. 1874–76, oil on canvas, 47.0 x 56.2 cm, Museum of Fine Arts, Boston Bequest of John T. Spaulding Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] "It's just extraordinary that it was sort of stuck here in aspic for months with the doors locked, because COVID also froze all the flights, so it couldn't go back automatically. So we had this bizarre situation where the whole exhibition was sealed up inside the NGV, and not even staff were allowed in to have a look at it," Gott continues. "Those who saw it in those first few weeks were amazed, and word of mouth got out very quickly that it was an extraordinary show, so we had really good numbers for those first few weeks." [caption id="attachment_977035" align="alignnone" width="1920"] Claude Monet, French, 1840–1926, Grand Canal, Venice, 1908, oil on canvas, 73.7 x 92.4 cm, Museum of Fine Arts, Boston Bequest of Alexander Cochrane Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] Again part of the Melbourne Winter Masterpieces exhibition series, French Impressionism isn't short on gems, especially given the array of artists with pieces on display, which also includes Camille Pissarro and Berthe Morisot. But one certain must-see is the presentation of 16 Monet pieces in one gallery, all in a curved display to close out the showcase — and focusing of his scenes of nature in Argenteuil, the Normandy coast and the Mediterranean coast, as well as his Giverny garden. In total, there's 19 Monet works in French Impressionism from the Museum of Fine Arts' collection (Water Lilies among them), and that still leaves the US gallery almost as many to display in Boston. Another section digs into early works by Monet and his predecessors, such as Eugène Boudin — and Renoir and Pissarro's careers also get the in-depth treatment. As the exhibition charts French impressionism's path across the late-19th century, visitors will enjoy three never-before-seen-in-Australia pieces, with Victorine Meurent's Self-portrait one of them. Ten-plus Degas works, as well as two pieces that were part of the very first exhibition of French Impressionism that took place in 1874, also feature. [caption id="attachment_977042" align="alignnone" width="1920"] Claude Monet, French, 1840–1926, Water lilies, 1905, oil on canvas, 89.5 x 100.3 cm, Museum of Fine Arts, Boston Gift of Edward Jackson Holmes Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] "People just feel excited and uplifted when they look at a glorious impressionist painting, and I think that's why they haven't lost their perennial fascination and value," notes Gott. If you made it along to the showcase's first trip Down Under, you will notice changes, with the exhibition design reimagined for its latest presentation. "I'm sure that those who saw it in 2021 will come back again, and we want them to have a completely different experience. Also, we just didn't want to do the same thing. That's too easy," says Gott. "So we've completely reimagined the design of the show, and also the catalogue has been redesigned. So it'll be completely fresh, and the design is going to be absolutely sumptuous — and that will also make people feel warm and fuzzy inside." [caption id="attachment_977040" align="alignnone" width="1920"] Vincent van Gogh, Dutch (worked in France), 1853–90, Houses at Auvers, 1890, oil on canvas, 75.6 x 61.9 cm, Museum of Fine Arts, Boston Bequest of John T. Spaulding Photography © Museum of Fine Arts, Boston. All Rights Reserved.[/caption] French Impressionism will display at NGV International, St Kilda Road, Melbourne, from Friday, June 6–Sunday, October 5, 2025. Head to the NGV website for more details and tickets. Top image: excerpt of Claude Monet, French, 1840–1926, Grand Canal, Venice, 1908, oil on canvas, 73.7 x 92.4 cm, Museum of Fine Arts, Boston Bequest of Alexander Cochrane Photography © Museum of Fine Arts, Boston. All Rights Reserved.
How much Korean BBQ can you devour in 90 minutes, plus hotpot dishes, other hot and cold bites, salads and desserts as well? Visit Sunnybank's latest addition and you'll find out. Queensland's largest Korean BBQ and hotpot venue has opened its doors at Market Square, serving up buffets seven days a week. Here, you'll get cooking, scooping, slurping and feasting. Summer always sizzles in Brisbane, as do most other seasons, but the temperature is no longer the only reason on trips to the city's south. As first announced earlier in December, Seoul Garden started firing up its grills on Wednesday, December 11 on Market Square's second floor, taking over the entire level — or, to be more accurate, customers at the first Sunshine venue from the Victorian-born chain are doing the searing. This is a big addition to the River City in a range of ways. The 300-person-capacity restaurant sprawls across 800 square metres, which is why the brand advises that it's the Sunshine State's biggest Korean BBQ and hotpot venue. It is also dishing up more than 50 hotpot choices, with 30-plus meat options, as part of its the all-you-can-eat experience. Amid neon lights that take inspiration from the eatery's namesake, customers sit at tables with grills, pairing their chosen ingredients with house-made sauces and side dishes. Or, opt for the hotpot buffet or dedicated raw bar — or make a date with all three. Either way, no one should be leaving feeling hungry. This stomach-filling meal will set patrons back $49.90 per person, unless you're taking advantage of the launch lunch buffet special for $19.90. Go with the latter and you'll tuck into the hot food buffet, plus gimbap, salads and sides — so, no BBQ. In Victoria, where the chain operates in Docklands, Highpoint, Northland and Glen Waverley Century City, Seoul Garden's setup has unsurprisingly proven popular — but its move to Brisbane is its first venture out of the state that it has always called home until now. "We're so excited to bring Seoul Garden to Queensland, and share the authentic flavours and social dining experience that have made our Victorian venues such a success," said co-founder David Loh. Find Seoul Garden at Market Square Sunnybank, 341 Mains Road, Sunnybank — open 12–3pm Monday–Friday and 11.30am–5pm Saturday–Sunday for lunch, plus 5–9.30pm daily for dinner. Head to the chain's website for further details. Images: Vanguard Events Entertainment.
Due to the laws of nature, 16-metre-high fibreglass pineapples aren't capable of growing — but Queensland's favourite towering attraction is expanding anyway. As part of a $150 million redevelopment, the space around The Big Pineapple is about to look a whole lot different. As well as viewing the giant tropical fruit, you'll soon be able zoom down a zipline, cool off in a water park, sink a few beers at a craft brewery and even stay for the night. For those keen on climbing and soaring, TreeTop Challenge's new course will be a big drawcard. It'll feature 120 activities across eight acres, including a two-kilometre stretch of high ropes and the 120-metre zipline — all up, it'll take half a day to complete. Alongside the water park, it'll form part of an 'adventure precinct', which is bound to get busy during peak tourism periods. Across The Big Pineapple's 170-hectare site, other additions range from a major concert event space — which means more ongoing music gigs like the Big Pineapple Music Festival — to a food hub, which will feature cafes and other eateries down the line. It will also be the new home of Sunshine Coast yoghurt company Coyo, and a new craft brewery and major distillery. [caption id="attachment_698027" align="aligncenter" width="1920"] Anne and David via Flickr[/caption] For those keen to not only make the trip 90 minutes north of Brisbane to Nambour, but to truly make both a day and night of it, you'll soon be able to stay onsite too. Glamping was first mooted back in 2017, when proposals to reinvigorate the huge attraction were originally floated, and it looks set to be featured alongside an RV park, an eco resort and a hotel. In total, there will be 793 different accommodation options according to the Queensland Government's funding announcement. While the high-ropes course and zipline are due to launch in March this year, exactly when the other fresh additions will open also hasn't been confirmed. The Big Pineapple's existing attractions, such as the heritage-listed train, the Wildlife HQ zoo and the lure of snapping a selfie next to the enormous piece of fruit, will all remain. For more information about The Big Pineapple's redevelopment, visit the attraction's website. Top image: The Big Pineapple.
Everyone has one: a hangover story that's burned into your brain so strongly, it has become your own personal legend. Simply thinking about it brings back all the vivid memories — including the sights, smells, sounds and tastes; just how rotten you were feeling; and the shenanigans that ensured this wasn't just a normal morning after. Hangovers are humbling experiences, but celebrating them — or willingly reliving your hangover stories — isn't done all that often. Until now, that is, with Croatia's new Museum of Hangovers showing the love for the bleary, blurry, head-pounding results of a big, boozy night out. Now open seven days a week, the site is designed to recreate a drunken stumble home after a bender. You'll walk through different rooms just as if you were walking back from a bar or pub. Along the way, you'll peruse a collection of objects from real hangover tales, all on display alongside the stories behind them. https://www.instagram.com/p/B5lFw56nt96/ Created by Rino Dubokovic and co-founder Roberta Mikelic — based on real-life experience, naturally — the Zagreb museum features everything from a big board where visitors can detail their own tales while they're there to a mini-exhibition that shows what different forms of alcohol look like under a microscope. Portraits of seedy looking folks line the walls, and bottles of 'hangover wine' are also on sale. Plus, you can win free admission if you don some 'beer goggles', play darts at score a bullseye. And, because chronicling actual hangover experiences is what the museum is all about, it wants everyone to contribute — whether you're visiting Croatia anytime soon or not. Just head to the venue's website, type out your tale (anonymously, of course) and it could end up in the museum's collection. Find The Museum of Hangovers at Preradovićeva 8, Zagreb, Croatia, or visit its website for further details.
What's better than Australia being home to 11 of the 101 best steak restaurants on the planet, as proved the case in 2024? Upping that number to 17 in 2025. Last year, more than a tenth of the top spots for a steak worldwide were located Down Under according to the World's 101 Best Steak Restaurants List. This year, that number gets closer to a fifth of the eateries around the globe. As in 2024, you'll find every single one of 2025's ace Aussie steak joints in Sydney and Melbourne. Most of the Australian restaurants that made the cut last year did so this year — and one, Neil Perry's Margaret, not only made the top ten for the second year running but jumped from third to second place. Yes, that means that the Double Bay venue is now the second-best steak eatery in the world. [caption id="attachment_1001992" align="alignnone" width="1920"] Petrina Tinslay.[/caption] "We're absolutely thrilled that Margaret has been named one of the best steak restaurants in the world. For our family-run restaurant to receive this recognition is an incredible honour. It's a testament to the passion we've poured into our meat program — from working with exceptional producers like Blackmore Wagyu and CopperTree Farms to ensuring every cut served is perfectly dry-aged and cooked," said Perry. "It's also fantastic to see 17 Australian restaurants featured on the list this year, a reflection of the outstanding quality of our beef producers." Which global restaurant took out the number-one spot, sitting above Margaret? Buenos Aires' Parrilla Don Julio seared itself into first place again, as it did in 2024 and in 2023 before that. After Australia's highest placement, Laia Erretegia in Hondarribia in Spain came in third, then I due Cippi in Saturnia in Italy in fourth and Singapore's Burnt Ends in fifth. Bodega El Capricho in Jiménez de Jamuz in Spain, last year's number two, ranked sixth, with Casa Julian in Spain's Tolosa, Lana in Madrid, AG in Stockholm and Cote in New York rounding out the top ten. Australia's next showing came at number 12 courtesy of Rockpool in Sydney — followed by four more spots in the top 20, giving the nation six of the 20 best steak joins in the world. Sydney's The International ranked 14th, then the Harbour City's Firedoor came 16th (after placing third back in 2022), followed by Victor Churchill in Melbourne at 18th and Porteño in Sydney in 20th position. From there, the remainder of Sydney's 11 places on the list arrive courtesy of The Gidley at 32, Aalia at 36, Shell House at 51, The Cut Bar & Grill at 62, 20 Chapel at 93 and Bistecca at 99. In Melbourne, Steer Dining Room ranked 37th, Gimlet at Cavendish House sits 45th, Matilda 159 is 57th, Meatmaiden came in at 91 and Grill Americano took out 92nd spot. 2025's selections where whittled down to 101 from 900 restaurants, each evaluated against 28 comprehensive criteria, such as the quality of the meat, its sourcing, ageing techniques and cooking precision, as well as service, wine expertise, ambiance and authenticity. Alongside Australia's huge showing, another good news story comes from Japan, which scored eight restaurants in the Top 101 for the first time ever. [caption id="attachment_1001993" align="alignnone" width="1920"] Petrina Tinslay.[/caption] [caption id="attachment_699842" align="alignnone" width="1920"] Nikki To[/caption] [caption id="attachment_844448" align="alignnone" width="1920"] Christopher Pearce[/caption] [caption id="attachment_956587" align="alignnone" width="1920"] Dominic Loneragan[/caption] [caption id="attachment_675814" align="alignnone" width="1920"] Dominic Loneragan[/caption] [caption id="attachment_860199" align="alignnone" width="1920"] Earl Carter[/caption] For the full rundown of the World's 101 Best Steak Restaurants for 2025, head to the list's website. Top image: Petrina Tinslay.
When pink guards approach, little that's good happens. In the first teaser trailer for Squid Game season three, that proves true again. The just-dropped sneak peek at the Netflix hit's third and final season starts with its red-adorned figures carrying a black box — the type used as coffins for players who haven't made it in this life-or-death game. Naturally, everyone decked out in a green tracksuit is curious, as well as apprehensive. It's time to play one last time — or it will be come Friday, June 27, 2025. Seong Gi-hun (Lee Jung-jae, The Acolyte) is back in the game. A huge gumball machine is part of the next round, complete with red and blue balls. The Front Man (Lee Byung-hun, The Magnificent Seven) also makes a return. Expect to hear a baby crying as well. That the deadly contest at the heart of Squid Game just keeps going, continuing to pit new batches of 456 players against each other in a battle to the death to win 45.6 billion won, sits at the heart of the award-winning Netflix series — but will that remain the case now that the show itself is wrapping up? What happens next in Gi-hun's quest to bring down those responsible for the killer competition? If you've watched season two, which dropped on Boxing Day 2024, then these are probably some of your questions already. Fans will also know that Player 456 went back in the game with new fellow competitors for company, then found himself closer to the person pulling the strings than he knew. However his efforts pan out this time around, the show's last run will feature a finale written and directed by series creator Hwang Dong-hyuk. In Squid Game's second season, Gong Yoo (Train to Busan) also returned as the man in the suit, aka the person who got Gi-hun into the game in the first place — and so did Wi Ha-joon (Little Women) as detective Hwang Jun-ho. That said, a series about a deadly contest comes with a hefty bodycount, so new faces were always going to be essential. That's where Yim Si-wan (Emergency Declaration), Kang Ha-neul (Insider), Park Sung-hoon (The Glory) and Yang Dong-geun (Yaksha: Ruthless Operations) all came in. If you've somehow missed all things Squid Game until now, even after it became bigger than everything from Stranger Things to Bridgerton, the Golden Globe- and Emmy-winning series serves up a puzzle-like storyline and unflinching savagery, which unsurprisingly makes quite the combination. It also steps into societal divides within South Korea, a topic that wasn't invented by Parasite, Bong Joon-ho's excellent Oscar-winning 2019 thriller, but has been given a boost after that stellar flick's success. As a result, it's easy to see thematic and narrative parallels between Parasite and Squid Game, although Netflix's highly addictive series goes with a Battle Royale and Hunger Games-style setup. Netflix turned the show's whole premise into an IRL competition series as well, which debuted in 2023 — without any murders, of course. Squid Game: The Challenge has already been picked up for a second season. Check out the first trailer for Squid Game season three below: Squid Game season three streams via Netflix from Friday, June 27, 2025. Season one and two are available to stream now. Images: Netflix.
If you're a Stranger Things fan, you probably already have plans for October 27 onwards. If you're a Sydney-based Stranger Things fan, you might've even scored tickets to get a sneak peek of the '80s-set sci-fi/horror series' second season before it drops on Netflix. Either way, it's safe to say that excitement for the show's next chapter is as strong as Eleven's (Millie Bobby Brown) love for Eggos — and the just-released final trailer isn't going to change that. With the first season proving everyone's new favourite TV program — and leaving viewers with plenty of questions — that's completely understandable. Indeed, when the last trailer offered a 'Thriller'-scored glimpse of things to come, we all started wondering what awaits Will Byers (Noah Schnapp) and his pals, how tall Steve's (Joe Keery) hair will be and how many time Barb (Shannon Purser) will get a mention. The latest trailer still keeps audiences guessing, but it does reveal more than we've seen to date — particularly when it comes to the monster terrorising the town of Hawkins. Watch it and keep counting down the days until the full series hits. https://www.youtube.com/watch?time_continue=1&v=R1ZXOOLMJ8s
The Sydney-born monarchs, the sultans, nay, the emperors of iced confection, Gelato Messina, have extended their cold, creamy love to the north with a brand new store opening in Coolangatta. No more interstate escapades for salted caramel crack. Opening a shiny new store in Marine Parade's brand new retail complex, The Strand, Messina have set-up right across the road from the beach. The team know how to make themselves at home too — with a locally-themed flavour. Slurp up a special edition 'Cool in Gatta' flavour (bravo guys), vanilla gelato and mango sorbet with macadamia crunch. Bringing 40 special gelato flavours with them, the whole Messina team have trekked up for the occasion, including head chef Donato Toce and Messina co-owners Declan Lee and Nick and Danny Palumbo. After opening multiple stores in Sydney and their very first Victorian store in Fitzroy last year, Messina have been long-awaited in our fair city. Sure, we've got our fair share of frozen treat spots in Brisbane — Cowch must be pretty shaky right now — but we've never been able to dabble in the weird and wonderful Messina flavours without fronting an airfare. So what's behind the northern trek (besides countless pleading requests from Queenslanders)? "Why Coolangatta you ask? We handpicked this to be our second interstate stomping ground because of its iconic sunshine and surfing reputation," says the Messina team on their website. "We’ll be front and centre at Quicksilver and Roxy Pro comps as well as The Strand to be part of the new foodie epicentre of Queensland, wedged between hatted restaurateurs and like-minded retailers." Find Gelato Messina Coolangatta at The Strand, 72–80 Marine Parade, Coolangatta, Open daily from 12pm–10pm.
Mark this down as one of 2026's must-see tours: Nick Cave and The Bad Seeds are playing a slate of shows in Australia. Three gigs will take over Victoria Park in Brisbane on Tuesday, January 27. The group's Wild God tour is finally making its way to this part of the globe, after dates across UK, Europe and North America in 2024 and 2025. Fans can get excited about a two-and-a-half-hour concert focused on the band's 2024 record Wild God, but also spanning their four-decade career. 'Red Right Hand' and 'Into My Arms' have indeed been on the set list so far. Cave and Ellis last hit the stage Down Under sans the rest of The Bad Seeds on the Aussie run of their Carnage tour in 2022, supporting the 2021 album that shared the tour's name — which actually marked Cave and Ellis' first studio album as a duo. Bandmates across several projects since the 90s — including Nick Cave and The Bad Seeds, and Grinderman — Cave and Ellis are Aussie icons, with careers spanning back decades. Together, they also boast more than a few phenomenal film scores to their names as well, including for The Proposition, The Assassination of Jesse James by the Coward Robert Ford, The Road, West of Memphis, Far From Men, Hell or High Water and Wind River. Images: Megan Cullen.
