Dining out is back in — and it's back with a vengeance. As we cruise to the mid-way point through this gloriously lockdown-free year, Australia's wining and dining scene is returning to its former glory. And it seems the rest of the world is taking notice, too. The esteemed World's 50 Best Restaurants awards unveiled their annual 51-100 list overnight, with one Aussie restaurant named among them — celebrated chef Andrew McConnell's Melbourne diner, Gimlet at Cavendish House. [caption id="attachment_860200" align="alignnone" width="1920"] Ben Moynihan[/caption] The CBD restaurant took out the number 84 spot in the Top 100 longlist, on its World's 50 Best debut. It was in good company, too, ranking alongside a diverse spread of lauded venues from Singapore to São Paulo, and Munich to Marseille. If you're plotting an overseas food holiday, this lineup is well worth a look. The awards' 51-100 list was unveiled at a ceremony in the UK yesterday, with the restaurant world now holding its breath for the Top 50 lineup, set to be announced on the evening of Monday, July 18 (UK time). Just two Aussie restaurants claimed spots in last year's awards, both of them Victorian, with Dan Hunter's Brae placing 57th and Ben Shewry's Ripponlea fine diner Attica coming in at number 97. [caption id="attachment_826376" align="alignnone" width="1920"] Jo McGann[/caption] Running annually since 2002, the World's 50 Best awards are chosen by a panel of over 1000 culinary experts, guided by a strict voting procedure. They're now hosted by a different country each year, with Melbourne playing host city back in 2017. To check out the full World's 50 Best Restaurants Top 100 list, see the website. Top Image: Earl Carter
If you're a Lorde fan, there's no better news than this: in February 2026, the 'Royals', 'Green Light', 'Solar Power' and 'What Was That' singer-songwriter will hit the stage in both Australia and New Zealand. The Aotearoan star's Ultrasound world tour has just locked in gigs Down Under, heading to six cities across the two countries, making dates with arenas at every stop. Ella Yelich-O'Connor last took her Solar Power tour to both nations in 2023. This time, as part of a run of concerts that begins in September 2025 in the US — and also includes gigs in Canada, the UK and across Europe before this year is out — she has levelled up venue-wise. First up on Wednesday, February 11, 2026 is Spark Arena in Lorde's native Auckland, then Wolfbrook Arena in Christchurch on Friday, February 13, 2026. After that, she's hopping across the ditch to play Brisbane Entertainment Centre on Monday, February 16, 2026; Qudos Bank Arena in Sydney on Wednesday, February 18, 2026; Melbourne's Rod Laver Arena on Saturday, February 21; and finally Perth Arena on Wednesday, February 25. [caption id="attachment_1012900" align="alignnone" width="1920"] Thistle Brown[/caption] The tour dates come fresh from Yelich-O'Connor's surprise 2025 Glastonbury set, as well as her fourth album Virgin releasing at the end of June, with the latter debuting at number one in Australia and New Zealand alike. This is her biggest tour of her career in general, too, with nights at the likes of Madison Square Garden in New York City and O2 Arena in London already sold out. Featuring the aforementioned 'What Was That' — her first original new track in four years — alongside 'Man of the Year', 'Hammer', 'Favourite Daughter' and 'Shapeshifter', Virgin also hit number one in the UK and number two on the Billboard 200 chart in the US. [caption id="attachment_1012904" align="alignnone" width="1920"] Joseph Okpako/WireImage[/caption] There might be a three-year gap between Lorde's last Down Under shows and her upcoming Ultrasound tour concerts; however, in addition to writing and recording Virgin, she's been busy making a surprise Sydney club appearance back in May 2025 at a Lorde-themed night. Since 2013, when her debut record Pure Heroine arrived, Yelich-O'Connor has also released 2017's Melodrama and 2021's Solar Power, won two Grammys, picked up a Golden Globe nomination for 'Yellow Flicker Beat' from the soundtrack for The Hunger Games: Mockingjay — Part 1 and notched up over 18 billion streams worldwide. Lorde Ultrasound World Tour 2026 Australian and New Zealand Dates Wednesday, February 11 — Spark Arena, Auckland Friday, February 13 — Wolfbrook Arena, Christchurch Monday, February 16 — Brisbane Entertainment Centre, Brisbane Wednesday, February 18 — Qudos Bank Arena, Sydney Saturday, February 21 — Rod Laver Arena, Melbourne Wednesday, February 25 — Perth Arena, Perth [caption id="attachment_1012901" align="alignnone" width="1920"] Thistle Brown[/caption] Lorde is touring Australia and New Zealand in February 2026, with ticket presales from 1pm local time on Tuesday, July 15, 2025 and general sales from 2pm on Friday, July 18, 2025 — head to the tour website for more details. Top image: Joseph Okpako/WireImage.