They like jumpsuits, one name and living in the same suburb. That's The Kates' quick description of themselves, and of their fame as The Kates, as they've been known ever since The Katering Show proved the funniest thing on the small screen in 2015. Kate McLennan and Kate McCartney didn't start their careers together, but they've become Australia's comedy queens by proving a razor-sharp, whip-smart duo — first while satirising cooking shows in a webseries that was picked up by the ABC for its second season; then by taking on morning television with fellow pitch-perfect two-season parody Get Krack!n; and now with Prime Video's Deadloch, which started streaming its Tasmania-set comedic murder-mystery on Friday, June 2. "There were so many Kates in the show," McCartney notes of their latest project, which The Kates originally gave the working title Funny Broadchurch. One such Kate: Wentworth and Rake's Kate Box, who plays one half of reluctant detective duo in Deadloch's titular small town opposite The Breaker Upperers' Madeleine Sami. "Kate Anderson was our special makeup effects artist. Katie Robertson, Katie Milwright — Katie Robertson is on the show, Kate Milwright was one of the cinematographers — and we had another Kate, Kate Fox, doing locations," McCartney continues. "It was basically if your name was Kate…" adds McLennan, "then you got a job," finishes McCartney. Sami "is in the process of getting her name changed to Kate," McCartney keeps joking. "She hasn't started the paperwork yet," pipes in McLennan. No matter how many other Kates had a hand in Deadloch, the series is instantly recognisable as the work of The Kates. Within seconds of a man being found dead on a beach in the first episode's opening moments, the corpse's penis is on fire. When Box's small-town sergeant Dulcie Collins informs the next of kin, he bellows that he loved him like a brother — but has to be reminded that, yes, the deceased was his actual brother. And when Sami's Eddie Redcliffe blows in like a whirlwind of swearing and Hawaiian shirts, she's the stereotypical arrogant outsider cop, but satirically so. Indeed, with their male victim and female investigators, The Kates gleefully riff on the cop-genre status quo, flip the script to focus on the characters usually robbed of a voice and, although it wasn't originally their aim, balance sidesplitting laughs with making an excellent crime procedural. Deadloch is also an inescapably Australian murder-mystery series in its Tasmanian gothic look, its excavation of the nation's treatment of its First Peoples and, as frequently dropping from Sami's mouth, its love of cursing. The latter gave rise to The Cunt Essay, The Kates explain, to justify why its use of language couldn't be more ordinary on an Aussie-set show. From responding to the standard treatment of women in dead-girl crime thrillers to getting that homegrown vernacular over the line — and scrapping their own filmed cameo in the series, too — we chatted with McLennan and McCartney about all things Deadloch. ON THE NUMBER OF DEAD-WOMAN CRIME SHOWS SOMEONE NEEDS TO WATCH BEFORE THEY DECIDE TO RESPOND McCartney: "Roughly 800, I reckon. I just don't know if there is a single crime show that — if it's not in the first two minutes of a murder show, then you will still eventually see a dead woman." McLennan: "And once you're aware of it as well, you'd watch them and, sure, they're showing you the body of a dead woman, but they would always show a gratuitous shot of her boob. You would always see a nipple. You've got these very serious detectives standing over a body, and you just don't need to see a blue nipple. You don't need to see it." McCartney: "There's always that one at the crime scene. But then you go to the morgue and they have another conversation with the forensic pathologist, and rather than putting a sheet up, they're always completely nude on the slab as well." McLennan: "So we just thought what would be really interesting is if you actually gave those victims a voice. To us, we wanted to know about the backstories of these people that would normally be portrayed as victims in these types of shows. Also, we're just terrible at writing men, so it was easier just to have a dead one instead of writing dialogue for him." ON DEADLOCH'S STARTING POINT AS "FUNNY BROADCHURCH" McCartney: "We thought of the idea in about 2015, when we had just had kids, and the kids were newborns. So we were at home at 3am, in that witching hour of not quite knowing if you exist — and sort of knowing, 'well, I think I do exist because I have a Twitter profile, but I think that's the only thing that tethers me to this realm now because it's so late and I have spent so much time by myself as a tit machine with the baby'. During that time, we both, for whatever reason — and I don't really know what this says about our mental health at the time — but we just gravitated towards crime shows. There was a lot at that point as well, there was a bit of an explosion of Scandi noir. You know, like.. I can't think of a single one. What's that one with jumpers? What's the jumpers? You know, jumpers?" McLennan: "The jumpers?" McCartney: "Jumpers. The Scandi jumpers one." McLennan: "Do you mean The Bridge?" McCartney: "No, The Killing." McLennan: "The Killing." McCartney: "And then The Bridge, and then there was…" In unison: "The Return." McCartney: "And then there was…" In unison: "The Fall." McCartney: "The Fall. Yeah, silk shirts. Gillian Anderson. Silk shirts." McLennan: "And you told me to watch Broadchurch, and I thought it was a comedy because Olivia Colman was in it and I knew her from comedy. So I'm like 'oh, it's a comedy'. So I strapped myself in to watch this funny comedy show. And I'm like 'yeah, this is not a comedy'. But we thought 'what if we did take a show that had that small town, lots of secrets, lots of characters, and you just nudge the comedy". You just nudge the needle up a little bit. We had the idea just after we made The Katering Show. We were pitching Get Krack!n overseas, and we would do the spiel about Get Krack!n and then people would sometimes say 'do you have any other ideas?'. We'd just throw in the Deadloch idea as this last-minute 'we've also got this other show with the working title Funny Broadchurch'. And people just really grabbed onto it. McCartney: "Like, they got it." McLennan: "So we knew that it had legs. We made Get Krack!n and then we thought we'd pitch this other show, and luckily Amazon Prime were ready to jump on board with this." ON MAKING A COMEDIC MURDER-MYSTERY THAT ALSO WORKS AS A MURDER-MYSTERY McCartney: "It wasn't actually [the initial plan]. When we first conceived of it, this was at The Katering Show, that's where we were at in terms of what we were working on. And we did originally conceive of it as being a 30-minute show. And then, we just grew in confidence and ambition as we got into Get Krack!n — and then by the final season of Get Krack!n, we started to really experiment with using that interplay of something dark, then something funny. I think that informed us and bolstered us — that may not be a word — in our confidence and our ability to to be able to pull off something like this. And also having that experience. We'd done a few series. And the things we're trying to emulate, they are a lot longer because of the moodiness and the cinematic quality of it — and you just need more time. And because we're not in it — personally, I'm a terrible actor, so there's only so much I can do — but if you get someone like Kate Box or Madeleine Sami or Alicia Gardner, or anyone like that in your show, you can ask them to do a lot more with the characters. You can actually have proper characters." McLennan: "We wanted the space to tell the story and to do it justice, and to do in a way that felt like it was a rich, rewarding experience for the audience. I think around the time that we going through this creative process with it, Killing Eve had just come out — and I don't know if it did necessarily break the mould, but it made it pretty clear to us that you could tell a story that was longer than half an hour and there was an appetite for that from the streaming services as well." McCartney: "It was the appetite, really. Because we'd already thought about it, we'd already gone 'oh, I think I think this is how it needs to be, this is the kind of show we're looking at, I think we want it to be a proper show'. But the fact that people were watching it and responding to it, there was a precedent that we could go 'people will hang in there'." McLennan: "It certainly made us — when we knew that we had the hour up our sleeve, it's like 'well, we'd better made this crime story really good'." McCartney: "It's a lot. It has to be interesting. Because people aren't going to watch something for an hour if they don't care about the characters, if there aren't actual stakes. You can't just do cop jokes. You can't sit above it and laugh, going 'aren't we clever'." McLennan: "You've got to be invested in it. And play the stakes of the crime." ON DECIDING NOT TO APPEAR ON-SCREEN McCartney: "With Get Krack!n, by the end it was a challenge to have the kind of control over what we were doing that that we like to have, and to make sure that our voice is all-encompassing, and also be on screen. It's a very different brain, and you necessarily have to kind of let things go by the wayside if you're in that role — if you're trying to do those two roles together." McLennan: "I remember being on the couch when we were filming Get Krack!n, and I had my phone and I was answering emails, and then we'd have to go for a take and I'd shove the phone under…" McCartney: "Always shoving it under our legs." McLennan: "And it just felt like the acting was getting in the way of the other job." McCartney: "And we wanted to do the other other job more, because we were pretty done with being on camera as it was." McLennan: "I think audiences were pretty…" McCartney: "They were probably pretty done with us as well." McLennan: "But we did cast ourselves in a cameo in the show. And we filmed that cameo." McCartney: "Probably about half a day, I'd say. So not only did we spend half a day on it, like the production spent half a day filming our cameo, but we also took time out of our personal, very busy showrunner schedule, to do it. So it was like a loss in two ways." McLennan: "Because we were watching rushes, and assembly edits were happening as we're going, we got to see that scene pretty quickly in the edit — and we were so bad that we cut ourselves and recast." McCartney: "So it does exist, but it's in the vault. It's in the Amazon vault. It's in one of those seed things that are in Antartica." ON CASTING KATE BOX AND MADELEINE SAMI McCartney: "Mads was actually a writer on the show. We knew her from quite a way back. We knew she's an extremely funny physical comedian and we've been fans of hers for ages, and obviously we've been massive fans of Kate Box as well." McLennan: "The whole casting process was done over Zoom. I mean, interestingly, we were working with Mads writing scripts with her when the audition process was happening, but we pretended that we didn't know that we were getting her into this." McCartney: "We were secretly in love with her and really hoped that she would play this part." McLennan: "We wanted to keep things very separate, because obviously if we didn't cast her, then that would maybe be a little bit awkward. So we're like 'let's just keep this as two separate streams'. She's like 'guys, did you know I've got an audition?', 'And we're like 'great!'. And the more we worked with Mads, the more that we could see that she was a pretty good fit." McCartney: "In fairness, she was a perfect fit. Setting down a self tape at the best of times is the pits, and really one of the key reasons why I stopped being a performer — but, but, doing it via Zoom, auditioning over zoom…" McLennan: "So Mads and Boxy had both done their separate reads of their characters, and then we got them to do a chemistry test — which again, you can imagine how we that is over Zoom." McCartney: " Zoom chemistry, just you can feel it pinging off the screen, can't you?" McLennan: "But you kind of could with those two." McCartney: "You could, yeah." McLennan: "I remember that day of getting them to do the callback, and to do these scenes together. It was like this immediate calm came over us, like 'this is going to be okay'." McCartney: "Yeah, this is going to be really good." McLennan: "Yeah, they're really good." McCartney: "Boxy is so fucking smart — not the Mads isn't — but Boxy is so smart, and so good at her job. On the page, you don't necessarily see that Dulcie is as funny as she is. And she just got it. So it was the moment she started saying those words, we were like 'not only is this what we hoped the character would be, but it's so much more'. She can do anything, so it seems a bit cheeky to be like 'hey, in this comedy, can you be the straight woman?'. But we needed someone that good at comedy and drama to play that part because everyone else can be a bit silly, but we needed someone to have the stakes all the time, because the audience needs that person." ON KEEPING DEADLOCH'S DIALOGUE UNIQUELY AUSTRALIAN McLennan: "To be honest, we wrote all of the scripts and we did not receive a note on the language in the scripts. And then, just as we're going through the process of getting the show happening — you go through this process where people look over everything, just to make sure that everything's okay — there was just a question on the the volume of swearing. And there is a lot. It opened up a conversation, so we responded to that with what's now known as The Cunt Essay. Our setup director Ben Chessell wrote a thesis essentially on Australians' relationship to the word cunt and other swearing." McCartney: "The local usage of it, and how that differs from overseas usage of it. And how, within this context, it's actually not really even a swear word — in fact, it can be a very nice term. And it's used in advertising campaigns! So we just talked about it in its context in the Australian vernacular, and its cultural context. And also, I think he talked about how it speaks to Australianness as well, that we've taken this word — there's no hierarchy, there aren't bad words, we're not as puritanical because we don't have that secretly underpinning our constitution and our heads of government. He also then tied it into something else, he was talking about reclaiming it — which was a bit more of a stretch, I would say, if we're honest about it, and I think he knew it was a bit of a stretch. But it was very wordy. It was about seven or eight pages." ON MAKING MORE SEASONS OF DEADLOCH McCartney: "You always think about things being more than one series, but we'd always thought of it as being an anthology series. So, retaining some of the characters and moving them to a different location, probably — it was always going to be set around Australia. So, that's the hope. That's the plan. That's the secret mutterings between us." Deadloch streams via Prime Video. Read our full review of season one.
Just because you're cooped at home doesn't mean you have to sink into a monotonous existence of spaghetti and canned tuna. You can, in face, add a bit of flair to your cooking repertoire without leaving the house, thanks to a new series of free virtual cooking classes from one of the world's greatest chefs. Massimo Bottura — the Michelin-starred chef behind Italy's famed Osteria Francescana (which is temporarily closed during Italy's nationwide lockdown) and Gucci's glam new LA eatery — is keeping his quarantined spirits high by sharing his culinary secrets with the masses via nightly tutorials live streamed on Instagram. The fittingly titled Kitchen Quarantine is designed to help spread feelings of connectivity, curb boredom and teach a few new tricks, at a time when an increasing chunk of the world's population is in lockdown (as Italy is), self-isolation or self distancing. And of course, with Bottura's famously cheery personality, the guy's just a total joy to watch. https://www.instagram.com/tv/B9zQFp3JbJM/?utm_source=ig_web_copy_link Handily enough, the videos are in English, and they've so far covered dishes like a vegetable thai curry and cream tortellini. The show's live on Instagram nightly at 8pm CET, which is 6am AEDT, 5am in Brisbane and 8am NZDT. But if that's a little early, you can also catch the videos screened later on San Pellegrino's Fine Dining Lovers YouTube channel. Bottura's Instagram also has a series of Q&A's with the chef, which you can catch any time.
In the world of Game of Thrones and House of the Dragon, fighting for power and glory is a lifelong quest, and one shared far and wide across Westeros. In bringing the fictional realm created by author George RR Martin to the small screen, US network HBO seems to have adapted the same mindset — because this hugely popular franchise is only going to keep expanding in its hands. News about what follows the initial page-to-screen show has been bubbling for years now. Indeed, before Game of Thrones even came to an end back in 2019, HBO was looking at spending more time in Westeros. Of course, House of the Dragon has already aired its first season and been renewed for a second, which mightn't arrive till 2024. Chatter about what else might arrive spans a Jon Snow-focused spinoff with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show. Beyond that, another three prequels are also reported to have been under consideration. To farewell 2022, Martin himself advised that there actually may not be as many GoT spinoffs on the way; however, now comes word of a brand-new candidate. Variety is reporting that HBO is contemplating another prequel — and another show to focus on the Targaryens, this time exploring how Aegon I took over Westeros with his two sister-wives Visenya and Rhaenys, plus three dragons, then became its first king and the first to ever sit on the Iron Throne. There's no confirmation from HBO so far, and obviously nothing in the way of a title, timing or casting. But Variety also advises that this prequel could even start as a movie, then return to the episodic format. And if there's one thing that HBO adores when it comes to Game of Thrones, it's House Targaryen and their complicated history. Wigmakers, rejoice — if this series gets the go ahead, there'll be an even bigger need for artificial blonde mops. Special effects crews will also get plenty of work creating those dragons. Whether this show ends up eventuating or not, our days of watching fiery fights between famous Westerosi names — and games over who gets to sit on the Iron Throne — are definitely far from over. Game of Thrones was that much of a hit, and House of the Dragon has proven the same so far. Until House of the Dragon season two hits, or any other on-screen dances with dragons are confirmed, check out the season one trailer below: The latest proposed Game of Thrones prequel doesn't yet have a release date — we'll update you if and when more details are confirmed. House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand. Read our full review of season one. Via Variety. Images: HBO.
Despite also serving up everything from all-day vegan breakfast to ice cream sandwiches, we still think that fries are the best thing about Lord of the Fries. It's right there in the name, after all. The chain's chips are particularly tasty — as made with Australian potatoes and cooked in a cottonseed sunflower oil blend. There is one thing better than Lord of the Fries' titular dish, however. That'd be free shoestring fries from the chip-loving establishment. And on Wednesday, July 13, the vegan fast food joint is giving away just that. Free. Fries. Yes, really. To snag free fries on Wednesday, you'll need to head to your chosen store in between 4–5pm and you'll be gifted a serving of shoestring deliciousness. You don't even have to purchase any vego nuggets to redeem them. There is a limit of one freebie per person, though, so take that into consideration if you're feeling particularly peckish. You'll get your choice of classic sauces, too. This is clearly great news for anyone who like fries, aka everyone. Folks in Sydney can head to Newtown, Melburnians can choose between ten different stores, and Brisbanites can flock to Fortitude Valley (or Surfers Paradise on the Gold Coast). Also, people in Adelaide can hit up Hindley Street and Glenelg, with Perth residents can visit Northbridge. And if you're wondering why, that's because it's National Fry Day. Of course it is. There are a few caveats, as is always the case with this kind of giveaway. So, the freebies span one Lord of the Fries stickered cup of shoestring fries and one classic sauce, with the latter popped directly on top of the former. Again, you can only get one per person, and only in-store. And, it's only for shoestring fries — not the classic, chunky or sweet potato versions. Lord of the Fries is giving away free fries from 4–5pm on Wednesday, July 13 at all of its Australian locations. To find your closest store, head to the chain's website.
You can see Oprah, and you can see Oprah, and you can see Oprah: Oprah Winfrey has announced a December 2025 trip Down Under, bringing in-conversation events to five cities across Australia and New Zealand. If you're in Sydney, Melbourne, Brisbane, Adelaide and Auckland, you'll be able to see the famed talk-show host get chatting — in intimate sessions rather than on TV, where The Oprah Winfrey Show ran for 25 years. This is Winfrey's first jaunt this way in a decade — and that tour sold out, so expect this one to be popular as well. Authenticity and resilience will be among the topics of conversation, in what's designed to be a series of inspirational sessions. "One of the things I have always enjoyed is sitting down for real, honest, enlightening conversations, and this experience is all about that," said Winfrey, announcing the tour. "The energy, warmth and spirit I feel in Australia and New Zealand have stayed with me, and returning will be an opportunity to reconnect, reflect, and be reinspired — together. I look forward to sharing stories, ideas, and meaningful connection about what's possible in our lives moving forward." Added Paul Dainty of tour promoter DAINTY: "Oprah Winfrey is a cultural icon whose influence spans generations. Her ability to engage, uplift and empower audiences is unparalleled. We're honoured to bring this extraordinary event to Australia and New Zealand — it's not just a conversation, it's a moment that will resonate with people from all walks of life." The media figure, actor, author, producer and philanthropist's visit Down Under will kick off at the ICC Sydney Theatre, then head to Adelaide Entertainment Centre, Brisbane Entertainment Centre, Melbourne Convention and Exhibition Centre and Spark Arena. Oprah in Conversation Australia and New Zealand 2025 Dates Thursday, December 4 — ICC Sydney Theatre, Sydney Saturday, December 6 — Adelaide Entertainment Centre, Adelaide Monday, December 8 — Brisbane Entertainment Centre, Brisbane Thursday, December 11 — Plenary, Melbourne Convention and Exhibition Centre, Melbourne Sunday, December 14 — Spark Arena, Auckland Oprah Winfrey in Conversation is touring Australia and New Zealand in December 2025, with ticket presales from 10am on Wednesday, August 6 in New Zealand and from 10am on Friday, August 8 in Australia — and general ticket sales from Friday, August 8 in NZ and Tuesday, August 12 in Australia. Head to the tour website for more details. Top image: Disney/Eric McCandless.
Made out of sponge cake, chocolate coating and desiccated coconut, the humble lamington is a jewel of a sweet treat. Australian childhoods aren't complete without them, and neither are trips to the bakery any old time. But Sydney-born dessert chain Tokyo Lamington likes to mix up the classic cake, making a great thing even better by serving it up in an array of inventive flavours. And, in a first, the brand is also spreading the lamington love by releasing its own custom sneakers as well. To eat, Tokyo Lamington's wares have come in varieties such as Ferrero Rocher, Neapolitan (yes, taking inspiration from the ice cream combo), yuzu meringue, vegan red velvet, black sesame and more. To wear, the brand's shoes also reimagine the dessert's usual setup — so you'll see cream and brown colours like you do on OG lamingtons, and also blue and pink hues as well. The shoes: Nike Dunk Lows, which the artists at Customs Den are using as a canvas. Tokyo Lamington hasn't formed a partnership with Nike, but has purchased 40 pairs, then tasked Customs Den with working their magic on them. Yes, the range is that limited. As a result, these kicks don't come cheap. If you love lamingtons, Tokyo Lamington or both so much that you need a pair of sneakers to show it, they'll set you back $450. At that price, you might want to display them rather than wear them — calling all sneakerheads as well as lamington fiends, obviously. View this post on Instagram A post shared by Tokyo Lamington (@tokyolamington) Every pair of Tokyo Lamington x Customs Den shoes is individually handcrafted, and bespoke for each order — so your kicks won't just be one in 40, but unique as well. When you woke up this morning, you likely had no idea that lamington-inspired footwear exists. Now, you're probably keen on new shoes and, understandably, craving a cake. [caption id="attachment_774463" align="alignnone" width="1920"] Tokyo Lamington x Koko Black collaboration[/caption] For more information about Tokyo Lamington's sneakers, or to buy a pair, hit up the chain's website.
When New Farm Cinemas, The Elizabeth Picture Theatre, Red Hill Cinemas, Dendy Coorparoo, Reading Newmarket and Reading Jindalee all opened their doors in Brisbane within a few of years, it was a movie buff's dream. If you love heading to the flicks, you can never have too many places to get your big-screen fix. Those sites, and the River City's other places to catch a film, are about to get company, however — and an Australian-premiere experience. Whether Angelika Film Centre will host any Australian premieres is yet to be revealed, but opening in Brisbane in mid-2023 marks the first Aussie site — and the first outside of the US — for the brand. If you're not familiar with the name, it started in Soho in New York City in September 1989, and has grown to nine American locations since. Next stop for its projectors: the Sunshine State's film-loving capital. Reading Cinemas Group is behind the fresh addition to Brisbane's cinema scene, which has been in the works since 2017, but now sports the Angelika ties. It will make its home across two storeys at Woolloongabba's South/City/SQ. Filmgoers can look forward to an eight-screen, 400-seat cinema complex, which will span 2500 square metres. For those pre-movie drinks — or post-picture chats — Angelika Film Centre will also feature an elevated alfresco bar area, as inspired by the chain's OG Big Apple site, with views over the precinct. Film-wise, the venue will screen arthouse, independent and international films, plus releases from major Hollywood studios — but more specialised movies rather than big guaranteed blockbusters. Think: newly minted Oscar-winner Everything Everywhere All At Once if the cinema had been open in 2022, for instance. Snacks-wise, as well as cocktails from the bar, the Angelika will serve up popcorn and boast a lolly station. Fancy something a bit more substantial during your movie? There'll also be a luxe in-theatre service that'll include light food and drink options brought to you as whatever you're watching plays. "We are very excited to launch our first International Angelika Film Centre location in the heart of the amazing South/City/SQ precinct," said Mark Douglas, Managing Director of the Reading Cinemas Group for Australia and New Zealand. "The Angelika at South/City/SQ will deliver a diverse slate of films, in a world-class cinema environment. With plush recliner seats in every screen, the very latest in digital projection and sound, along with our fantastic Highline Terrace Bar and Soho Lounge auditoriums, Woolloongabba is set to be the place to see a movie in Brisbane." South/City/SQ — or South City Square, if you prefer — just keeps expanding, filling over 12,000 square metres of retail, lifestyle, wellness and hospitality space (which sits alongside 5000 square metres of green space, too). Already, the precinct includes Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine. And, it's set to welcome two-level brewpub The Wright House , which also features a with a Mad Men-inspired chophouse, in September. [caption id="attachment_893537" align="alignnone" width="1920"] Markus Ravik[/caption] Angelika Film Centre will open at South/City/SQ, 148 Logan Road, Woolloongabba, sometime in mid-2023 — we'll update you with an exact launch date when one is announced.
Sometimes you want a date night to last longer than the time it takes to scoff down a meal at your local. The most romantic nights are often spent lapping up each other's company, trying a new drink or dish, and creating an atmosphere that makes it feel like you and your partner are the only people in the world. One way to turn an average date night into a romantic weekend to remember is by booking a city staycation. At The Star Brisbane, you can turn an evening out into an all-in-one romantic escape. From sky deck views, set menu dinners, and a hotel that'll make you feel like you're nowhere near home, here's how to add some spark and rejuvenation to your Brisbane date weekend. [caption id="attachment_1023299" align="alignleft" width="1920"] The Star Brisbane[/caption] Stay the night Why cut the night short after activities conclude? The Star Grand hotel offers an elevated staycation option for Brisbanites. The five-star hotel features a slate of luxurious rooms where you can turn a single evening into a getaway for the ages. Enjoy views of the Brisbane River and South Bank, swimming pools, gym and a 24-hour reception. You'll leave with your romance cup filled. Movies under the stars Whether you decide to stay the night or not, the Skyline Cinema at The Star Brisbane offers openair screenings every Wednesday evening. Tickets for the variety of classic movies start at $5 per person, and you can book your own bean bags for maximum comfort. Otherwise, bring along a picnic blanket and buy some snacks for a low-key, cosy date night. [caption id="attachment_1021006" align="alignleft" width="1920"] Cicada Blu[/caption] Wow factor Cicada Blu is The Star Brisbane's bar that's perfect for pre- or post-dinner drinks. Featuring panoramic views of the Brisbane River and a unique cocktail menu, Cicada Blu will give your date night the 'wow' factor to impress. Enjoy the Golden Hour Fizz cocktail 100 metres above the CBD and cheers to a romantic date night. [caption id="attachment_1023301" align="alignleft" width="1920"] Cucina Regina[/caption] Italian romance Looking for a relaxed, romantic date night pick? Cucina Regina is The Star Brisbane's destination for elevated Italian comfort food. During the Brisbane Festival period, Cucina Regina is offering three share plates and two Aperol Spritz for $49, making it a budget-friendly choice as well. From hand-stretched pizzas and homemade pasta to tableside tiramisu and cocktails, Cucina Regina adds a helping of warm Italian hospitality to any date night. [caption id="attachment_1023307" align="alignleft" width="1920"] Aloria[/caption] Something elevated Aloria is for couples looking to take their relationship to the next level. Literally. Situated on The Star Brisbane's Sky Deck, the rooftop restaurant offers wines handpicked to pair with each course, a European-Australian menu, and sunset cocktails. The restaurant is currently offering a romantic deal. It includes a three-course menu paired with champagne on arrival, for $300 per couple. Executive Chef Shayne Mansfield has curated an indulgent menu that highlights seasonal flavours and culinary artistry. As an extra special touch, couples will receive a keepsake photo to remind them of their romantic evening. [caption id="attachment_1023306" align="alignleft" width="1920"] Sokyo[/caption] A touch of boldness Sokyo is where the date night takes a bolder turn. The Japanese-Australian fusion restaurant is for couples seeking bold flavours and a sensory-driven dining experience. Between theatrical dish presentation, unexpected flavour combinations and moody lighting, Sokyo feels effortlessly stylish. With dishes including sashimi and spicy tuna on a bed of crispy rice, you and your date will be competing over who gets the last bite all night long. Sokyo is the dining choice for those who like a little drama over their dinner. From an array of dining options to plush beds and openair cinemas, The Star Brisbane makes it easy to dial up the romance—staycation or otherwise. Want to discover more venues at The Star Brisbane? Check out the website here. Over 18's only. Drink responsibly. BET WITH YOUR HEAD, NOT OVER IT. Lead image: The Star Brisbane
Canada had Degrassi. Britain had Press Gang. For for seven seasons, 210 episodes and a whole heap of "rack off"s between 1994–99, Australia had Heartbreak High. It's the show that turned Callan Mulvey's Drazic into an icon, actually resembled the multicultural country its homegrown audience experienced every day, and lived and breathed 90s teen angst along with its after-class viewers. Once its instantly catchy opening-credits theme started each episode, it cycled through the same taboos and troubles that every high school-set drama does, and weathered the same schoolyard ups and downs as well — but it was unmistakably and unashamedly Aussie from its accents and Sydney setting to its attitude and vernacular. The OG Heartbreak High wasn't just another snapshot of adolescent chaos; it was a mirror. Dropping on Netflix on Wednesday, September 14, the revival is now another generation's looking glass. It's also a welcome blast from the past for everyone who grew up with the original or managed to track it down afterwards (wearing out old VHS tapes, perhaps, before it hit Netflix itself); however, it's never just that, not even for a second. Initially a spinoff from the Claudia Karvan- and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, which adapted the 1987 play of the same name, Heartbreak High returns with Gen Z at its core and a spicier vibe to match. This new batch of Sydney high schoolers don't just watch Euphoria, Sex Education and Never Have I Ever, the shows that Heartbreak High circa 2022 easily slots alongside — they're now at the centre of Australia's version, all while listening to a Triple J soundtrack, working at Harry's Cafe de Wheels, avoiding eshays and talking about bin chickens. Teen-focused dramas always reflect the generation they're made for, and the returning Heartbreak High is no different. Today's high school-set shows often come with more than a few nods backwards as well, though. Just like Beverly Hills, 90210, Saved by the Bell and Gossip Girl before it — like Degrassi's multiple go-arounds across more than four decades now, including a new take that's set to land in 2023 — Heartbreak High 2.0 knows it has a history and doesn't dream of pretending otherwise. 90s worship is in fashion anyway, so all those Doc Martens, nose rings, baggy jeans, slip dresses and oversized band t-shirts not only could've adorned the initial show's cast, but prove a natural fit this time around. Sporting such decade-crossing attire is a fresh-faced — and fresh-to-the-franchise — cohort of Hartley High students. The years and teens have changed, but the location, like plenty of the outfits, remains the same. When the eight-episode new season begins, Amerie (Ayesha Madon, The Moth Effect) and Harper (Asher Yasbincek, How to Please a Woman) are life-long best friends, but their sudden rift after a drunken night at a music festival changes everything. Amerie doesn't know why Harper has suddenly shaved her head, let alone cut all ties with her. She's just as shocked when the mural they've graffitied in an unused school stairwell, chronicling who's dated, had a crush on and slept with who among the year 11s, is scandalously outed. That "incest map", whether one of Amerie's classmates received a "tongue punch in the fart box", if another has a "lazy kebab vagina", the pink dildo stuck to the school basketball hoop's backboard: there isn't just one sign that Heartbreak High isn't in the 90s anymore, let alone on Network Ten or the ABC; there's a whole classroom full of them. Where the initial series was groundbreaking in its cultural and class diversity at a time when the overwhelmingly white casts of Home and Away and Neighbours otherwise monopolised Aussie screens, navigating almost exclusively middle-class existences, creator Hannah Carroll Chapman (The Heights) ensures that her version is equally as inclusive — and frank — when it comes to gender, sexuality and neurodiversity. Principal Woodsy (Rachel House, Baby Done) isn't impressed by her students' candour, however, sending every Hartley attendee named on the map to an after-hours sexual literacy tutorial. Also in the group: the non-binary Darren (screen first-timer James Majoos) and their bestie Quinni (Chloe Hayden, Jeremy the Dud), who has autism — and who now comprise Amerie's new support system. Hartley heartthrob Dusty (Josh Heuston, Thor: Love and Thunder), his smug pal Spider (Bryn Chapman Parish, Mr Inbetween) and resident comic relief Ant (debutant Brodie Townsend) are all roped in, too. So is the pink-haired Sasha (Gemma Chua-Tran, Mustangs FC), her ex-turned-bestie Missy (fellow newcomer Sherry-Lee Watson), and mullet-wearing drug dealer and food delivery driver Ca$h (Will McDonald, Home and Away), plus Bundjalung boy, basketballer and new Hartley arrival Malakai (Thomas, Troppo). Throw any motley crew of high schoolers together and familiar issues and struggles will arise, as all of Heartbreak High's peers — then and now — can attest. Although no one becomes a teen mother here, recent fellow Aussie series Bump also casts a shadow (and not just because it stars The Heartbreak Kid's Karvan among the parents). That show hews softer and smoother, while this one skews glossier and racier. At first, it feels like the OG Heartbreak High's rawness and grit might've been buffed away. But as the series charts the fallout from Amerie and Harper's feud, the reasons behind it, and a new wave of hookups and controversies — as well as parties and pairings — it finds its own intensity. Come for the instant nostalgia, stay for an old favourite firmly seen with fresh eyes: that's the revived Heartbreak High experience. Some recognisable names pop up, but overtly winking and nudging to 90s viewers definitely isn't the show's point. It can't be; teen chaos doesn't rack off but rather gets handed down through time, just as this series now has. Spanning everything from consent and crime to drugs and police brutality, there's more than enough adolescent mess and stress to go around again. Viewers don't have a moment to waste wondering if old faces will return anyway, given how dynamic the new cast is — Madon, Majoos and Hayden make a terrific lead trio, and Weatherall, McDonald and Yasbincek in particular turn in beautifully complicated performances — and how addictive their characters' dramas prove. Check out the trailer for Heartbreak High below: Heartbreak High streams via Netflix from Wednesday, September 14. Images: Mark Rogers / Lisa Tomasetti / Elise Lockwood, Netflix.
There's a reality TV show for everything and, via the 2014–9 series Wahlburgers, that includes burger joints owned by actor Mark Wahlberg and his brothers. Fancy eating the chain's fast food fare, rather than just watching it? After opening 52 stores in the US, Canada and Germany so far, Wahlburgers is launching Down Under. The first place that'll be serving up the chain's burgers, shakes, beers and 'wahlbowls' — aka burger ingredients, but without the bun — is the Sydney CBD. Folks in Melbourne, Perth and Brisbane can all expect to tuck into the brand's bites to eat, too, and New Zealanders as well. Just where Wahlburgers will be opening in NZ hasn't been revealed, but the chain will be launching 20 stores across the two countries. View this post on Instagram A post shared by Wahlburgers 🍔 (@wahlburgers) If the Wahlberg name has you thinking about movies — with Mark starring in everything from Boogie Nights to Instant Family, and his co-owner and brother (and ex-New Kids on the Block member) Donnie Wahlberg also featuring in The Sixth Sense and the Saw franchise — then that won't change at Wahlburgers' Aussie and NZ joints. The chain's venture Down Under is a collaboration with United Cinemas, and some of the former's sites will be located within the latter's picture palaces. United Cinemas currently operates venues at Narellan, Collaroy, Warriewood, Avalon and Opera Quays in Sydney, Katoomba in the Blue Mountains, Craigieburn in Melbourne, Indooroopilly in Brisbane and Rockingham in Perth, so that's where you might be getting your Walhburger fix; however, Walhburgers will be opening stand-alone stores as well. Just when the chain will launch hasn't been revealed, but news.com.au is reporting that the first store in Sydney's Circular Quay will be open in the next few months — and that the restaurants will play up the movie theme. [caption id="attachment_796269" align="aligncenter" width="1920"] Michael Rivera via Wikimedia Commons[/caption] Wahlburgers is also co-owned by chef Paul Wahlberg — another Wahlberg sibling — and, given its name, the chain decks out its sites with photos and memorabilia from the brothers' lives. If you happen to remember that Mark Wahlberg was in the music business before he started acting and, as part of his hip hop group Marky Mark and the Funky Bunch, he released the 1991 single 'Good Vibrations', then you might be wondering if Wahlburgers serves Sunkist — because it's referenced in the lyrics. Based on its US menu, the answer is no, but fingers crossed that changes Down Under. Wahlburgers is set to open in Sydney, Melbourne, Perth, Brisbane and New Zealand — we'll update you with exact locations and dates when they're announced, and you can keep an eye on the chain's website and Facebook page in the interim. Top image: JJonahJackalope via Wikimedia Commons.