Since 2019, Netflix's Dead to Me has contemplated endings — starting with a just-widowed woman trying to cope with losing her husband in a hit-and-run incident. Taking a few cues from 2018 film A Simple Favour, the grief-fuelled dark comedy has twisted its way through plenty of chaos from there, including via the unlikely friendship at its centre; however, the fact that everything comes to a conclusion sooner or later has always hung over the show. When it returns for season three on Thursday, November 17, that notion will remain — and Dead to Me itself will wrap up. Back in 2020, after the second season aired, it was revealed that the show would finish after a third and final run. So, get ready for your last swim through its murders, mysteries and cover-ups. The premise, if you missed Dead to Me when it premiered back in 2019: two women meet, become friends despite seemingly having very little in common, and help each other with their daily existence. From there, however, they find themselves immersed in more than a little murky business. Christina Applegate (Bad Moms 2) plays Jen Harding, whose husband has just died, while Linda Cardellini's (Hawkeye) Judy Hale is the positive-thinking free spirit that breezes into her life. They initially cross paths at a grief counselling session, sparking a definite odd-couple situation — which has evolved to feature secrets, lies, complications and cliffhangers galore across the show's two seasons to-date. Season two ended with a big car crash, in fact — and as well as announcing when Dead to Me would return to close out its story, Netflix has just dropped a teaser trailer for season three. Get ready for a glimpse of Jen and Judy in hospital and unhappy about it, as well as a recap of exactly what's brought them to this point. As for where the story will head afterwards, that'll only be revealed when Netflix drops the third season itself. If it's as easy to binge as the first two seasons, you'll know how the show ends quickly. Created by 2 Broke Girls writer Liz Feldman, Dead to Me marked Applegate's first lead TV role since 2011-12 sitcom Up All Night when it debuted. For Cardellini, it saw a return to Netflix after starring on the streaming platform's drama Bloodline — and she also featured in A Simple Favour, too. Check out the first teaser trailer for Dead to Me's third season below: Dead to Me's third season will hit Netflix on Thursday, November 17. Images: Saeed Adyani / Netflix.
The world's most-famous enigmatic smile is set to beam down on Australia in not one but two locations in 2024, all thanks to the team at Grande Experiences. The Melbourne-based company is the mastermind behind the immersive walkthrough art experiences that've been sweeping the country, both touring them and opening the nation's first permanent digital-only art gallery The Lume. And next year, it's turning its attention to both the Italian Renaissance in general and Leonardo da Vinci specifically — with Mona Lisa featuring prominently in both of its new showcases. Italian Renaissance Alive has already locked in a season on the Gold Coast from March, and will include da Vinci's works. In the same month, The Lume in the Victorian capital will go all-in on the artist and inventor. The site's major 2024 exhibition is Leonardo da Vinci — 500 Years of Genius, with the gallery is calling its "most ambitious, immersive and breathtaking yet". That's quite the claim for a collection that follows a van Gogh celebration, a focus on Monet and his contemporaries and the current First Nations-centric Connection. It also isn't surprising. Connection now has an end date, and is set to close at the Melbourne Convention and Exhibition Centre venue on Sunday, February 4, just over a month before Leonardo da Vinci — 500 Years of Genius arrives. The Last Supper will also enjoy the spotlight in a big way, because Grande Experiences' whole setup is making iconic, important and stunning works larger than life, surrounding attendees like never before. The Mona Lisa will also link in with the segment of the exhibition that's all about French optical engineer Pascal Cotte, who invented a multispectral camera and has peeled back the artwork's layers using his research. So, get excited about Mona Lisa Revealed, which will include an exact 360-degree replica — the only one in the world — as created thanks to Cotte's 240,000,000-pixel multispectral camera. That said, Leonardo da Vinci — 500 Years of Genius isn't just about its namesake's well-known works, with the 3000-square-metre multi-sensory gallery also exploring his inspirations and contemporaries. Thanks to the latter, Leonardo da Vinci — 500 Years of Genius and Italian Renaissance Alive will have more than a little in common. Botticelli's The Birth of Venus, Michelangelo's Sistine Chapel ceiling and works by Caravaggio will feature at both. Melbourne will be home an experience that steps through da Vinci's journey, however, including Florence's streets, Venice's canals and Milan — as brought to life via sight, sound, scent, touch and taste. Also among Leonardo da Vinci — 500 Years of Genius' highlights: 50 of da Vinci's "machine inventions", which will be on loan the Museo Leonardo da Vinci in Rome. Alongside the Mona Lisa, The Last Supper and his anatomical drawings — and more — da Vinci is well-known for his flying machine concepts, with his 15th-century vision of human flight set to score The Lume's attention. This part of the exhibition will hero recreations made in Italy from the artist and inventor's sketches, and also using the materials and techniques he would've at the time. "Leonardo da Vinci's contributions to art, science and innovation are immeasurable and continue to shape our modern world," said Bruce Peterson, Owner and CEO of The Lume Melbourne, announcing Leonardo da Vinci — 500 Years of Genius. "We aim to provide a unique and immersive experience that not only celebrates the genius of Leonardo but also underscores the relevance of his ideas in the contemporary landscape. As a pioneer in bridging art and technology, The Lume Melbourne is honoured to bring Leonardo's legacy to life in a way that engages, inspires and resonates with audiences of all ages." Leonardo da Vinci — 500 Years of Genius opens at The Lume, Melbourne Convention and Exhibition Centre, 5 Convention Centre Place, South Wharf, Melbourne, from Friday, March 15, 2024 — head to the venue's website for tickets and further information.
It may be hot outside, but it's not quite 'our city in summer' until the Sydney Festival starts up on January 9, bringing with it a tidal wave of performance, music, art and other festivities. Tonight the Sydney Festival has launched its 2014 program, a massive conglomeration of 104 events, featuring 722 artists from 80 companies across 17 countries. Look out for a much bigger festival garden (so big, in fact, it's now the Festival Village) in Hyde Park, the return of music venue Paradiso at Town Hall and everyone's favourite duck, and a version of Stonehenge that you can bounce on. Yes, bounce on. But let's get the bad news out of the way first: crowd favourite Festival First Night has been shrunk down even further than last year's 'Day One', to the point where it's completely disappeared. This has been blamed on NSW state funding cuts, as the escalating event requires a large amount of dedicated resources. While the loss of Festival First Night is a little hard to swallow — especially when Parramatta gets one (the POP Parra Opening Party features public concerts and 'Boxwars', a street parade/brawl in cardboard costumes on January 10) — but you can understand the festival's insistence on there needing to be proper funding for such an undertaking. We say it's a unrivalled street party that for one day makes Sydney feel like a great, open, international city, and we hope it returns in the future. In the meantime, there are many free, public events to occupy ourselves with. Now, on with the show. Performance Sydney Festival is, above all, a means to get the most appealing, innovative and agenda-setting international performing arts works to visit our town. This year there's nothing topping the already-announced spectacle of Dido & Aeneas. This 'underwater opera' starts with a dance in a 7500L water tank and moves on to sumptuous feats of dance, costume, singing, music and stagecraft. But the one-woman La Voix Humaine promises to floor with conversely little. This Dutch production based on the monologue by poet and film director Jean Cocteau features actor Halina Reijn as a woman pleading with her lover down the phone line after a break-up. There are plenty of other acclaimed international theatre works with experimental, thrilling or just plain WTF twists. Bullet Catch (from the UK's The Arches and Rob Drummond), for instance, is about the notoriously dangerous magician's trick that took the life of William Wonder. We hear if you stay till the end, you may have a very direct part to play in the climax. Less unnerving is Othello: The Remix, a charming "ad-rap-tation" by Chicago hip hop outfit the Q Brothers that uses the words of Shakespeare and obliterates the memory of so many terrible modernisations. Also in the mix is Cadavre Exquis, a game of theatrical Exquisite Corpse played by some truly cool international artists; Tim Crouch's underdog tale I, Malvolio (we recommend going on the adults-only late show on January 18); and Pan Pan Theatre's All That Falls, a radio play you take in communally, while on rocking chairs. Of course, it's not festival time without a Spiegeltent somewhere, and this year's is grounded in some solid and frequently sexy circus. Strut & Fret are back with a follow-up to last year's Cantina, Limbo, which takes as its premise an otherworldly party between heaven and hell. There's also a second travelling tent, which belongs to Belgium's Circus Ronaldo, a genuine line of circus performers six generations long. Their La Cucina Dell'Arte is a more family-friendly brand of buffoonery set in a pizza parlour. They're sharing their tent with rowdier late-night act Scotch and Soda, which includes the stylings of the Crusty Suitcase Band. In the non-funny vein of circus arts, look out for Ockham's Razor, a unique blending of philosophy and acrobatics over three acts taking place at Carriageworks. There are also a few really exciting local productions that shouldn't be eclipsed: Black Diggers is a major new work by Tom Wright built on extensive research into the largely untold history of Aboriginal Diggers in WWI. Directed by Wesley Enoch, it's making its world premiere at the festival. Belvoir and post's Oedipus Schmoedipus will be an epic lark, Am I sees choreographer Shaun Parker and composer Nick Wales venture into a new civilisation, My Darling Patricia's The Piper is one to capture the imagination (and abduct some children), and Forklift required several dancers to get heavy machinery licences. Music This year’s Sydney Festival music lineup doesn’t quite have the ‘wow’ factor of former years, but dig a little deeper and you’ll find a tonne of events that underline why the festival makes Sydney such an exciting place to be in January. The headline event is undoubtedly Amanda Palmer, who will be playing 10 solo shows in the intimate surrounds of The Spiegeltent. Palmer has become an object of much debate after her incredible success at crowdfunding her latest album, but whatever you think of that whole