First, the obvious fact: everyone watched plenty of films over the past year. We all ploughed through our streaming queues, checking out everything and anything that each and every platform served up — and we did it for the bulk of 2020. What we didn't do, however, is spend as much time watching big-screen blockbusters. Cinema closures and postponed release dates will do that. Accordingly, unless Tenet whips up a huge box office windfall across the rest of December or Wonder Woman 1984 does hefty business when it releases at the end of the month, 2020's top movie moneymakers worldwide will end up being Chinese action epic The Eight Hundred and, from way back in January, the abysmal Bad Boys for Life. In one rare pleasant side effect of 2020, the lack of supersized Hollywood flicks has meant that a plethora of smaller movies have reached audiences since cinemas reopened Down Under. Some of them might've hit the silver screen anyway, but some wouldn't have — and there are gems in both categories. Alas, even with more on-screen real estate available for these type of films, they didn't all draw crowds. There are many reasons for that, because this hasn't been an ordinary year. But if you're wondering which absolute must-sees you didn't catch in 2020 but should've — including titles released both before and after the pandemic changed this year forever — we've run through the ten best flicks that didn't set the box office alight, but you should add to your catch-up viewing list. https://www.youtube.com/watch?v=mRMPdhQBlWs QUEEN & SLIM No one knows how a Tinder meetup will eventuate, but the events that unfurl in Queen & Slim don't fit into anyone's idea of a dream date. One of the points of this crime drama — which also doubles as a romance and a road movie — is that, for Black Americans, being hassled by the police for no reason isn't an unlikely outcome of a simple night out. After an unnamed criminal defence attorney (Jodie Turner-Smith, Jett) and a Costco employee (Daniel Kaluuya, Widows) chart the above path, they're forced to go on the run across the US, with law enforcement on their trails. The debut feature from music video director Melina Matsoukas (a Grammy-winner for her work on Rihanna's 'We Found Love' and Beyonce's 'Formation'), Queen & Slim knows that it's leads will always evoke comparisons to Bonnie and Clyde. In fact, the script by Master of None star Lena Waithe namechecks the figures in its dialogue. But as its titular characters' lives change drastically, this potent film combines a powerful message, dynamic performances and intoxicating imagery into one supremely stylish, textured and outrage-filled package. It'd be nice to say that Queen and Slim's world changes, too; however, they've always been forced to inhabit a space where their very existence was precarious due to racism, prejudice and police brutality, as every second of this haunting movie stresses. Read our full review. https://www.youtube.com/watch?v=1Qn70iqo-4Q MONOS Set in a camp of teen guerrillas, Alejandro Landes' Sundance's Special Jury Award-winning third film Monos follows gun-toting rebels that have barely said goodbye to childhood, but are still tasked by their unseen leaders with holding an American woman (The Outsider's Julianne Nicholson) hostage. Unsurprisingly, even with nothing around but fields, jungle, a cow to milk and occasional enemy fire, little goes according to plan. The relentlessness of modern life, the ongoing unrest in Colombia, and the ceaseless trials and tribulations that plague all teens facing adulthood — they all sit at the centre of this stunning South America-set thriller. Echoes of William Golding's Lord of the Flies are evident (and Joseph Conrad's Heart of Darkness, the book that inspired Apocalypse Now, too), but Monos firmly tells its own story. Engagingly lingering between a dark fairytale and a psychological treatise on war, combat and humanity's dog-eat-dog nature, the result is one of the definite standouts of recent years (of 2019, when it premiered overseas and did the rounds of the local festival circuit, and of 2020, when it finally released in Aussie cinemas). That status is assured thanks to everything from the eye-popping landscape cinematography to the needling tension of Mica Levi's (Under the Skin) score and the commanding performances from the young cast. https://www.youtube.com/watch?v=biHUTtV4K40 IN FABRIC Anyone can make a movie about a haunted house, as many a filmmaker has shown. Peter Strickland could, too — but a feature about an eerie piece of clothing is far more intriguing, fascinating and entertaining. Viewers should expect nothing less from one of cinema's inimitable auteurs, of course, with the lauded British writer/director not only conjuring up narratives that no other helmer ever would or could, but also consistently bringing them to the screen with a distinctive sense of style and mood. It was true of his last two festival circuit hits, Berberian Sound Studio and The Duke of Burgundy. That observation remains just as accurate with In Fabric, aka his haunted dress flick. In London clothing store Dentley & Sopers, bank teller Sheila (Marianne Jean-Baptiste, Fatman) finds the perfect red dress for her first blind date. It both fits and looks a dream; however, despite her initial delight, she discovers that the fabulous frock has quite the dark side. Fashion items can live many lives, so that's just the start of In Fabric's story — and, also starring Game of Thrones' Gwendoline Christie, I, Daniel Blake's Hayley Squires and The Mighty Boosh's Julian Barratt, this sartorial-focused horror-comedy is a lurid, imaginative and mesmerising gem. It's also the kind of movie you haven't seen before, and won't again. https://www.youtube.com/watch?v=atKsEdLKPLo&feature=emb_logo THE WOMAN WHO RAN Combine alcohol, conversation and a scene-stealing cat in one equally melancholy and charming movie, and not only is South Korean great Hong Sang-soo firmly in his element, but he delivers exactly the type of film that has won him a legion of fans. Given how prolific the director is, it'd be easy to assume that he'll soon run out of ways to combine his usual trademarks. Or, to expect that he'll eventually exhaust all of his ideas. But Hong's features never stop finding new ways to twist his favourite touches, themes and inclusions together (see also: Hill of Freedom, Right Now, Wrong Then and Yourself and Yours). In The Woman Who Ran, booze flows freely. Drinking plenty of it is Gamhee, as played by Hong regular Kim Min-hee (On the Beach at Night Alone). She's enjoying her first time away from her husband in five years, visiting friends around Seoul while he's off on a business trip. In Hong's typical fashion, much of The Woman Who Ran unfurls as the characters simply chat — about their lives, hopes, dreams, problems and, with a pesky neighbour in the movie's funniest moment, about feeding stray felines. His penchant for long takes, playful repetition and expertly timed crash-zooms are all used to winning effect, in a movie that slots perfectly into his busy oeuvre and yet always feels uniquely insightful. Also, and it cannot be stressed enough, look out for one helluva kitty. Read our full review. https://www.youtube.com/watch?v=srPas4PqCkw BEATS Beats knows how to start with a bang, letting the sounds of Ultra-Sonic's 'Annihilating Rhythm Part 1' echo from the screen in its opening moments. It's a savvy move — if viewers are going to understand just what electronic music means to the film's protagonists, early 90s-era Scottish teenagers Johnno (Cristian Ortega, One of Us) and Spanner (Lorn Macdonald, Shetland), then they need to not only see and hear it, but feel it deep in their souls. The delight on the duo's faces as they listen to the song down the phone to each other says more than swathes of dialogue ever could. Whether you're a fan of the same kind of tunes or not, you'll instantly be brought into the moment and the elation with them. And, from there, you'll ride every up and down this black-and-white film delivers, as the stage-to-screen adaptation from filmmaker Brian Welsh (The Rat Pack) peers into the broader scene just as the UK government was passing legislation to effectively ban raves. Johnno and Spanner are desperate to attend the very events the powers-that-be are trying to stamp out and, when they get their chance to head to what might be their first and last dance music festival, they go for it. Featuring a thumping soundtrack of old-school tracks, Beats serves up an insightful exuberant coming-of-age film from there, as well as a as a thoughtful and reflective social-realist drama. https://www.youtube.com/watch?v=lYl1DVIgbAg SHIRLEY Elisabeth Moss has had a great year. While the Mad Men and The Handmaid's Tale star has enjoyed a fantastic past decade, she turned in two of her best performances yet in 2020. First came The Invisible Man, which twisted the classic horror tale in modern directions, including exploring gaslighting and the lack of willingness to believe women. Then, in Shirley, she stepped into the shoes of horror and mystery novelist Shirley Jackson. This is a movie by Madeline's Madeline director Josephine Decker, though, so it as never going to be a standard biopic about the The Haunting of Hill House author. Indeed, Shirley is drawn from a fictional novel by Susan Scarf Merrell, focusing on Jackson's home life with her husband Stanley Hyman (Michael Stuhlbarg, Call Me By Your Name) during a 1964 period when teaching aide Fred Nemser (Logan Lerman, Hunters) and his wife Rose (Australian The Daughter star Odessa Young) come to stay. An agoraphobic, Jackson's routine is unsettled by her new houseguests, although an unexpected connection springs with unlikely kindred spirit Rose. In telling this story, Decker is far more interested in capturing the essence of Jackson and her sensibilities than slavishly sticking to facts, and her film all the better for it. Indeed, this subjective and engaging character study is daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect lead performance. Read our full review. https://www.youtube.com/watch?v=RMB7SpEvxOI RIDE YOUR WAVE When 19-year-old surfer Hinako (voiced by former Japanese pop idol Rina Kawaei) frolics around a seaside spot with her boyfriend Minato (fellow local pop star Ryota Katayose), it's a scene that's familiar from many a film. In the picturesque Japanese city of Chiba, the pair chat, laugh, stroll and see the sights, as plenty of couples have in similar situations. Actually, this duo does so twice. The first time plays out exactly as expected but, occurring well into Ride Your Wave, the lovestruck duo's repeat romantic rendezvous has a twist. In the kind of image that can only really be brought to the screen via animation, Hinako isn't spending time with Minato in the flesh the second time around — instead, she's dragging around an inflatable porpoise filled with water that, when she hums the pair's favourite song, manifests her boyfriend's spirit from beyond the grave. While Ride Your Wave hails from a different filmmaker to big Japanese hits Your Name and Weathering with You, this Masaaki Yuasa-directed film falls in the same heartfelt, gorgeously animated, emotionally sweeping realm. It clearly also has an element of the supernatural to it, focuses on a star-cross'd romance, and delves into love and loss as well. Sweet, charming, sensitive and a joy to look at, it's especially thoughtful when it ruminates on the latter, tackling tough emotional terrain with unflinching, heart-swelling honesty Read our full review. https://www.youtube.com/watch?v=hroo3-sKc0w HONEY BOY Following a child star's journey both as a 12-year-old actor (The Undoing's Noah Jupe) in a hit TV show and as a young man (Waves' Lucas Hedges) grappling with his time the industry, Honey Boy boils down easily to a one-sentence description — but this isn't an easy or straightforward film. Just what its protagonist Otis experiences at both ages, and how his youthful time with his ex-rodeo clown and Vietnam veteran dad James Lort (Shia LaBeouf, The Peanut Butter Falcon) leaves an imprint, proves complex, messy and resonant in this intimate feature. It feels personal, too, because it should. LaBeouf isn't just playing any father figure. He's stepping into the shoes of a version of his own dad. And, he's starring a movie that he wrote, that's based on his own journey from Even Stevens to Transformers and beyond. Brought to the screen by first-time feature director Alma Har'el, Honey Boy is raw, reflective and expressive as it wanders through LeBeouf's heart and soul, and it's an intense but rewarding work from everyone involved. This isn't an idealised, nostalgic look backwards, or a work of unfettered anger. Honey Boy, like LaBeouf himself, pinballs between multiple extremes. It should come as no surprise that this frank and sincere movie was penned while LaBeouf was in rehab himself — where Otis heads as well — and that it always feels like he's confronting issues he knows will never completely be resolved. Read our full review. https://www.youtube.com/watch?v=IZvrlkF4TjM&feature=emb_logo LUCKY GRANDMA Lucky Grandma might be the second American-produced film about a Chinese grandmother in as many years, but no one should mistake Sasie Sealy's feature debut for The Farewell. Both offer up something special, and their similarities are truly only superficial. Here, the titular elderly woman (Tsai Chin, Now You See Me 2) is first seen chain-smoking and glaring her way through a fortune teller's appointment. When Grandma Wong is told that luck is coming her way on a specific day, she's quickly on the bus to Atlantic City. And when she spies a hefty stash of cash in the bag belonging to the gentleman sitting next to her on the return ride home, she barely hesitates. This string of events comes with consequences, however, with local Red Dragon gangsters soon following her every move. To cope, the feisty senior enlists the help of their rivals, and pays the towering Big Pong (Hsiao-Yuan Ha) to stick by her side as her bodyguard. Chin, who has featured in everything from You Only Live Twice to The Joy Luck Club, is such a gruff, no-nonsense treasure to watch in Lucky Grandma — and Sealy smartly lets audiences peer her way closely and regularly. Sometimes, Lucky Grandma is a drama about a widowed woman trying to make the most of what's left of her life. Sometimes, it's a crime caper that's hopping around Chinatown with glee. In Sealy's hands, that combination always works. Read our full review. https://www.youtube.com/watch?v=wLmvs9Wrem0 COLOR OUT OF SPACE If you're going to task anyone on this earth with finding a blazing rock that has plummeted from the heavens and crashed down at a remote New England property — and in a big-screen adaptation of a short story by horror and sci-fi writer HP Lovecraft at that — you may as well give the job to Nicolas Cage. If you're going to ask any actor to run an alpaca farm and profess their love for the animals, too, you also know that he's just perfect. Thanks to its story about the fallout from said meteor, which turns the sky an otherworldly shade, unleashes both radiation and shape-shifting aliens, and sparks quite the wave of strange events, a film version of Color Out of Space would always garner interest. Cage has made some out-there and seemingly intentionally terrible movies in his career, especially over the past two decades, but this weird and wonderful effort doesn't fall into that category. It's bettered by his presence, because no one does unhinged and manic quite like the Vampire's Kiss, Face/Off and Mandy actor; however, filmmaker Richard Stanley (The Island of Doctor Moreau) turns this wild tale into an off-kilter, hallucinatory, kaleidoscopic, vibrantly pink and purple-hued spectacle. It occasionally lets it get a little too lost in its own delirium and can threaten to become a bit weighed down, but letting Color Out of Space's gleefully bonkers sights, sounds and story developments wash over you is all part of the experience. Read our full review.
Australians haven't had many chances to attend a music festival or escape the mainland in the last twelve months. Festivals around the country have been few and far between, with even approved large-scale events being called off last-minute. And, as for travel, a lot of the nation's usual island getaways have been off limits due to domestic border closures. But, if you've been longing to sing along to your favourite tunes while surrounded by your friends and to take a trip to a secluded beachside resort, a newly announced festival has you covered. Dream Machine, the new venture from the team behind Wine Machine and Snow Machine, will see music lovers travel to The Whitsundays this October for a stacked lineup of local electronic talent. Heading up the party-forward lineup is the fan-favourite combo of Flight Facilities and Hayden James — and they'll be joined by the likes of former Triple J House Party presenter KLP, Touch Sensitive, CC:Disco!, Set Mo and Yolanda Be Cool. The Jungle Giants, Confidence Man and Cosmo's Midnight are also onboard, hitting the decks for DJ sets. If the simple activity of grooving to tunes on a tropical island isn't enough motivation for you, festival-goers will also be treated to an island-hopping adventure between Daydream Island, Paradise Cove and a surprise location. Your itinerary can also include kayaking, paddle boarding, jet skiing and waterside cocktails, and, if you stay at Daydream Island Resort, you'll have four restaurants, three bars, a pool and a spa to enjoy as well. Dream Machine will run from Wednesday, October 6–Sunday, October 10, with festival events running for three days within that five-day, four-night period. Unsurprisingly, it isn't cheap, with packages starting from $1899 per person for a yacht stay and $2099 for a stay in the resort. The extravagant price tag will get you accommodation, breakfast each morning, ferry transport to and from the airport, and tickets to the festival (of course). DREAM MACHINE 2021 LINEUP: Flight Facilities (DJ set) Hayden James CC:Disco! Cosmo's Midnight (DJ set) Confidence Man (DJ set) Dena Amy Fleetmac Wood Generik Happiness is Wealth Jimi the Kween KLP Kristina Jaman Made in Paris Mira Mira Owl Eyes (DJ set) Poof Doof DJs Set Mo Squeef The Jungle Giants (DJ set) Touch Sensitive Wax'o Paradiso Yolanda Be Cool Dream Machine takes place from Wednesday, October 6–Sunday, October 10 in The Whitsundays. Tickets go on sale on Wednesday, April 7 — visit the festival's website to sign up for pre-sale access.
Poor Things is still screening in cinemas Down Under, and its swag of Oscars — including for Emma Stone for Best Actress — is mere weeks old, but you can already start getting excited about Yorgos Lanthimos' next film. The Greek director is reteaming with Stone (The Curse) for their third feature, after The Favourite as well, on Kinds of Kindness. Movie lovers will see the end result soon, with the feature due to start hitting cinemas around the world from midyear. For now, it has just dropped its first teaser trailer. This time, Lanthimos and Stone have made a triptych featuring three fable-like tales. One is about a man who doesn't have choice as he attempts to seize control of his existence. Another follows a policeman whose wife goes missing at sea, then returns but doesn't seem like herself. And the last charts a woman trying to find a person with a unique ability that's meant to become a spiritual leader. That's all the narrative detail that's been revealed about Kinds of Kindness so far. The initial glimpse at the movie spans speeding cars, dragged bodies, slaps, dancing, dogs, licking and Stone talking about the moment of truth, all soundtracked by the Eurythmics' 'Sweet Dreams'. If you're thinking "isn't it wonderful" about this combination of elements, the movie understands — they're Stone's last words in the footage. On-screen, Stone — who also worked with Lanthimos on short film Bleat — has her Poor Things co-stars Willem Dafoe (Asteroid City) and Margaret Qualley (Drive-Away Dolls) for company. Joining them: Jesse Plemons (Killers of the Flower Moon), Hong Chau (The Menu), Joe Alwyn (Stars at Noon), Mamoudou Athie (The Burial) and Hunter Schafer (The Hunger Games: The Ballad of Songbirds & Snakes). Lanthimos helms, co-writing the script with Efthimis Filippou (who penned the filmmaker's Dogtooth, Alps, The Lobster and The Killing of a Sacred Deer, too), on a flick that'll release in the US in June (likely after premiering at the Cannes Film Festival the month earlier, given the timing) and Down Under on Thursday, July 11. Check out the first trailer for Kinds of Kindness below: Kinds of Kindness will release in cinemas Down Under on Thursday, July 11, 2024.
There's no need to feel the cold this winter. Whether you have a date with skis or you'll be trying to get as cosy as possible going about your usual routine, Aldi's snow gear sale is back to keep you warm. Making a beeline to the middle aisle to rug up has become an Australian tradition, and this year marks the first time that the supermarket chain has held two of the sales in consecutive years since before the pandemic. In budget-friendly news, too, nothing will set you back more than $100. Winter is coming, as the country is just beginning to feel — and this batch of bargains, spanning everything from gloves to thermoboots, is on its way as well. Ski trips, snowboarding sessions, building snowmen: there's attire for all of the above, plus just not shivering at home. Mark Saturday, May 18 in your diary, then make a date with your nearest Aldi supermarket. Also, prepare to have ample company. Every time that this sale happens, it draws quite a crowd — and 2024's run again includes more than 70 products, with prices starting from $4.99. Available at stores across the nation, and made to withstand extreme weather conditions, the latest range of gear includes ski jackets from $59.99, both ski pants and hoodies from $49.99, and fleece jackets from $39.99. Or, there's also balaclavas from $9.99, snowboard and ski gloves from $14.99, touchscreen gloves for $9.99, ski socks for $8.99, and scarves and beanies for $6.99. Ski goggles cost $17.99, ski helmets come in at $29.99 and thermoboots are $34.99. Need a heavy-duty boot, shoe and glove dryer? Decided that you do now that you've just read that sentence? They're also on the list, for $79.99. Because layers are pivotal, Aldi's Merino thermal underwear range is also back, with items such as adult tanks and camisoles for $19.99. Kids clothing is part of the deal, too, if you'll be travelling with younger skiers — including being able to dress a children for the snow from top to toe for under $100. 2024's Aldi Snow Gear Special Buys range is available from Aldi stores nationally from Saturday, May 18.
It's been almost five years since Australian viewers scored a dedicated platform to indulge their love of British television. When Britbox launched towards the end of 2020, back when new streaming services kept popping up every month — or so it seemed — it brought shows new and old from two English networks, the BBC and ITV, Down Under. If that's been your TV-watching niche since, then you'll be interested in its next plans, expanding its range and adding dedicated channels. The idea: to boost the hundreds of hours of British fare that's already available to view, on a service that launched with the likes of Doctor Who, Absolutely Fabulous, The Office, Blackadder, Pride and Prejudice, Prime Suspect, The Vicar of Dibley, Luther, A Confession, and David Attenborough's Blue Planet and Planet Earth. And, if you're the kind of person that wants the act of choosing taken out of your hands, the blast-from-the-past format that is linear channels will always have something on. Yes, after streaming attracted eyeballs away from traditional TV and changed how everyone watches the small screen, adding non-stop old-school television-style channels to online services has cemented itself as a trend in recent years. Britbox will have three, dedicated to drama, documentaries and general entertainment, respectively. So, expect Agatha Christie murder-mysteries, comedy quiz shows like Would I Lie To You? and Attenborough docos, for starters. On BBC First, then, you'll be checking out Call the Midwife and getting sleuthing with Towards Zero, the latter of which stars Anjelica Huston (The French Dispatch) and Matthew Rhys (Saturday Night). Head to BBC Entertain for Richard Osman's House of Games, QI and 8 Out of 10 Cats, among other similar shows. And on BBC Select, fiends for factual viewing will find Life Below Zero, Frozen Planet and Africa on the lineup. "Our customers told us they wanted more — more of the latest series, more quality dramas, comedies and mysteries, as well as more variety across genres. We've expanded the service with the aim of continuing to delight our existing fans and appeal to new customers," said Moira Hogan, Executive Vice President of International Markets and General Manager of BritBox Australia. "Our team has crafted a user experience that combines the best of on-demand viewing with a curated channel experience. So when you're not sure what to watch, you can easily switch to one of our three streaming channels and the choice is instantly made for you." In June, Britbox in general is adding a must see for Cunk on Earth fans to its catalogue, too: Mandy, also starring Diane Morgan. Or, check out docos Blue Planet, The Hunt and The Planets, plus the ninth season of Shetland. The Cleaner, Professor T and Karen Pirie will all be back on the platform this year as well. For more information about Britbox, head to the service's website.
There's no official Wes Anderson Cinematic Universe. That label isn't bandied across his trailers and posters to describe connections between his movies, storylines don't continue from one film to the next and characters from past flicks aren't popping up in the writer/director's new works. Fan theories can speculate otherwise however they like; however, rather than any overarching narrative tidbits, it's the inimitable auteur's distinctive style, recurrent themes and familiar troupe of actors that connect Anderson's movies — delightfully so 13 full-length titles into his resume (if you count 2023 shorts The Wonderful Story of Henry Sugar, The Swan, The Rat Catcher and Poison as one charming anthology). Still, being a part of one of the Bottle Rocket, Rushmore, The Grand Budapest Hotel and Isle of Dogs' helmer's features is akin to entering a specific realm for his cast. Starring in an Anderson picture means working with a filmmaker with a precise aesthetic and meticulous direction, the results of which then get splashed across the screen for audiences to cherish in elaborate detail. In The Phoenician Scheme, Benicio del Toro (Reptile) and Michael Cera (Sacramento) are two such players. They're each either relative or literal newcomers to Anderson's world — del Toro first collaborated with him on The French Dispatch, while Cera was slated to be in Asteroid City but the birth of his son understandably took precedence — and they're loving it. Nothing is accidental in the making of a Wes Anderson film. Nothing is anything but intricately planned and orchestrated, in fact. Accordingly, it should come as zero surprise that del Toro and Cera weren't merely cast in the 50s-set The Phoenician Scheme — they're the only actors that Anderson had in mind for the roles of European business magnate Anatole 'Zsa-zsa' Korda and Norwegian tutor/entomologist Bjorn, respectively. Chatting with Concrete Playground, they both use the same word to describe that situation. "It's a hell of a gift," del Toro advises with a smile. "It was really a treat and a gift," says Cera. Zsa-zsa is The Phoenician Scheme's protagonist. The plan that gives the flick its name — as stored in shoeboxes, and involving a range of business partners spread far and wide (as portrayed by Here's Tom Hanks, The Studio's Bryan Cranston, Relay's Riz Ahmed, A Private Life's Mathieu Almaric, The Last of Us' Jeffrey Wright and Fly Me to the Moon's Scarlett Johansson) — is all his. Brought to life by one of Oscar-winner del Toro's greatest performances, he's also wealthy, charismatic, cut-throat in his professional endeavours and, after surviving his sixth plane crash, keen to get reacquainted with Liesl (Mia Threapleton, The Buccaneers), the nun in training that's also his estranged daughter and preferred heir. As for Bjorn, he's enlisted to teach Zsa-zsa about insects, but finds himself acting more as a personal assistant while getting close to Liesl — who is expectedly wary about her father and his endeavours — as they jet around attempting to lock in The Korda Land and Sea Phoenician Infrastructure Scheme. Cera is stellar, too, as well as a seamless fit into Anderson's repertory cast; his work here ranks up there with Arrested Development's George Michael Bluth, Scott Pilgrim vs. The World's eponymous figure, Twin Peaks' Wally Brando and Barbie's Allan among his most-memorable characters. [caption id="attachment_1006881" align="alignnone" width="1920"] Giulia Parmigiani[/caption] For co-stars, del Toro, Cera, Threapleton and the fellow talents listed above also have everyone from Richard Ayoade (Dream Productions), Benedict Cumberbatch (Eric), Rupert Friend (Companion) and Hope Davis (Succession) to Willem Dafoe (Nosferatu), Stephen Park (Death of a Unicorn), Charlotte Gainsbourg (Étoile) and Bill Murray (Ghostbusters: Frozen Empire) for company. And for plot specifics, the ensemble has "disrupting, obstructing, impeding" bureaucrats, the price of bashable rivets, lie detectors, suspicious uncles, locomotives, basketball shots, terrorists, freighters, marriages, grand hotels and heaven to navigate. They're stepping into a redemption story, and also a complex family dynamic with deep emotional resonance. This group is in another Anderson gem, then. Ask del Toro how he approaches plying his skills for Anderson, a filmmaker who is giving him rare comic parts — so much so that the actor was astonished the very first time that the director called — and he speaks about his commitment to telling the truth no matter the role. Ask Cera about conveying complicated bonds for the helmer, and also about the path that's brought him to Bjorn after more than a quarter of a century of acting, and he's all about the people around him. For both, trust and faith in Anderson are pivotal to them giving their all, and the results are on the screen. "You trust him and you try to be as honest as you can, even when you're lying," del Toro notes. On Digging Into a Wes Anderson-Penned Redemption Story That's Characteristically Both Comic and Has Emotional Depth Benicio: "I think I do what I do in every movie — I try to tell the truth. Wes and Roman Coppola, together they wrote this incredible script. You just draw from it. You know, I'm not known to do comedy — and one thing that we tried to keep in mind was 'don't try to be funny'. If the laughs come, good. If not, it's good. Don't try to make the laugh happen. Let the laughs follow. So try to tell the truth. And for me, it's just like what I do in other movies. I mean, this time I have to do it verbally, and there's a lot of dialogue. So for that, you just have to get ready and practice that dialogue. But the bottom line for me is basically what you said — it's the depth of this arc of this character. But also those dream sequences or heaven sequences, that is his subconscious also talking. It just added for the actor to know what was the arc about. It helped. It was like having your psychiatrist explaining the character as well. It's like having the psychiatrist explaining who the character is. Those dreams fed a lot of information to me of where we were on this story — also where was his emotional arc of that particular moment in the story." Michael: "I think the material and the writing takes care of a great deal of that for you. If it's able to get you invested in the story — which, it's just such strong writing — you feel it when you read the script. You feel and you know completely — you know where the feeling is going to come from and how you know it needs to be rendered. But even so, I found the movie much more moving in the end than I even expected, even after having shot it. I find it to be very moving." On How del Toro, Cera and Mia Threapleton Worked Together to Convey Their Characters' Deepening Bond Across the Film Michael: "We did have a little bit of a rehearsal period, fortunately, with the three of us and with Wes. And we just really worked, the four of us privately, for a couple of weeks — like two weeks or so. And it's a great thing to be able to do. It makes you get ahead of things a little bit. It allows you to come up with some observations and ideas that that later can feed into the work. And it also, but most importantly I think, just creates a strong sense of a team and comfort and trust with each other. And that carries into the work, I think. But we discovered, also I think, in reading it, discovered the dynamics and the emotions that these characters feel toward each other. And what it feels like for to be betrayed, when there are betrayals that happen. It was nice to get ahead of all of that and find the specific way in, and what was specific about it — because I love the way it's played. Things are salvaged even though there's a major betrayal. And there's an emotional bond that helps them all pull through that even, which is really nice. A really nice turn, I think." On the Significance of Anderson Writing Specific Parts for Del Toro and Cera Benicio: "Well, it's a hell of a gift. I think that we never talked about anything. 'Hey, did you write this for me? Am I your second choice?'. I never really questioned that. He called me up. He sent me the first 20 pages. I have to go back and explain to you that when I got The French Dispatch and he first called me, I was super elated. It was hard to believe that Wes Anderson was calling me to be in one of his films, because most of the movies I do, even though they're fiction, they tilt towards documentaries. Wes movies, they're fiction but they tilt more to theatrics — to the theatre, let's put it that way. When he called me up the first time, I was a little bit like 'wow, is he, is he really?'. I immediately thought 'wow, he's thinking outside the box, he's going against stereotypes'. Because there's many actors that do comedy better than me, and he could have gone to those actors. But for some reason, he pulled me into that world, his world. And I was really elated by it. When I read the part of The French Dispatch, it was like it was so good, and then I realised that it came to an end and another story happened and that was it — and it was like 'wump, wump, wump'. I was little bit like 'oh, wow, I could really get into this character, the painter Moses'. And so then that happened. I did the film. I had a blast working with him. When you work with Wes, you have to let the kid in you, you've got to let them out, the imagination. You have to play. It's a lot of fun. It reminded me — I was trained in the theatre, so it was kind of like back to the future, in a way. It was like I had travelled back in time to my beginnings, studying with Stella Adler and being on the theatre. And then come to this, when he sent the first 20 pages, I was like 'oh wow, this is amazing'. But I thought that might be it. And then he sent the next 20 pages and I'm still in the movie. And then the next 20 pages — and then I'm going 'oh my god, now this is going to be hard work'. So it was kind of like one of those, and I was really excited — and it's a gift from Wes. But at the same time, you had to really put on, strap on your boots and get to work, because there was a lot of work to do." Michael: "I didn't know that really, to be honest. So I'm not sure — like I don't know exactly what his process was with that or when I came into his mind for it. But obviously just so happy to be considered and invited. Wes had offered me one role once before, in Asteroid City, and I ended up not being able to do it because of the birth of my son interfering with the dates. So I was so disappointed. I mean, obviously it was the most-important kind of life event for me. So it was all good, but it was just horrible timing. I was like 'oh no, I finally got offered by Wes to come along and be a part of his one of his productions and I can't go'. It was heartbreaking. But this more than redeemed it. So I was just happy that he was still thinking of me, and then so delighted to read it and to discover this character — and so caught, really, by surprise by how involved of a role it was too in the whole story, and in the whole play of everything. I didn't expect to be given such an opportunity by him. So it was really a treat and a gift." On Cera's Knack for Taking on Distinctive, Specific Characters That Aren't Going to Be Mistaken for Any Others, Including in Arrested Development and Twin Peaks Michael: "It's the greatest thing when you get a piece that's exciting to read and an amazing opportunity as an actor. I remember reading the script for Arrested Development when I was like 14 or 13, and really, it was very clear how special it was. I don't know — I think there are things that you just gravitate toward and you just want in. There are a lot of things that I have felt that about that I didn't have a chance to work on, too, but you're just like 'oh, I need this. I want this. I get this. I love this world. I love the people making it'. So when you are lucky enough to get onto the ones that you feel that way about, it's the greatest." [caption id="attachment_1006861" align="alignnone" width="1920"] Roger Do Minh/TPS Productions/Focus Features © 2025 All Rights Reserved.[/caption] On How Working with a Filmmaker with Such a Precise Visual Style Influences the Way an Actor Approaches a Role Benicio: "Well, you know his movies are handmade. There's nothing there that is — let's say CGI, very little. You might have to use something but very little is CGI. Everything is built. Everything is put together. Everything is really — you can touch it. So my approach to it was the same way I approach any movie: is just try to tell the truth unless, and trust Wes that if I do what I do, he will take it to the finish line. He will do his thing and take it to the finish line. And, like any actor, you try to tell the truth — even when you lie. So that's what you do in a Wes Anderson movie as that's an actor. You trust him and you try to be as honest as you can, even when you're lying. That's what I did. Hey, there might be other ways, but everybody's different." Michael: "Well, you have a lot of faith in him. You have a lot of trust in Wes, because you know that he's across every inch of the movie and he's not going to let something get through that breaks the spell or destroys the nuance of what he's creating. So you just feel you're in incredibly good hands and he's going to make you shine — and make you look better than what you did, even. So working with someone on that level, it makes you feel very confident. And then you can you can try things and you can work with confidence. That feeling is not always there, and sometimes you have the opposite feeling, and it's really hard to really put yourself out there as an actor when you have that, when you have doubts." On What Cera Makes of His Journey as an Actor Over More Than a Quarter of a Century, Leading Him to The Phoenician Scheme Michael: "I feel really lucky to be doing this for a living and doing what I was attracted to from that age. When I was a kid, it wasn't like a career. It was just something I loved. And then it turned into something that was kind of a job, but I loved that, too. It's an interesting life. I've had a very positive experience of coming up as a child actor and turning into an adult person who's acting. There are obviously the famously unfortunate versions of that. But for me, I was always just around great people. [caption id="attachment_1006880" align="alignnone" width="1920"] Giulia Parmigiani[/caption] It was exciting to be nine years old and having colleagues that were grown people that you admire and that took care of me and showed me how to do it. Even first assistant directors and things, when I didn't even know what I was doing. I didn't know where I was supposed to go, what I was supposed to, what I was supposed to say — and people helped me. So I feel very lucky. I've had a very good road to be where I am now. And it's really nothing but good luck that made it that way. I just have had really good people around me." The Phoenician Scheme opened in cinemas Down Under on Thursday, May 29, 2025. Film stills: courtesy of Focus Features © 2025 All Rights Reserved.
Browsing through stalls, sipping a freshly brewed beer, seeing a movie, checking out a rooftop farm: in the near future, all of the above will be possible at one inner-north address. In around 12–18 months, Lutwyche will be home to the Lamington Markets, a 10,000-square-metre food and retail precinct that'll set up shop on Lutwyche Road above the the northern busway over Lutwyche Station. And if you're wondering where all of the above will fit, this new site will spread out vertically. That means Brisbanites will have multiple levels to explore, which is where the development's 4500-square-metre indoor market halls will reside — and its craft brewery, boutique cinema, restaurants, cafes and 134-plus residential apartments, too. Atop it all will sit the aforementioned rooftop urban farm, which'll take over a 500-square-metre site and feature its own restaurant. Also included: greenery, obviously, as well as views southwards to the CBD and eastwards over to Moreton Island. If it's the markets side of things that you're now excited about, there'll be more than 100 stalls on offer. Shopping-wise, a speciality supermarket will also feature, as well as boutique retail shops. And, if it's the brewery that's whet your appetite, it'll sprawl over 400 square metres — while the cinema is set to take inspiration from Tasmania's Museum of Old and New Art. The development will also be built into excavated and exposed rock, which is where the movie theatre will be located — and terraced lawns, influenced by the High Line in New York, will feature as well. In terms of design and setup, Lamington Markets will also glean a few cues from Adelaide Markets, New York's Chelsea Markets and Barcelona's Santa Caterina Markets, with architecture studio Conrad Gargett doing the honours. Patrons can expect a sculptural look, copper aplenty, a large number of laneways, and areas that merge the indoors with the outdoors. Brisbane's climate has also guided the design, which is where touches such as energy efficient lighting and performance glass will come in. Just getting the go-ahead from Brisbane City Council last week, the development is expected to start construction towards the end of this year. And, it's just one of two new precincts being built by Marketplace Developments, alongside the soon-to-open Craft'd Grounds, which'll launch in Albion in August. Lamington Markets is expected to open by early 2023 at 612 Lutwyche Rd, Lutwyche. For further details, head to the architecture studio's website.
When someone mentions watching horror on-screen at Halloween, eerie, creepy and unsettling films usually come to mind. Do you like scary movies? If so, October is your month to shine each year. But frights, bumps and jumps aren't just served up in 90- or 120-minute doses. On the episodic front, TV has more than a few highlights to add to your list for spooky season viewing. Maybe you like nods to Edgar Allan Poe with a Succession-style twist. Perhaps you can't get enough of Charlie Brooker's tech-fuelled nightmares. Or, you could just love vampires. Whichever fits, there's a new or returning 2023 horror-themed television show to watch his Halloween — and we've rounded up ten must-sees. Also on the list: body horror, fan obsessions, dystopian chaos, dark fairy tales and stranded-in-the-woods cannibalism. THE FALL OF THE HOUSE OF USHER Of the many pies that Succession's Roy family had their fingers in, pharmaceuticals wasn't one of them. For virtually that, Mike Flanagan gives audiences The Fall of the House of Usher. The horror auteur's take on dynastic wealth gets a-fluttering through a world of decadence enabled by pushing pills legally, as six heirs to an addiction-laced kingdom vie to inherit a vast fortune. Flanagan hasn't given up his favourite genre for pure drama, however. The eponymous Usher offspring won't be enjoying the spoils of their father Roderick's (Bruce Greenwood, The Resident) business success, either, in this absorbing, visually ravishing and narratively riveting eight-parter. As the bulk of this tale is unfurled fireside, its patriarch tells federal prosecutor C Auguste Dupin (Carl Lumbly, SWAT) why his children (including Pet Sematary: Bloodlines' Henry Thomas, Minx's Samantha Sloyan, The Peripheral's T'Nia Miller, iZombie's Rahul Kohli, The Wrath of Becky's Kate Siegel and The Midnight Club's Sauriyan Sapkota) came to die within days of each other — and, with all the gory details, how. As with The Haunting of Hill House and The Haunting of Bly Manor before it, plus The Midnight Club as well, Flanagan's latest Netflix series finds its basis on the page. The author this time: Edgar Allan Poe, although The Fall of the House of Usher isn't a strict adaptation of the iconic author's 1840 short story of the same name, or just an adaptation, even as it bubbles with greed, violence and paranoia (plus death, loss, decay and the deceased haunting the livin)g. Character monikers, episode titles and other details spring from widely across Poe's bibliography. Cue ravens, black cats, masks, tell-tale hearts, pendulums and a Rue Morgue. What if the writer had penned Succession? That's one of Flanagan's questions — and what if he'd penned Dopesick and Painkiller, too? Hailing from the talent behind the exceptional Midnight Mass as well, plus movies Oculus, Hush, Ouija: Origin of Evil, Gerald's Game and Doctor Sleep, the series that results is a gloriously creepy and involving modern gothic horror entry. The Fall of the House of Usher streams via Netflix. Read our full review. THE CHANGELING It isn't by accident that watching The Changeling feels like being read to, rather than simply viewing streaming's latest book-to-TV adaptation. Landing from the pages of Victor LaValle's novel of the same name, this horror-fantasy series is obsessed with stories, telling tales and unpacking what humanity's favourite narratives say about our nature, including myths and yarns that date back centuries and longer. Printed tomes are crucial in its characters lives, fittingly. Libraries, bookstores, dusty boxes stacked with old volumes, beloved childhood texts, a rare signed version of To Kill a Mockingbird with a note from Harper Lee to lifelong friend Truman Capote: they all feature within the show's frames. Its protagonists Apollo Kagwa (LaKeith Stanfield, Haunted Mansion) and Emma Valentine (Clark Backo, Letterkenny), who fall in love and make a life together before its first episode is out, even work as a book dealer and a librarian. And, The Changeling also literally reads to its audience, because LaValle himself relays this adult fairytale, his dulcet tones speaking lyrical prose to provide a frequent guide In a show created and scripted by Venom, Venom: Let There Be Carnage, Fifty Shades of Grey and Saving Mr Banks screenwriter Kelly Marcel, there's nothing more potent and revealing than a story, after all — and The Changeling believes in the power of tales to capture, explain, transport, engage, caution and advise, too. Aptly, New Yorkers Apollo and Emma meet amid books, in the library where she works and he frequents. It takes convincing to get her to agree to go out with him, but that leads to marriage and a child. The Changeling's astute thematic layering includes Apollo's repeated attempts to wrangle that first yes out of Emma, however, setting up a train of thought that has many future stations. In-between early dates and domesticity, Emma also takes the trip of a lifetime to Brazil, where an old woman awaits by Lagoa do Abaeté. The locals warn the visitor to stay away but she's mesmerised. What happens between the two strangers sends the narrative hurtling, with the lakeside figure tying a red string around Emma's wrist, granting her three wishes, but advising that they'll only come true when the bracelet falls off by itself. The Changeling streams via Apple TV+. Read our full review. DEAD RINGERS Twin gynaecologists at the top of their game. Blood-red costuming and bodily fluids. The kind of perturbing mood that seeing flesh as a source of horror does and must bring. A stunning eye for stylish yet unsettling imagery. Utterly impeccable lead casting. When 1988's Dead Ringers hit cinemas, it was with this exact combination, all in the hands of David Cronenberg following Shivers, The Brood, Scanners, Videodrome and The Fly. He took inspiration from real-life siblings Stewart and Cyril Marcus, whose existence was fictionalised in 1977 novel Twins by Bari Wood and Jack Geasland, and turned it into something spectacularly haunting. Attempting to stitch together those parts again, this time without the Crimes of the Future filmmaker at the helm — and as a miniseries, too — on paper seems as wild a feat as some of modern medicine's biggest advancements. This time starring a phenomenal Rachel Weisz as both Beverly and Elliot Mantle, and birthed by Lady Macbeth and The Wonder screenwriter Alice Birch, Dead Ringers 2.0 is indeed an achievement. It's also another masterpiece. Playing the gender-swapped roles that Jeremy Irons (House of Gucci) inhabited so commandingly 35 years back, Weisz (Black Widow) is quiet, calm, dutiful, sensible and yearning as Beverly, then volatile, outspoken, blunt, reckless and rebellious as Elliot. Her performance as each is that distinct — that fleshed-out as well — that it leaves viewers thinking they're seeing double. Of course, technical trickery is also behind the duplicate portrayals, with directors Sean Durkin (The Nest), Karena Evans (Snowfall), Lauren Wolkstein (The Strange Ones) and Karyn Kusama's (Destroyer) behind the show's lens; however, Weisz is devastatingly convincing. Beverly is also the patient-facing doctor of the two, helping usher women into motherhood, while Elliot prefers tinkering in a state-of-the-art lab trying to push the boundaries of fertility. Still, the pair are forever together or, with unwitting patients and dates alike, swapping places and pretending to be each other. Most folks in their company don't know what hit them, which includes actor Genevieve (Britne Oldford, The Umbrella Academy), who segues from a patient to Beverly's girlfriend — and big-pharma billionaire Rebecca (Jennifer Ehle, She Said), who Dead Ringers' weird sisters court to fund their dream birthing centre. Dead Ringers streams via Prime Video. Read our full review. SWARM Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode. From there, it dives into Dre's journey as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm streams via Prime Video. Read our full review. THE LAST OF US If the end of the world comes, or a parasitic fungus evolves via climate change, spreads globally, infests brains en masse and almost wipes out humanity, spectacular video game-to-TV adaptation The Last of Us will have you wanting Pedro Pascal in your corner. Already a standout in Game of Thrones, then Narcos, then The Mandalorian, he's perfectly cast in HBO's latest blockbuster series — a character-driven show that ruminates on what it means to not just survive but to want to live and thrive after the apocalypse. In this smart and gripping show (one that's thankfully already been renewed for season two, too), he plays Joel. Dad to teenager Sarah (Nico Parker, The Third Day), he's consumed by grief and loss after what starts as a normal day, and his birthday, changes everything for everyone. Twenty years later, he's a smuggler tasked with tapping into his paternal instincts to accompany a different young girl, the headstrong Ellie (Bella Ramsey, Catherine Called Birdy), on a perilous but potentially existence-saving trip across the US. Starting to watch The Last of Us, or even merely describing it, is an instant exercise in déjà vu. Whether or not you've played the hit game since it first arrived in 2013, or its 2014 expansion pack, 2020 sequel or 2022 remake, its nine-part TV iteration ventures where plenty of on-screen fare including The Road and The Walking Dead has previously trodden. The best example that springs to mind during The Last of Us is Station Eleven, however, which is the heartiest of compliments given how thoughtful, empathetic and textured that 2021–22 series proved. As everything about pandemics, contagions and diseases that upend the world order now does, The Last of Us feels steeped in stone-cold reality as well, as spearheaded by a co-creator, executive producer, writer and director who has already turned an IRL doomsday into stunning television with Chernobyl. That creative force is Craig Mazin, teaming up with Neil Druckmann from Naughty Dog, who also wrote and directed The Last of Us games. The Last of Us streams via Binge. Read our full review. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review of season six. YELLOWJACKETS For Shauna (Melanie Lynskey, The Last of Us), Natalie (Juliette Lewis, Welcome to Chippendales), Taissa (Tawny Cypress, Billions), Misty (Christina Ricci, Wednesday), Lottie (Simone Kessell, Muru) and Van (Lauren Ambrose, Servant), 1996 will always be the year that their plane plunged into the Canadian wilderness, stranding them for 19 tough months — as season one of 2021–2022 standout Yellowjackets grippingly established. As teenagers (as played by The Kid Detective's Sophie Nélisse, The Boogeyman's Sophie Thatcher, Scream VI's Jasmin Savoy, Shameless' Samantha Hanratty, Mad Max: Fury Road's Courtney Eaton and Santa Clarita Diet's Liv Hewson), they were members of the show's titular high-school soccer squad, travelling from their New Jersey home town to Seattle for a national tournament, when the worst eventuated. Cue Lost-meets-Lord of the Flies with an Alive twist, as that first season was understandably pegged. All isn't always what it seems as Shauna and company endeavour to endure in the elements. Also, tearing into each other occurs more than just metaphorically. Plus, literally sinking one's teeth in was teased and flirted with since episode one, too. But Yellowjackets will always be about what it means to face something so difficult that it forever colours and changes who you are — and constantly leaves a reminder of who you might've been. So, when Yellowjackets ended its first season, it was with as many questions as answers. Naturally, it tore into season two in the same way. In the present, mere days have elapsed — and Shauna and her husband Jeff (Warren Kole, Shades of Blue) are trying to avoid drawing any attention over the disappearance of Shauna's artist lover Adam (Peter Gadiot, Queen of the South). Tai has been elected as a state senator, but her nocturnal activities have seen her wife Simone (Rukiya Bernard, Van Helsing) move out with their son Sammy (Aiden Stoxx, Supergirl). Thanks to purple-wearing kidnappers, Nat has been spirited off, leaving Misty desperate to find her — even enlisting fellow citizen detective Walter (Elijah Wood, Come to Daddy) to help. And, in the past, winter is setting in, making searching for food and staying warm an immense feat. Yellowjackets streams via Paramount+. Read our full review of season two. WHAT WE DO IN THE SHADOWS Following in Taika Waititi and Jemaine Clement's footsteps isn't easy, but someone had to do it when What We Do in the Shadows made the leap from the big screen to the small. New format, new location, new vampires, same setup: that's the formula behind this film-to-TV series, which is now in its fifth season. Thankfully for audiences, Matt Berry (Toast of London and Toast of Tinseltown), Natasia Demetriou (Eurovision Song Contest: The Story of Fire Saga) and Kayvan Novak (Cruella) were enlisted as the show's three key bloodsuckers in this US spinoff from the New Zealand mockumentary, all in roles that they each seem born for. The trio play three-century-old British aristocrat Laszlo, his 500-year-old creator and partner Nadja, and early Ottoman Empire warrior Nandor, respectively, who share an abode and the afterlife in Staten Island. In cinemas, the film already proved that the concept works to sidesplitting effect. Vampire housemates, they're just like us — except when they're busting out their fangs, flying, avoiding daylight, sleeping in coffins, feuding with other supernatural creatures and leaving a body count, that is. On TV, What We Do in the Shadows has been illustrating that there's not only ample life left in palling around with the undead, but that there's no limit to the gloriously ridiculous hijinks that these no-longer-living creatures can get up to. It was true as a movie and it's still true as a television show: What We Do in the Shadows sparkles not just due to its premise, but when its characters and cast are both as right as a luminous full moon on a cloudless night. This lineup of actors couldn't be more perfect or comedically gifted, as season five constantly demonstrates via everything from mall trips, political campaigns, pride parades and speed dating to trying to discover why Nandor's long-suffering and ever-dutiful familiar Guillermo (Harvey Guillén, Werewolves Within) hasn't quite started chomping on necks despite being bitten himself. Berry's over-enunciation alone is the best in the business, as is his ability to play confident and cocky. His line readings are exquisite, and also piercingly funny. While that was all a given thanks to his Toast franchise, Year of the Rabbit, The IT Crowd, Snuff Box, The Mighty Boosh and Garth Marenghi's Darkplace history, What We Do in the Shadows is a group effort. Demetriou and Novak keep finding new ways to twist Nadja and Nandor's eccentricities in fresh directions; their characters have felt lived-in since season one, but they're still capable of growth and change. What We Do in the Shadows streams via Binge. Read our full review of season five. SERVANT When M Night Shyamalan (Knock at the Cabin) earned global attention and two Oscar nominations back in 1999 for The Sixth Sense, it was with a film about a boy who sees dead people. After ten more features that include highs (the trilogy that is Unbreakable, Split and Glass) and lows (Lady in the Water and The Happening), in 2019 he turned his attention to a TV tale of a nanny who revives a dead baby. Or did he? That's how Servant commenced its first instantly eerie, anxious and dread-filled season, a storyline it has followed in its second season in 2021, third in 2022, and then fourth and final batch of episodes in 2023. But as with all Shyamalan works, this meticulously made series bubbles with the clear feeling that all isn't as it seems. What happens if a caregiver sweeps in exactly when needed and changes a family's life, Mary Poppins-style, but she's a teenager rather than a woman, disquieting instead of comforting, and accompanied by strange events, forceful cults and unsettlingly conspiracies rather than sweet songs, breezy winds and spoonfuls of sugar? That's Servant's basic premise. Set in Shyamalan's beloved Philadelphia, and created by Tony Basgallop (The Consultant), the puzzle-box series spends most of its time in a lavish brownstone inhabited by TV news reporter Dorothy Turner (Lauren Ambrose, Yellowjackets), her celebrity-chef husband Sean (Toby Kebbell, Bloodshot), their baby Jericho and 18-year-old nanny Leanne Grayson (Nell Tiger Free, Too Old to Die Young) — and where Dorothy's recovering-alcoholic brother Julian (Grint, Guillermo del Toro's Cabinet of Curiosities) is a frequent visitor. That's still the dynamic in season four, which slowly and powerfully moves towards its big farewell. Dorothy is more determined than ever to be rid of Leanne, Leanne is more sure of herself and her abilities than she's ever been — in childminding, and all the other spooky occurrences that've been haunting the family — and Sean and Julian are again caught in the middle. Wrapping up with one helluva ending, Servant has gifted viewers four seasons of spectacular duelling caregivers and gripping domestic tension, and one of streaming's horror greats. Servant streams via Apple TV+. Read our full review of season four. THE HORROR OF DOLORES ROACH It takes place in New York, not London. The era: modern times, not centuries back. Fleet Street gives way to Washington Heights, the demon barber to a masseuse nicknamed "Magic Hands", and pies to empanadas. There's still a body count, however, and people end up in pastries as well. Yes, The Horror of Dolores Roach namedrops Sweeney Todd early, as it needs to; there's no denying where this eight-part series takes inspiration, as did the one-woman off-Broadway play that it's based on, plus the podcast that followed before the TV version. On the stage, the airwaves and now via streaming, creator Aaron Mark asks a question: what if the fictional cannibalism-inciting character who first graced penny dreadfuls almost two centuries back, then leapt to theatres, films and, most famously, musicals, had a successor today? Viewers can watch the answer via a dramedy that also belongs on the same menu as Santa Clarita Diet, Yellowjackets and Bones and All. Amid this recent feast of on-screen dishes about humans munching on humans, The Horror of Dolores Roach is light yet grisly, but it's also a survivalist thriller in its own way — and laced with twisted attempts at romance, too. That knowing callout to Sweeney Todd: The Demon Barber of Fleet Street comes amid an early banquet of knowing callouts, as The Horror of Dolores Roach begins with a play based on a podcast that's wrapping up its opening night. Newspaper clippings in actor Flora Frias' (Jessica Pimentel, Orange is the New Black) dressing room establish that the show takes its cues from a woman who got murderous in the Big Apple four years prior, and helped get unwitting NYC residents taking a bite out of each other. Meet the series' framing device; before the stage production's star can head to the afterparty, she's face to face with a furious Dolores (Justina Machado, One Day at a Time) herself. The latter isn't there to slay, but to haunt the woman spilling her tale by sharing the real details. Two decades earlier, Dolores was a happy resident of Lin-Manuel Miranda's favourite slice of New York, a drug-dealer's girlfriend, and a fan of the local empanada shop. Then the cops busted in, The Horror of Dolores Roach's namesake refused to snitch and lost 16 years of her life. When she's released, gentrification has changed the neighbourhood and her other half is nowhere to be found. Only Luis Batista (Alejandro Hernandez, New Amsterdam) remains that remembers her, still in the empanada joint, and he couldn't be keener on letting her stay with him in his basement apartment below the store. The Horror of Dolores Roach streams via Prime Video. Read our full review. Looking for more things to watch? Check out our list of 2023 horror movies to stream this Halloween, our monthly streaming roundup and our rundown of recent cinema releases that've been fast-tracked to digital home entertainment of late.
When an Australian actor makes it big, it can feel as if there's more than one of them. Joel Edgerton, who has been on local screens for almost three decades and made the leap to Hollywood with the Australian-shot Star Wars: Episode II — Attack of the Clones, is such a talent. He's usually everywhere and in almost everything (such as The Stranger, Obi-Wan Kenobi, Thirteen Lives, Master Gardener, I'm a Virgo, The Boys in the Boat and Bluey in just the past two years), and viewers would follow him anywhere. Dark Matter wasn't written to capitalise upon that idea. Rather, it hails from the page of Blake Crouch's 2016 novel, with the author also creating the new nine-part Apple TV+ sci-fi series that it's based on. But, streaming from Wednesday, May 8, 2024, the show's lead casting leans into the notion that you can never have too much Edgerton by multiplying him in the multiverse. For the characters in Dark Matter, however, the fact that there's more than a single Jason Dessen causes considerable issues. The series' protagonist is a former experimental physics genius-turned-professor in Chicago who's teaching disinterested students about Schrödinger's cat. He's married to artist-turned-gallerist Daniela (Jennifer Connelly, Bad Behaviour), a father to teenager Charlie (Oakes Fegley, The Fabelmans) and the best friend of award-winning college pal Ryan Holder (Jimmi Simpson, It's Always Sunny in Philadelphia). And, he's been happy living the quiet family life, although pangs of envy quietly arise when he's celebrating Ryan's prestigious new accolade. Then, when another Jason pops up to pull off a kidnapping and doppelgänger plot, he's soon navigating a cross between Sliding Doors and Everything Everywhere All At Once. Everything is a multiverse tale of late; a mere few examples span superhero films and television shows Doctor Strange in the Multiverse of Madness, the Spider-Verse movies, Loki and The Flash; TV gems Fringe and Russian Doll; and the interdimensional animated chaos of Rick and Morty. Dark Matter is also a soul-searching "what if?" drama, exploring the human need to wonder what might've been if just one choice — sometimes big, sometimes small — had veered in a different direction. While a box is pivotal mode of transport like this is Doctor Who, as are all manner of worlds to visit, this is high-concept sci-fi at its most grounded. Neither version of Jason wants to hop through parallel worlds in the name of adventure or exploration — they're simply chasing their idea of everyday perfection. The first Jason chose Daniela and Charlie over devoting his existence to his career, round-the-clock work and only seeing the inside of a lab. Drugging and abducting him to reveal what could've eventuated if he didn't chart that path, the second Jason slides into his life to trade places. The everyman Jason unwillingly gets transported to a plane of reality where he's a famous billionaire — as well as the recipient of prizes and kudos, and also the creator of the technology that's allowing tumbling through the multiverse to happen — while the interloper Jason assumes his spot as a husband and dad. Dark Matter ties into the proverb "the grass is always greener", too, as both Jasons face the ups and downs of the road not taken, mostly for worse not better. For Jason One, if only verdant pastures were all that changed as he urgently attempts to return to his Daniela. With Jason Two's psychiatrist partner and colleague Amanda (Alice Braga, A Murder at the End of the World) for company, anything can await behind the infinite expanse of doors in a dimly light corridor that literalises the quantum state of superposition. Again, though, journeying to dystopias and paradises, and through disasters and futuristic havens while they're at it, isn't the point, even if each of the above makes an appearance. If you've ever felt as if you've been wading through copies of the life that you're meant to have, with nothing completely falling into place as it should, that's Jason One's experience as minor details morph from world to world. Edgerton's job, fittingly, contains multitudes. As the initial iteration of Jason, he plays thoughtful, considerate, dedicated to his loved ones and desperate to find his way back to them — all while tussling with the show's high-tech premise, often while stranded within that endless hallway. As Jason Two, he's a calculating imposter endeavouring not to get caught in the dream reality that he's ruthlessly stolen, but also arrogant in his confidence that he's pulled off his existential heist. A click on the soundtrack signals Dark Matter's jump between Jasons, but it needn't: Edgerton conveys their differences alongside their similarities like an artist painting the same portrait in dissimilar styles, and does so in one of the best performances of his career. Grappling with regrets, possibilities, the haunting knowledge that other futures are always possible and the distress of grasping that you mightn't have appreciated what you had until it was gone, Edgerton isn't the only actor excelling at doing double duty. For Connelly, in a show that spirits someone else off on a quest as another of her on-screen alter egos once was nearly four decades back in Labyrinth — a series where frosty climes and trains also play a part, bringing her last small-screen role on Snowpiercer to mind — shifts in body language say everything. And, they aren't the only cast members serving up layered performances. Braga, Fegley and Simpson are no slouches; in smaller but no less pivotal roles, neither are Dayo Okeniyi (Hypnotic) and Amanda Brugel (Parish). With Wayward Pines and Good Behaviour, Crouch's work has ventured from the page to episodes before — and with his involvement. His latest series has echoes within Apple TV+'s slate, too, because the platform's love of science fiction, twists and mysteries just keeps growing, including with Constellation already in 2024, Silo in 2023 and Severance in 2022. There might only be a lone idyllic realm for Jasons in Dark Matter, but that isn't the case for the streaming service's viewers. An absorbing and addictive trip that's also firmly anchored in relatable yearnings and musings, this Edgerton-led series is one to enthusiastically dive into. Check out the trailer for Dark Matter below: Dark Matter streams via Apple TV+ from Wednesday, May 8, 2024.
Some plans to give Brisbane a makeover take time. Queen's Wharf might be open now after launching in the second half of 2024, for instance; however, it was around a decade in the making. Another part of town that's been talked about for just as long: Bulimba Barracks. This 20-hectare riverside stretch in the city's inner east has its own master plan, but it's become one of those "I'll believe it when I see it" concepts for locals. Turning the former Fabrication Workshop into a new lifestyle hub might change that. Brisbane City Council has announced its approval for transforming this historic part of the site — which dates back to 1943 — into a precinct filled with eateries, shops, a boutique supermarket and more. Open and central public spaces that can host pop-up and community events, and feature outdoor seating and dining, are also included in the revamp. "This new precinct will build on our record of supporting the creation of destinations like Howard Smith Wharves, West Village and Fish Lane, which has helped shape Brisbane's incredible lifestyle," said Brisbane Lord Mayor Adrian Schrinner. "Bulimba Barracks' history will continue to be recognised while becoming a new lifestyle precinct that ensures our suburbs remains the best place to live, work and relax." Shayher Group is behind the Bulimba Barracks development, with Director John Lin advising that "it is very important to Shayher that we complement the existing area, and we have ensured the historical integrity of the workshop building, which will become a community hub for local residents and visitors with a focus on a mix of retail and food and beverage to complement the existing area." "This development will be a focal point along the Brisbane River, resulting in a beautiful, high-quality area for the Bulimba community to enjoy whilst respecting the historical value of this part of Brisbane and Queensland for generations to come." If you've largely just driven past the Apollo Road spot, barely giving it a second glance, it previously was home to the Bulimba Army Base. Under the master plan, the war-time riverside industrial site is also set to welcome new homes, as well as parks and playgrounds. If and when the revamp comes to fruition, it'll join a number of water-adjacent locales in the city's east that've been undergoing transformations of late, as evidenced by the opening of BrewDog's Brisbane base at Murarrie and the launch of the Rivermakers precinct at Morningside. The new Bulimba Barracks doesn't yet have an opening date. For more information, keep an eye on the Brisbane City Council website.
If your wildest dreams right now are all about getting in on Taylor Swift's Eras tour, then the pop superstar comes bearing gorgeous and enchanted news. The singer will play Melbourne and Sydney in early 2024, but she's splashing her massive show across cinema screens first, confirming that Taylor Swift: The 'Eras' Tour Concert Film will show Down Under when it rolls out worldwide this spring. Look what the world made Swift do: turn her current smash-hit tour into a movie that's hitting picture palaces and sharing all things Eras with the globe. The film was first announced a few weeks back, when it dropped a trailer, but only North American screenings were locked in at the time — and, it was feared that the flick mightn't play Australia and New Zealand until Swift visited this part of the world in February. Thankfully, Swift isn't making Aussie and NZ cinemagoers wait for this big-screen view of her huge show. "The tour isn't the only thing we're taking worldwide," the singer announced via social media. Taylor Swift: The 'Eras' Tour Concert Film will roll out across more than 100 countries, most on Friday, October 13 — including Australia and Aotearoa — and some in early November. View this post on Instagram A post shared by Taylor Swift (@taylorswift) Fans are in for a money-can't-buy view of the 'Shake It Off', 'We Are Never Getting Back Together' and 'Bad Blood' musician's gig — working through her entire career so far, playing tracks from each of her studio albums in a three-hour, 44-song, ten-act spectacular. The Eras Tour kicked off in March in the US, ending that run in August. Swift also headed to Mexico in August as well. Brazil is her last stop in 2023, before playing Japan, Singapore, France, Sweden, Portugal, Spain, the UK, Ireland, The Netherlands, Poland, Austria and Australia until August 2024. She'll then return to the US, and then visit Canada next November. Check out the trailer for Taylor Swift: The 'Eras' Tour Concert Film below: Taylor Swift: The 'Eras' Tour Concert Film will hit cinemas worldwide, including in Australia and New Zealand, from Friday, October 13 — head to the film's website for further details and bookings.
Two decades ago, a new Christmas tradition was born: watching a whole heap of stars revel in romance, comedy and the festive spirit in what's now the quintessential British seasonal rom-com. It was back in 2003 that Love Actually debuted on the big screen, bringing with it familiar faces, songs and eight intertwined tales. Everyone knows how that went, especially given that no one has stopped talking about it since. When the end of the year hits, if you get 'Christmas is All Around' sung by Bill Nighy (Living) stuck in your head, then you're definitely aware of Love Actually's popularity. If you've ever held up a piece of cardboard to tell the object of your affection that to you they're perfect, you do as well. Missed it on the big screen 20 years back, whether you gave it a pass or weren't old enough to be interested in English romantic comedies? It's now returning to cinemas in December to celebrate its anniversary. Getting festive watching Nighy, Hugh Grant (Operation Fortune: Ruse de Guerre), Liam Neeson (Retribution), Colin Firth (Empire of Light), Laura Linney (Ozark), Alan Rickman (Eye in the Sky), Emma Thompson (Roald Dahl's Matilda the Musical), Keira Knightley (Boston Strangler), Martin Freeman (Secret Invasion), Chiwetel Ejiofor (The Man Who Fell to Earth) and Andrew Lincoln (The Walking Dead) in the same movie on the silver screen hasn't been absent from anyone's calendars of late. Outdoor cinemas give Love Actually a spin at this time of year, and an in-concert version does the rounds. But instead of getting one-off sessions here and there, the film is heading back to picture palaces in general release from Thursday, December 7. Accordingly, your December routine — one that's shared by many — can now include hitting up your local like it's 2003 again to revisit the Richard Curtis-written and -directed flick. Love Actually marked Curtis' first effort as a helmer after penning the screenplays for the Grant-starring Four Weddings and a Funeral, Notting Hill and Bridget Jones' Diary, and also writing for Blackadder and French and Saunders. On offer: interweaved Yuletide stories of romance, with Christmas and love all around everyone from rock 'n' roll singers, the Prime Minister of the UK and long-married couples to film stand-ins and school kids with crushes. Love Actually's anniversary season will screen the movie in a new 4K presentation, and feature ten minutes with the feature's cast and crew as they look back on their involvement in the film. Check out the trailer for Love Actually below: Love Actually will return to cinemas from Thursday, December 7, 2023.