deal you cannot deny she is a fascinating performer. Dating right back to The Dresden Dolls, her shows have always been fascinating amalgamations of pop, cabaret, punk, performance and songwriting, and even the Festival organisers can’t tell you exactly what to expect when Palmer plays solo. Big Star’s Third is an absolute cult classic, with bands as diverse as Belle & Sebastian, The Replacements, The Flaming Lips and R.E.M. citing it as an inspiration. Despite (or perhaps because of) the deteriorating mental health of frontman Alex Chilton, and the fact that the band had totally fallen apart between its recording and its release, it is regarded as one of the great records of all time. And you can hear the whole thing in all its broken, twisted beauty when an all-star band including original drummer and sole surviving member of the band, drummer Jody Stephens, Mike Mills (R.E.M.) and Ken Stringfellow (The Posies) take to The Enmore stage for one night only. Kurt Vile has quietly become a cult guitar hero in recent years, bringing together influences from psych to folk to garage to create beautiful, enchanting music. It might not seem like it sometimes – Vile is so laidback he’s almost horizontal – but the man is a virtuoso guitarist and a compelling performer. And he’s playing in two formats at this year’s festival: a solo “special midnight performance” in the Circus Ronaldo Tent, and again with his band, The Violators, at Paradiso and Town Hall. Not to be missed. And that’s not even mentioning Amadou & Mariam’s Eclipse (a “live, multi-sensory experience in pitch darkness telling the amazing story of the blind couple from Mali that includes scents inspired by Mali and their second home Paris pumped into the building”), performances from ex-Battles frontmant Tyondai Braxton, a collaborative performance with Lee Ranaldo (Sonic Youth) and Mike Patton (Faith No More, Mr. Bungle, etc), or dozens of other exciting acts. Even the classical music program is phenomenal. It might not seem like it at first glance, but Sydney Festival is once again putting on the best party of the year. Art Art-wise, the Sydney Festival offerings are incredibly choice. The focus is on large-scale, multimedia and installation-type pieces that pack an impressive visual punch. Christian Boltanski’s mega installation, Chance, on show at Carriageworks (10 January – 23 March), will prove to be a highlight of the program. It will be the first major work ever presented in Australia by the French artist, who is one of the more important figures of the international artworld. The piece will make full use of the architecture and size of Carriageworks and will chart births and deaths across the globe. The award for coolest festival event goes to 100 Million Nights, the collaboration between artist Daniel Boyd and electronic duet Canyons. The musicians have created an original score based on their interpretation of Boyd’s pieces. On 21 January, in the concert hall of the Sydney Opera House, the performance will be staged in front of three large projections of Boyd’s artwork. The show will also include a sight and sound work by former Battles frontman Tyondai Braxton. Hive will blend modular synthesisers, sound design and percussion with custom built “architecturally designed” illuminated platforms. Billed as an “inter-faith minibus tour (with a sonic and visual dreamscape)”, The Calling will take you on a tour of religious architecture and sacred music in Western Sydney. Beginning at the crack of dawn with the Adhan (the Islamic call to prayer), you will explore selected mosques, temples and churches throughout Auburn, Granville and Parramatta. Also thrown into the mix is a delish traditional Lebanese breakfast. Slovakian artist Roman Ondák is teaming up with Kaldor Public Art Projects (the group that brought us 13 Rooms) to present a trio of performative works. The artworld superstar will present Project 28 at Parramatta Town Hall. Swap, explores process of exchange and barter with humour and audience participation. The second work, Measuring the Universe, at first glance looks like hundreds of thousands of black strokes on a white wall. Look closer and you’ll see it’s tiny records of various visitors’ heights and the dates the measurements were taken. The final work, Terrace, will be a brand new work created specially for the Parramatta event. And that bouncy Stonehenge? That's Sacrilege by Jeremy Deller, direct from the 2012 London Olympics cultural program. Frighten off the tiny children and get jumping. Multipacks are available from October 24 at 9am. General tickets are available on October 28 at 9am. For full details see the Sydney Festival website. This year, the festival is offering an interactive, walk-through version of their program before tickets go on sale. A careers-counsellor-like service will help you find the events you most want to see. Take a gander from October 24-27 at Lower Town Hall. By Rima Sabina Aouf, Hugh Robertson and Rebecca Speer.