How best to celebrate the impending arrival of gin season? With the launch of what might just be the most fashionable gin going around, of course. Developed by famed UK bartender Tony Conigliaro (London's Colebrooke Row, Bar Termini and Untitled Bar), the new Goldy Gin is being launched this week in collaboration with two very familiar local names — Icebergs restaurateur and designer Maurice Terzini, and influencer, friend and fellow fashion heavyweight Justin O'Shea. "The Goldy Gin brand is concerned with a few things; authenticity, value, taste and fun," O'Shea explained. "So all of the partners in this project have to stand for these attributes." Primed for gin and tonics or classic cocktails, it's a no-fuss creation that's straight to the point, clocking in at 44% alcohol by volume. With big-name bars like Lou Lou's and Soho House in London, and Paris' Hemingway Bar and Caviar Kaspia already fans, the gin is gearing up for a huge global launch, right here in Australia this week. Terzini and O'Shea will be hosting Goldy tastings at bars across Sydney and Melbourne over the coming days, with a launch party set to take over The Dolphin in Sydney this Thursday, November 16. Image: Zackery Michael.
Dinner then gelato? A movie followed by some ice cream? Grabbing a scoop just because? Whichever takes your fancy, everyone in South City Square's vicinity can put La Macelleria's artisanal desserts on their list, with Matteo Zini and Matteo Casone's Brisbane-based chain boasting an outpost in Woolloongabba. The Logan Road digs still keep La Macelleria's footprint at four, with its Coorparoo Square venue closing down. So, Zini and company have retained a presence in the city's east, but in a different new precinct (and with another cinema, this time Australia's first-ever Angelika Film Centre, nearby). Don't expect to wander inside the latest La Macelleria, however. This is a pint-sized joint, putting its focus on scooping up gelato rather than giving patrons somewhere to sit. Setting up shop in a precinct that also includes hole-in-the-wall taqueria Los Felix, Italian bar and eatery Sasso, Chinese Peruvian joint Casa Chow, Palm Springs-inspired gin-pouring garden bar Purple Palm, and European-influenced wine bar and wine shop South City Wine, La Macelleria's South City Square venue arrives just in time for ice cream season — aka Queensland's warming spring and summer weather when Brisbane's best gelaterias and ice creameries get an even bigger workout than usual. Joining La Macelleria's existing Teneriffe and West End joints, plus its Mermaid Waters venue as well, the new spot to get a scoop boasts the same creamy artisanal Italian gelato that has made the brand such a hit, of course. Think: flavours such as tiramisu, salted caramel, raspberry cheesecake, mandorla al caffe (aka roasted almond and roasted coffee beans) and bacio Australiano (white chocolate with caramelised macadamia chips).
Head to GPO's new 1920s-themed lounge bar, which is fittingly called The Gatsby, and you won't be able to miss the venue's old vault. It's a reminder of the distinctive building's history, with the structure starting its life back in 1887 as the Fortitude Valley General Post Office. It's also a symbol of GPO's reopening, which feels like reclaiming an iconic Brisbane location after a stint of safekeeping — or, to be more accurate, following the 136-year-old site's hefty $9-million revamp. The Gatbsy is a late-night, walk-in-only cocktail and whisky bar on the building's upper level. The mood here is lavish and upscale, as the name makes plain, including velvet booths, leather accents and brass features as part of the design. As well as featuring the building's original, now-restored vault, The Gatsby soundtracks the sipping with DJs and a live saxophonist. Also, as demonstrated by the 74-page menu, the bar well and truly prides itself on its drinks. Menu highlights include the chilli-infused tequila and mango gasper, a Gatsby bellini using peach tea-infused vermouth, one cocktail made with edible citrus paint, and another that can be served either hot or cold. All of the classic sips are taken care of, too, or you can build your own manhattan, negroni, martini or old fashioned — each chosen because they're the most popular concoctions of F Scott Fitzgerald's era.
Fancy chowing down on Los Pollos fried chicken for reals? Breaking Bad fans, hold on to your tortugas. There's a very real possibility that the Los Pollos fried chicken chain from the now-finished AMC series could become a real restaurant. During his recent Reddit AMA, Breaking Bad creator Vince Gilligan dropped a sneaky teaser; that there have indeed been serious chats to make Gustavo Fring's fictional chicken empire into a real fast food joint. "[T]here is talk of a Pollos Hermanos becoming a real restaurant," he said. "This is not an idea that I generated personally. But it's one that's been presented to me, through the good folks at Sony, and the idea came to them from a businessman who has an interest in doing just that. Speaking for myself, I'd love to see that happen!" Whether or not this goes ahead remains to be seen, but for now we're happy to join the inevitable fan-brainstormed wishlist of novelty Pollos features. Reddit user elijoker suggested every store should have a Gus Fring look-a-like and ask random customers if their food is to their satisfaction. immorta1 pitched every purchase of a combo meal as coming with a free GPS tracker installed under your car by a serial killer. Bic_Parker practically pondered menu items like ice cream covered with blue pop rocks, while Ivanbulls suggested blue rock candy in baggies for dessert. We're also pretty sure the restaurant could smuggle anything they damn well wanted to, crying 'theme' if the Feds started to raise an eyebrow. Hardcore fans who can't wait for Sony negotiations can find their way to a pretty great Next Best Thing. Pointed out by Vanity Fair, Albuquerque burger and burrito restaurant Twisters functioned as a stand-in for Los Pollos Hermanos during shooting, training their employees to answer Los Pollos FAQs. Understandable. Very understandable. Via Vanity Fair.
American food has experienced a surge in popularity in Brisbane in the past year or so, but the Smoke BBQ (formerly Blue Smoke) is far from a mere bandwagon jumper, having been around since 2004. The interior does not call to mind the stereotypical American diner or food hall, instead it’s all rather understated and a bit chic. Though it does display its roots through a few decorative touches – an American flag plaque hangs behind the cow hide upholstered bar, and gridiron matches are screened on the television. If you’ve ever spent time wistfully watching Travel Channel shows where fortunate hosts travel the US, indulging in all manner of comfort food along the way, then you will be very happy to read the Smoke BBQ menu. So many speciality items that at one time Brisbanites may have had a hard time getting their mitts on: North Carolina pulled pork, cheese steak subs, fried shrimp po’ boy sandwiches, hickory chicken, beef brisket, buffalo wings with blue cheese dipping sauce and banana cream pie. It’s hard not to get excited. If you’re going to make the effort of going out for American smoked BBQ, then you really should be getting some ribs. The Big Rib Combo (Texas beef short rib, Memphis pork belly & North Carolina pulled pork for $50) and the ‘New’ Signature Rib Combo (Texas beef ribs, Bourbon lamb ribs & thick cut pork ribs for $65) are designed for sharing and come with basic accompaniments. If for some reason ribs just aren’t for you, then the Pork & Chicken Platter will do (Memphis pork belly with a side of Memphis sauce, North Carolina pulled pork & a half hickory chicken with a side of Memphis BBQ for $50). The ribs are tender, with distinctive smoke rings – a result of quality time in the restaurant’s in-house smoker. With a Sam Adams or Brooklyn Lager it goes down very nicely. You may be expecting huge platters overladen with smoky bounty, however, portions are definitely on the small side, especially for the price. That said, you won’t leave hungry, but if you plan to go all out, prepare to spend some money.
A snowy camp, crosses, bad dreams, creepy houses, lurking shadows, ringing phones and an immensely unsettling mask: welcome to the world of Black Phone 2. Four years after writer/director Scott Derrickson (The Gorge) adapted a short story by Joe Hill — an author with a hefty horror pedigree as the son of Stephen King — into The Black Phone to box-office success, he's now helming his first sequel to his own work. Derrickson began his feature career on follow-up flicks courtesy of 2000's Urban Legends: Final Cut (which he co-penned) and Hellraiser: Inferno (which he directed), but was absent from the hot seat when his Sinister and Doctor Strange continued their stories. A second Black Phone film wasn't originally the plan, though. For fans of the first feature, 2025's return to the movie's world also raises a question within its narrative. In the just-dropped first trailer for Black Phone 2, however, Ethan Hawke's (Leave the World Behind) villainous The Grabber utters a pivotal line to Mason Thames' (Monster Summer) Finney Blake, who survived his clutches the first time around: "you of all people know that dead is just a word". How important is that sentiment to Black Phone 2? "Very essential and fundamental is my answer to that," Derrickson tells Concrete Playground. Audiences will find out how and why for themselves in the best horror-movie month on every annual calendar, with the film set to reach cinemas Down Under on Thursday, October 16, 2025. For now, though, the picture's initial trailer teases snowball fights, a stint at the Alpine Lake Youth Camp, photos of other kids and blood. Also featured: The Grabber asking "did you think our story was over?" before stating "vengeance is mine". In The Black Phone, The Grabber did what his name suggests: he snatched up children. Circa 1978, Finney, his sister Gwen (Madeleine McGraw, The Curse of the Necklace) and their friends were already scared of his insidious presence, too, before Finney became his next target. Back to things living up to their monikers: yes, there was a black phone, disconnected yet still ringing, offering a link to The Grabber's prior victims. It wasn't just Hawke getting nefarious that made the movie a hit and piqued viewer interest for more, but also its full impressive cast, immersive tale, and the expert sense of tension cultivated by The Exorcism of Emily Rose and Deliver Us From Evil alum Derrickson. With Black Phone 2, a few years have passed on-screen as well — which meant that Derrickson could find his ideal way into a Black Phone sequel. He wasn't interested in the kind of next effort that just repeats the first, so the fact that Thames and McGraw are now older was pivotal. Black Phone 2 is "a high-school coming-of-age movie instead of a middle-school coming-of-age movie", then, he explains. Now that he's focusing on teenage characters, that does indeed enable him to heighten some of the horror elements, including gore. "Absolutely. All true. That's very perceptive. And yeah, I think a high-school horror film requires a certain degree of intensity and violence that a middle-school horror film really doesn't want or need," Derrickson told us. Alongside Hawke, Thames and McGraw, Jeremy Davies (Adventures of the Naked Umbrella) and Miguel Mora (So Help Me Todd) are also back. Getting Hawke onboard in the beginning, even after Derrickson had directed him in Sinister, wasn't assured, but The Black Phone was all the better for his efforts. For Thames, Black Phone 2 arrives in what's already a huge year, given that he plays Hiccup in the live-action How to Train Your Dragon. We also chatted with Derrickson about the franchise's core casting, how the second movie came about, his essentials for the sequel, the approach when you're stepping back into a film's world and that oh-so-key skill of dripping unease through a horror flick. On Whether Making Sequel to The Black Phone Was Initially the Plan "After the first movie, I didn't feel obliged to make a sequel. The studio, as soon as the movie was a hit, was asking me 'will you please make a sequel?'. And I didn't feel necessarily that I wanted to do that. I didn't have any ideas at that point. And it started, the idea for Black Phone 2 started, with an email from Joe Hill — with my friend Joe, he sent me an email and he said 'hey, I have an idea for a sequel', and he wrote out this pitch. I didn't respond to all of it, but there was an idea, a central idea in it, that I thought was fantastic that I'd never thought of. So I began to sort of noodle on that idea — and then, as I was toying with the idea, I started to realise that if I went and made another movie first, then by the time I finished that film these kids that I've had loved so much, and did such a good job in the in the first movie, would be in high school. And so I thought 'I'm going to go do that'. So I told the studio I would do the sequel, but I'm going to go make another movie first — because I wanted to make a high-school coming-of-age movie instead of a middle-school coming-of-age movie. And so it's been a little bit of a wait, but that was intentional, because I wanted these kids to be older. Mason, when we shot this, was 17 — and Maddie was 15. And both are in high school, and that's a very different kind of film and a very different genre to work in." [caption id="attachment_861837" align="alignnone" width="1920"] The Black Phone[/caption] On Casting Ethan Hawke as The Grabber — and Getting Him to Agree to Play a Villain "I wrote the first movie without him even knowing anything about it. And I sent him the script, and he told me before he read it, he said 'look, I don't really do villains. I don't play villains. I probably won't do this'. And then that night, he left me a voicemail saying one of the lines of The Grabber in The Grabber's voice. And I thought 'oh, that's all it was'. I knew that that was his way of saying he was going to do it. And I think he really loved the movie. So when it came to doing a sequel, I did the same thing. I sent him the script, and he told me he was very nervous to read it because he had never done a sequel. And I said 'what about the Before Sunrise movies? You made three of those'. He goes 'yeah, but I wrote those. That doesn't count'. But he read the script and was so excited afterwards. And it was just a very similar story — he read it, and called me immediately after and said 'I love this. I think it's great'. And we scheduled the movie right away." On the Importance of This Being a Sequel That Continues the Story with the Same Characters, Not One That Basically Remakes the First Film "I didn't want to make the same movie again. And I think that sequels that disappoint are sequels that try to do the same thing, only bigger — or the same thing, only more. I knew that I would want to make a very different kind of movie, but I also probably wouldn't have considered doing a sequel of any kind if it didn't involve those characters. Because I love those characters. I love those kids. They're all really good actors, and the idea of being able to make a movie with characters who are in a different stage of life and played by actors who were in a different stage of life — Mason was 17 when we shot this and Maddie McGraw was 15. And Miguel Mora comes back as well in this movie. And it was really a delight to be able to, again, tell a different kind of story about a different stage of life. And I wouldn't have done it if it wasn't with all those same characters." On How Mason Thames' Career Has Blossomed Since The Black Phone, Including Black Phone 2 and Playing Hiccup in the Live-Action How to Train Your Dragon "It's so wonderful to watch. And part of the reason that it's so wonderful is because Mason is a kid who really has his head on his shoulders. He's not seduced by the fame. He's not interested in celebrity. He told me, he said 'if I could get rid of all my social media, I would'. He said 'the only reason I keep it is because it's important to studios for the marketing of their movies'. He's just got such a solid perspective and grounded point of view for such a young man — for somebody who's, I think he's 18 now. It couldn't happen to a better kid is what I'm saying. So it's wonderful to know that I gave him, I just sort of discovered his raw talents and gave him the shot that I did. He did such a good job and he does an amazing job in this movie as well." On What Goes Into Cultivating Unease, Dread and Disquiet in a Horror Film for Derrickson "I think that's the essential thing about the horror genre. It's not gore. It's not acts of violence. Ultimately, what makes a horror film a horror film is tone. There are some horror films that are very, very scary without any violence. And there are some very violent movies that aren't very scary. And the difference is that dreadful tone. I think that I'm interested in that aspect of horror more than jump scares, more than gore. The horror films that I love are films that crawl under my skin and have a captivating tone. And the best ones stay with me after the movie. I remember when I saw The Witch — it took me three days to shake the feeling of that movie from me." [caption id="attachment_861838" align="alignnone" width="1920"] The Black Phone[/caption] On the Approach When You're Stepping Back Into an Existing World with a Horror Sequel "I think that, including those early things that I did, the goal is to try to bring something fresh and original while maintaining the elements that our audience wants to see return. And that's always a tough thing to do as a director, but you have to be in tune with your audience and understand 'well, these are the things they definitely want to see. They want to see this. They want to see that. They want this to happen. They want these elements from the original film within their franchise picture'. [caption id="attachment_873778" align="alignnone" width="1920"] The Black Phone[/caption] But at the same time, what they can't tell you is that they want most of it to be fresh. They want to be surprised. They don't want to watch the same movie again. And so as a director, it's about threading that balance. And in this movie, I think it was the characters that they wanted to see returning. And the fact that the movie has a kind of tonal shift, I think is something they're going to find satisfying." Black Phone 2 opens in cinemas Down Under on Thursday, October 16, 2025.
There's never been a better time to sport a healthy interest in true crime, as your streaming and podcast queues can probably attest. The genre is hardly new, but thanks to the likes of Serial and Making a Murderer (and S-Town, Dr Death, Teacher's Pet, Dirty John, The Case Against Adnan Syed and The Bundy Tapes too, to name just a few), exploring real-life tales about untoward acts is positively booming. These days, you can nearly shape your whole media diet around true crime. And, especially in the podcast space, there's almost something new to discover every day. Eager to dive into the latest and greatest grim stories? Looking for something fresh to pipe into your ears, but don't know where to start? Here are six newcomers that you should begin listening to ASAP. https://www.youtube.com/watch?v=0dZIf8RpN1A MONSTER: THE ZODIAC KILLER When it comes to creepy unsolved mysteries, the Zodiac Killer sits at the top of the heap. Throughout the late 1960s and early 1970s, an unidentified man murdered victims across northern California, then claimed responsibility by writing to local newspapers — and, to this day, the culprit has not been caught. Before he made Mindhunter everyone's favourite Netflix series, David Fincher explored the story in his excellent 2007 drama Zodiac. He's not the only person obsessed with the case, with the team behind 2018 hit podcast Atlanta Monster (aka Tenderfoot TV and HowStuffWorks) delving into the story in its latest season. The two groups are really just taking turns chronicling fascinating terrain (the second season of Mindhunter focuses on the Atlanta Child Murders, too). However, if you can't get enough of these bleak, disturbing real-life tales, then Monster: The Zodiac Killer is a must-listen, with hosts Payne Lindsey and Matt Frederick stepping through the minutiae in intricate detail across 15 episodes. Listen to Monster: The Zodiac Killer here. MAN IN THE WINDOW: THE GOLDEN STATE KILLER If you're looking for even more California crime stories, then add Man in the Window: The Golden State Killer to your list. For more than a decade between 1974–86, the murderer, rapist and burglar wreaked havoc across the state, with at least 13 deaths, more than 50 sexual assaults and over 100 break-and-enters to his name. For those who've been following true crime news over the past couple of years, you'll know that this case picked up again in 2018 in a big way. If you're not aware of the particulars, this riveting podcast, which started back in June, will take you through all of the historical and recent ins and outs. Pulitzer Prize-winning journalist Paige St John is behind it, as are Wondery and the LA Times (the folks who brought us Dirty John). A word of warning, though: if you're spooked out by hearing actual evidence, including phone calls made to victims, then you'd best steel yourself in advance. Listen to Man in the Window: The Golden State Killer here. GHOSTHUNTER Since the birth of cinema, movies have often taken inspiration from reality, especially at its most twisted. Now, a crime-fuelled mystery can become the subject of a documentary, then get turned into a podcast by its filmmaker. That's exactly what has happened with Ghosthunter. It first brought the story of Sydney's Jason King to the big screen last year, and has now been expanded upon in audio form. Director Ben Lawrence is behind both versions of this far-from-ordinary tale, which is the result of spending seven years delving into King's life. Press play for an account of a security guard who doubles as a ghost hunter — yes, really — and keep listening for police investigations, court dramas, family secrets, difficult traumas, murky mysteries and estranged figures from King's history. It unfurls over five parts, and we can guarantee that you won't guess where it's all going. Listen to Ghosthunter here. SHREDS: MURDER ON THE DOCK True crime podcasts can take a plethora of shapes and forms; however, three kinds tend to stand out. The first unravel the cases of notorious serial killers. The second sift through stories that are just so astonishing, they can only stem from actuality. The third examine not only blood-curdling crimes, but just as horrific miscarriages of justice. Ticking both of the latter two boxes, the BBC's Shreds: Murder on the Dock revisits the Cardiff killing of Lynette White, the subsequent charging of five black and mixed-race men with her death, and what became — at the time — the longest murder trial in British history. The specifics of White's last moments are awful, with the 20-year-old's body found on Valentine's Day back in 1988. The circus that followed is equally chilling, including another record-breaking feat: the largest police corruption trial in British criminal history. Listen to Shreds: Murder on the Dock here. THE BURIAL FILES Whether you're a local who regularly commutes through the spot, or an out-of-towner who has just whizzed through it once or twice on the airport train, you'll never look at Sydney's Central Station the same way once you've listened to The Burial Files. Before it was a busy transport hub, it was the city's first major colonial-era cemetery. Yes, on the spot that a quarter of a million people transit through every single day, the remains of around 30,000 people were interred between 1820–1900. Unsurprisingly, this macabre history is the source of many a story, which the podcast delves into with the help of historians, archaeologists, forensic experts and even railway enthusiasts. The result of years of research, The Burial Files stems from the State Library of NSW, and from curator Elise Edmonds, who reveals details you'd never know otherwise — including about the mass exhumations of most of the site's bodies at the turn of the 20th century. Listen to The Burial Files here. [caption id="attachment_738014" align="aligncenter" width="1920"] Pendulum[/caption] PENDULUM A few months back, 7 News jumped into the podcast game, getting listeners whipped into a frenzy with The Lady Vanishes. Pendulum is the network's second foray into the field — and into an Australian case that still deserves plenty of attention decades after it happened. This time around, 21-year-old Queenslander Margaret Ann Kirstenfeldt is in the spotlight. The mother of a seven-month-old, she was found with brutal, fatal injuries in the coastal town of Sarina back in 1978, with theories swirling about the incident ever since. Initially treated as a rape and murder, a pathologist then deemed her injuries self-inflicted; however, one top cop on the case was never able to accept that finding. Diving deep into a shocking death, Pendulum also speaks with Kirstenfeldt's husband and mother, while pondering if the perpetrator is still out there. Listen to Pendulum here. Top image: Ghosthunter
Heading to an outdoor music festival normally means hoping for fine and sunny outdoor weather. At Snow Machine, you'll be praying for one thing: yes, snow. Because spending a day or several dancing to tunes in the open air isn't solely synonymous with summer, this event embraces its wintry setup, combining live music with a ski trip — as Japan first experienced in 2020, and New Zealand has been enjoying since 2022. The Japanese fest takes place for 2025 in March, but you'll want to mark September in your calendar if you're keen on the Aotearoa event. The hottest festival for the colder months is unleashing its avalanche of music and adventure at two mountain-topping NZ ski resorts between Tuesday, September 9–Sunday, September 14 this year. The snow-filled attraction has also just dropped its impressive lineup. On the Thursday night, Claptone and Hot Dub Time Machine will be headlining. On the Friday, Amyl and The Sniffers are playing an exclusive New Zealand show, with Mallrat also on the bill. Come Saturday, Netsky and Luude are doing the honours. Also helping to give Snow Machine's NZ winter wonderland a thumping soundtrack across the fest: Argonaut, Baby J, Ben Silver, Beverly Kills, Body Ocean, Boogs, Brian Fantana and Casey Leaver — plus Dannika Peach, Jimi The Kween, Lenni Vibe, Mell Hall, Montel2099, Odd Mob. And, then there's Bribera, Savage, Spacey Space, T-Rek and What So Not. As the hefty roster of talent demonstrates, attendees are in for a helluva few days, including hitting the slopes and partying at après ski events on both Coronet Peak and The Remarkables. How much dancing, skiing and sipping you want to do is up to you — as is how many other adventurous activities you'd like to add to your itinerary, such as heli-skiing, jet boating, bungy jumping, canyon swinging and skydiving. Snow Machine's official welcome party is also on the agenda again, taking place at AJ Hackett Bungy Kawarau Bridge. So is another annual highlight: the Polar Bare, which endeavours to set a world record for the most amount of people heading down the slopes their swimwear. Alongside the wintry backdrop and the fun that comes with it, one of the things that sets Snow Machine apart from other music fests is being able to book your entire getaway with your ticket. Packages span both five and seven nights of accommodation, and include a four-day festival ticket, plus multi-day ski pass. If you'd rather make your own way or pass on the skiing, there are ticket-only options — and VIP packages if you really want to do it in style. Snow Machine 2025 Lineup Amyl and The Sniffers Argonaut Baby J Ben Silver Beverly Kills Body Ocean Boogs Brian Fantana Casey Leaver Claptone Dannika Peach Hot Dub Time Machine Jimi The Kween Lenni Vibe Luude Mallrat Mell Hall Montel2099 Netsky Odd Mob Bribera Savage Spacey Space T-Rek What So Not Plus stage takeovers from: Poof Doof Ski Club Thicks as Thieves Revolver Sundays Electric Rush Snow Machine 2025 takes place from Tuesday, September 9–Sunday, September 14 in Queenstown, New Zealand. Presale tickets go on sale on from 1pm AEDT / 12pm AEST / 3pm NZDT on Monday, February 24, 2025, with general tickets available from 1pm AEDT / 12pm AEST / 3pm NZDT on Tuesday, February 25, 2025. For more information, visit the festival's website. Images: Han Lowther / Amee Freeman / Luke O'Keefe.
Some dishes are as straightforward as they sound, and omurice — aka omelette rice — is one of them. It's an omelette made with fried rice, then typically topped with sauce. Yes, it's an easy concept to get around; however, not all versions of this western-influenced Japanese eggs-plus-rice staple are made equal. Indeed, trying Kichi Kichi Omurice's in Kyoto might be on your travel bucket list. Chef Motokichi Yukimura's viral-famous take on the dish has made him an internet star — the term "Japan's most-famous omurice chef" has been used — and seen his eatery become a tourist destination. As of January 2024, it's no longer doing bookings in advance, in fact. Now, diners are only able to make reservations on the same day they're eating, and need a password that's placed on the restaurant's door each morning to lock in their seating. But if you'd like the Kichi Kichi Omurice experience without the airfares, that's about to become a reality in Australia for four nights only — two apiece in Sydney and Brisbane. And yes, if this sounds familiar, that's because it's the second time that Yukimura is hitting both cities this year after an earlier trip in February and March. Yukimura will again be visiting Harajuku Gyoza to show why the dish he's been making for over 45 years is such a smash. The chef is doing 'meet and eat' events in both cities, cooking everyone who attends his specialty — and putting on a show, complete with his Kichi Kichi Omurice song and dance. Folks in Sydney are headed to Harajuku Gyoza Darling Harbour across Wednesday, July 17–Thursday, July 18. For Brisbanites, your destination is Harajuku Gyoza South Brisbane from Sunday, July 21–Monday, July 22. In Sydney, tickets cost $160 per person and are sold in pairs, with sittings at 12pm, 5pm, 6.30pm and 8pm on both days. Brisbane's tickets are $140 each, again sold in pairs, with the same sitting times. That price covers tucking into Yukimura's omurice, plus Harajuku Gyoza's signature long fries, three types of gyoza, air cheesecake and a welcome drink — and meeting the chef. Motokichi Yukimura will be at Harajuku Gyoza Darling Harbour in Sydney on Wednesday, July 17–Thursday, July 18, then at Harajuku Gyoza South Brisbane in Brisbane from Sunday, July 21–Monday, July 22. Head to the eatery's website for further details and bookings.
If there's one thing that 2020 could use to help distract us from the year's struggles, it's a big dose of rampaging, ravenous dinosaurs. That's the Jurassic Park franchise's remit, of course, and while it won't release its latest live-action big-screen outing until 2021, the series is expanding to Netflix via an animated show. Yes, when it comes to an island filled with dinosaurs, humanity just won't learn. Since Michael Crichton's Jurassic Park hit bookstores in 1990, spawning not only Steven Spielberg's 1993 blockbuster film, but two direct sequels and the recent Jurassic World movies, people just keep clamouring to share the same landmass as re-animated prehistoric beasts. That remains the case in Netflix's Jurassic World: Camp Cretaceous, which links in with the events of 2015's initial Jurassic World flick — and to the franchise's familiar setting, Isla Nublar. This time, six teenagers have been chosen to attend a new adventure camp on the other side of the remote deathtrap. If you've seen the movie, you already know that the dinos break loose, because of course they do. That leaves the plucky youths fighting to survive. As for what happens next (hint: it'll involve stampeding beasts and fleeing humans), you'll find that out when Camp Cretaceous hits the streaming platform on September 18. Executive produced by Spielberg — as well as Jurassic World executive producer Frank Marshall, plus two-time series director Colin Trevorrow — the show is aimed to help fill the gap until Jurassic World: Dominion film releases in 2021. You're probably already excited about that movie, given that it brings back Sam Neill, Laura Dern and Jeff Goldblum; however no one is going to complain about more excuses to watch out-of-control dinosaurs. Camp Cretaceous forms part of Netflix's family slate, so you can probably expect less scares than usual — although the official teaser below is a little creepy. And as for who is voicing Camp Cretaceous' characters, the cast includes Paul-Mikél Williams, Jenna Ortega, Ryan Potter, Raini Rodriguez, Sean Giambrone and Kausar Mohammed as the campers — as well as The Good Place's Jameela Jamil and Set It Up's Glen Powell as camp counsellors. Check out the official teaser trailer below: https://www.youtube.com/watch?v=TKJwbsx1BSc Jurassic World: Camp Cretaceous will hit Netflix on September 18, 2020.
Singapore's food scene reflects the diversity, passion and innovation that runs through the city. From fine-dining restaurants that push culinary boundaries to hawker stalls recognised by Michelin, there's a good meal to be had in every corner of Singapore. If you're feeling intimidated by the sheer volume of choice, let our guide take some of the pressure off. We've teamed up with Singapore Tourism to shed light on some classic Singaporean fare, as well as where to find them. [caption id="attachment_979197" align="alignnone" width="1920"] John Heng[/caption] Kopi Start the day off with a cup of fresh coffee, or 'kopi' as it's locally known. Drawn from traditional Malay coffee, kopi is complex, full-bodied and packs a strong kick. Robusta beans are roasted in margarine and sugar, before being strained through a cloth sack or sock. A traditional kopi is served with a splash of condensed milk, with options to switch things up from there. For a milkier brew, try a Kopi C (black coffee with sugar and evaporated milk), Kopi Gah Dai (with more condensed milk), or the foamy Kopi Tarik (cooled down by pouring the drink between two cups). There are also kopis with less sugar or dairy, or the completely black Kopi O Kosong. You'll find kopi all around Singapore, but we'd recommend going to an old-school kopitiam (coffee house) like Tong Ah Eating House or Heap Seng Leong — which is especially known for its rich Kopi Gu You (served with condensed milk and a square of butter) — where you can pair your caffeine hit with kaya toast and eggs. Zi Char Comfort food at its simplest. 'Zi char' refers to a type of home-style cooking dished out by casual eateries and food stalls around Singapore. Local staples include wok-fried fare such as hor fun and char kway teow (stir-fried rice noodles), pork ribs cooked with coffee or marmite, and seafood or meat coated with salted duck egg. For some authentic zi char outside of hawker centres, head to Keng Eng Kee Seafood for signature plates such as the seafood hor fun with Chinese sausages and egg, butter cereal prawns, salted egg squid and marmite chicken. New Ubin Seafood is a more contemporary zi char restaurant, but still serves classics like bee hoon (vermicelli noodles), fish head curry and crispy fish skin in salted egg. Nasi Lemak Traditionally a Malaysian breakfast dish, nasi lemak combines the subtle sweetness of coconut with the spice of sambal and bite of dried anchovies. A typical serving consists of rice cooked in coconut milk and pandan leaves served alongside a variety of accompaniments, including cucumbers, a hard-boiled egg, crispy dried anchovies, roasted peanuts and sambal (chilli paste). The Coconut Club is — aptly — a local favourite for nasi lemak. The restaurant's signature dish comes with the option to add fried chicken, beef rendang curry, a fried egg or grilled fish cake. Dickson Nasi Lemak also specialises in the national dish, serving only nasi lemak from morning to the afternoon. Add-ons include fried chicken leg or thigh and chicken or beef rendang, paired with hot or iced kopi or teh (tea). Peranakan Cuisine Hailed as one of the earliest fusion cuisines, Peranakan (or Nyonya) food is a mixture of Chinese, Malay and Indian cooking techniques with colonial influences. Its roots trace back as far as the 15th century, when Chinese migrants began settling in Malaysia, Singapore and Indonesia. Well-known Peranakan dishes include ayam buah keluak (chicken with buah keluak nuts and a tamarind and spice-heavy gravy), laksa, fish maw soup, palm sugar cake made with bouncy tapioca flour, and kueh salat (pandan and coconut custard atop sticky rice). If you're keen to try the cuisine, look no further than Candlenut. Helmed by chef Malcolm Lee, Candlenut is the first Peranakan restaurant to be awarded with a Michelin star. The Ah-Ma-Kase option means you won't have to struggle with making any decisions — just sit back and let the kitchen bring you heaping plates of its beloved classics. Another Nyonya gem serving Peranakan and Singaporean cooking is National Kitchen by Violet Oon, housed inside the historic National Gallery Singapore. Hainanese Curry Rice Another amalgamation of cultures, Hainanese curry marries Indian spices with Peranakan stewed cabbage, European pork chop and Chinese soy sauce for maximum flavour in every bite. Other combinations include braised pork belly or chicken, with sides of egg, bean sprouts, tofu or seafood. Beach Road Scissors Cut Curry Rice and Loo's Hainanese Curry Rice have been slinging out loaded plates of Hainanese curry for decades. Open until 3.30am for those late-night cravings, Scissors Cut is known for the way each plate is prepared — once you've chosen what you want with your curry, the chef uses a pair of scissors to chop the ingredients up with incredible speed and dexterity, before topping it all off with the curry sauce. On the other hand, Loo's serves its curry with each component on separate plates, so you can choose to mix and match as you wish. You can't go wrong either way. Book your Singapore holiday now with Flight Centre. All images courtesy of Singapore Tourism Board.
If you listen carefully, you might just hear the sound of a light- to medium-bodied red wine sloshing around a glass. That's because the world's favourite celebration of pinot noir is finally returning, with the news Pinot Palooza will make its comeback in just a few short months. In its 10 years of life, the Melbourne-born wine tasting festival has become a global affair, with an estimated 65,000 tickets sold, worldwide. But once COVID hit in 2020, it saw the popular event shelved for two-and-a-half years. Now, that hiatus is finally over, with a huge tenth-anniversary edition of Pinot Palooza set to hit Melbourne, Brisbane, Sydney and Auckland in 2022. The comeback tour kicks off this autumn, returning to the festival's homeland of Melbourne with a couple of wine-filled days at Port Melbourne's Timber Yard from May 6–7. Brisbane Showgrounds are up next, hosting Pinot Palooza from May 20–21, before Sydney gets its shot on June 17 and 18. The festival then crosses the ditch for its Auckland edition from October 15–16. While the wine-sipping fun will play out similarly to before, across three sessions at each event, there is one big new addition in store — a dedicated Tasmanian hub set to showcase a curation of wine, spirits, cider and cheese from over 20 top Tassie producers. As always, you'll spend your event session swirling and sampling a huge array of pinot noir from across Australia, New Zealand and the world. Word is, over 70 winemakers are coming to the party. Also like before, there'll be pop-up bars and food stalls to keep you busy in between sips, with favourites Burn City Smokers, Taco Truck and Nama already confirmed for the Melbourne edition. Pinot Palooza 2022 will hit Melbourne on May 6–7, Brisbane on May 20–21, Sydney on June 17–18 and Auckland on October 15–16. To nab tickets or find out more, jump over to the website.
A new blockbuster exhibition is headed Sydney's way, delving into one of the most famous figures in history. Whether you loved learning about the past at school or prefer to get your history fix via flicks like The Mummy, there's something about Tutankhamun that always intrigues — and now more than 150 objects from the ancient boy king's tomb are coming to the Australian Museum. Set to grace the museum's walls in 2021, Tutankhamun: Treasures of the Golden Pharaoh marks a century since King Tut's treasure-laden resting place was first discovered by British archaeologist Howard Carter back in 1922. The exhibition's world-premiere season is currently running in Los Angeles — and while exact Sydney dates are yet been announced, it'll head to our shores for a six-month period, with the New South Wales capital becoming one of only ten cities around the world to play host to the showcase. Golden jewellery, elaborate carvings, sculptures and ritual antiquities will all feature, in an exhibition that "is exclusively focused on interpreting the significance and meaning of artifacts from Tutankhamun's personal tomb and includes," according to the Los Angeles season's website. Visitors can expect to set their sights on a ceremonial bed that historians believe was made for the pharaoh's funeral, a life-sized wooden statue of Tut and a jewelled container that held his liver. Given it's the world's largest Tutankhamun exhibition outside of Egypt — featuring 60 pieces that have never previously left the country — it's a rather big deal. It's also the final time that these items will leave Egypt, as they're set to be permanently housed in the new Grand Egyptian Museum in Giza, which is due to open this year. Tutankhamun: Treasures of the Golden Pharaoh's trip to Sydney will be made possible by a $50 million upgrade to the Australian Museum, which will enhance the facility's ability to host large-scale exhibitions. "Repurposing existing storage space will see the significant expansion of the touring exhibition halls to 1500 square metres across two levels – allowing the Museum to host either one big blockbuster or two exhibitions simultaneously," said museum director and CEO Kim McKay. Tutankhamun: Treasures of the Golden Pharaoh will display at the Australian Museum in Sydney in 2021, with dates yet to be revealed. For more information, keep an eye on the Australian Museum website. Images: AP Images / King Tut: Treasures of the Golden Pharaoh at the California Science Centre.
We all know Britain's iconic red phone booths — they're as British as Queen Lizzie or a chicken tikka curry. So what happens when the service they offer becomes redundant? You turn them into smart phone repair workshops. British phone repair company Lovefone is in the process of renovating 35 phone booths across Britain, transforming them into stations where people can get their smartphones and tablets fixed. The results of their efforts are going to come in very handy after you've drunk a pint too many and dropped your electronic goods into the loo. The revamped booths will also offer free charging stations and wifi, as well as an underfloor safe that protects electronic goods while they await pick-up. A similar but definitely not as cool idea has been in place in Australia for a while, with Telstra equipping their pay phones with routers to give their customers wifi access when they're nearby. Unfortunately, this service is only available to certain Telstra users — but it does pave the way for other networks to run with the idea in the future. Other countries around the globe have come up with their own novel ideas for repurposing phone booths. One phone booth in New York has been revitalised with the addition of shelves, converting it into a library. Citizens donate unwanted texts, with the book exchange working on a honesty-based policy. We're thinking that there has to be a market for this in Australia. Back in the UK, the Red Kiosk Company allows you to rent and run your own business from a phone booth. A number of cafes now lease phone booths as their cafe shopfronts — and one guy even opened up his own phone booth salad store. So take note entrepreneurs: your dreams of opening up your own quirky cafe might be just around the corner, literally.
By the time that 2022 is out, lovers of Studio Ghibli's films (aka everyone) will have two places to visit if they'd like to get as close as humanly possible to walking into the animation house's gorgeous frames. Already, you can head to the Studio Ghibli museum in Mitaka, a city on the western outskirts Tokyo — and you really should; it's as magical as it sounds, giant catbus and all — but now Ghibli's very own theme park has officially set a November launch date. Come November 1, the new location in Nagoya's Aichi Prefecture — which is around a three-hour train trip from Tokyo — will start spiriting away Ghibli fans across its 200-hectare expanse. The studio initially announced that it was creating its own theme park back in 2017, and originally planned to open in 2020. Then, in 2018, it pushed back its launch timeline to 2022; however, this is the first time it's set a specific date that everyone can mark in the calendars. The opening day of the Ghibli Park was announced today. pic.twitter.com/01vhPGuJgq — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) January 27, 2022 The Aichi Prefecture Expo Park spot is already home to a replica of Satsuki and Mei's house from My Neighbour Totoro, and it's gaining plenty of other attractions as it becomes a fully fledged Studio Ghibli thee park. Totoro features heavily, understandably, with the site even initially described as having a My Neighbour Totoro focus. However, you'll also be able to check out a life-sized version of Howl's Moving Castle, the antique shop from Whisper of the Heart, Kiki's home from Kiki's Delivery Service and a village area that pays tribute to Princess Mononoke. Also slated to feature: nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. There'll also be a permanent exhibition room, a special exhibition room, a video exhibition room, a playground, and a shop and cafe, so you'll have plenty of places to explore, eat and browse. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work — and possibly its most recent movie, Earwig and the Witch, too. And if the end result is even half as wondrous as the studio's aforementioned museum, then fans are in for a treat. There, you can also climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky, and watch exclusive shorts (including a sequel to My Neighbour Totoro) in a cute little cinema. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). [caption id="attachment_799539" align="alignnone" width="1920"] Studio Ghibli[/caption] Incorporated into the existing parklands, the Studio Ghibli theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. If you're now planning a Ghibli-centric holiday, you'll need to cross your fingers that Japan's border rules change before November to allow foreign nationals to enter the country — something that's currently suspended until at least the end of February 2021. And if you won't stop dreaming about the Studio Ghibli theme park anyway, the Aichi Tourism Bureau has released a trailer — which is largely an ad for the surrounding area, but also features Satsuki and Mei's house prominently. Check it out below: The Studio Ghibli theme park is slated to open on November 1, 2022. For more information, keep an eye on the animation company's website.