As wonderful as Auckland is, the secret to experiencing New Zealand like a local is to head north and leave the city — a Northland road trip is an Aucklander's rite of passage. It's the best way to enjoy a patch of New Zealand that's long flown under the radar and autumn is the best time to do it. Adorned with stunning coastlines that are sensational year-round, the Far North is where you'll find an abundance of some of the nation's freshest seafood, enjoyed not too far from the source, and the Waitangi Treaty Grounds, where Aotearoa New Zealand as it exists today was born. [caption id="attachment_607571" align="alignnone" width="1280"] Alec McCutcheon[/caption] Eat Parua Bay Tavern She's a fair drive up to the tip of the North Island. The length of the journey gives you a decent excuse to stop for a while and enjoy a refreshment or two, served with fresh seafood and a ten out of ten ocean view. Parua Bay Tavern looks like a typical country pub, until you look out the back. An expansive deck covered in picnic tables sits before a rolling lawn that goes right down to the beautiful calm waters of Parua Bay — one of Whangarei Head's most picturesque spots. Ake Ake Vineyard Restaurant Forget to stock up on vinos for your journey north? A tad peckish from all the driving? Kill two birds with one stone at Ake Ake Vineyard Restaurant. Sit amongst the vines on a subtropical Northland night and treat yourself to an organic wine made on sight and a beautiful meal made with seasonal, local produce. You can't go wrong with the market fish or the pork belly if you're struggling to choose. Mangonui Fish Shop If you've tripped up to Northland and you didn't go to the Mangonui Fish Shop, your roadie doesn't even count. This place is a Northland institution serving fresh fish and chips right out over the water, in one of Northland's most quaint little historic towns. It's a tad expensive (we're talking $16.50 for a piece of snapper), so if you're on a budget pop down to Fresh and Tasty Takeaways. They're set in the Mangonui Pub (the northernmost pub in NZ) and serve fish almost as good as the fish shop at half the price. On the other hand, if you're not big on fish and chips, the Thai joint down the road does a top notch curry. Stay Tutukaka On the road to the Far North, a stay in one of the beautiful little beachside settlements around Whangarei is a must. Our favourite has to be Tutukaka, one of the most idyllic coastal locations in the country, complete with postcard-worthy white sand beaches, world-class diving spots and seriously good surf beaches. Take in the region's incredible views by staying at Canopy Camping Escapes, where the luxury tent set up blends creature comforts with proximity to nature. If you're after a wave make sure you head out to Sandy Bay — this spot looks like something straight out of a surf movie, and if you head up in autumn, or even late in summer, you may just get the beach all to yourself. [caption id="attachment_986117" align="alignnone" width="1920"] Camilla Rutherford[/caption] Culture Waitangi Treaty Grounds It's not an overstatement to say the Waitangi Treaty Grounds are Aotearoa New Zealand's most important historical site. It's the location where the Treaty of Waitangi, the nation's founding document, was signed all those years ago in 1840. Brush up on the history and stories of how New Zealand, as it has come to exist today, all began. [caption id="attachment_986619" align="alignnone" width="1920"] Miles Holden[/caption] Coast Puwheke Few beaches in Northland are so easy to access, yet so utterly untouched and pristine. Bring the 4x4, drive down a pothole-infested gravel road wide enough for one car and park on the dunes, or drive down the beach if you're feeling super adventurous. Climb over the rocks on the right of the beach to explore a cave that occasionally fills out with massive bats. If that's not for you, come on the right day and head to the left end of the beach — the surf's often stellar. The local secret is that if you time your trip well and head up anytime that's not high summer, you're in with a good chance of being the only one on this rugged white sand beach located along the Karikari Peninsula. Kai Iwi Lakes Just out of Dargaville you'll find a freshwater lake, surrounded by bone-white beaches and grassy campgrounds, that's truly a local secret. It's easy to spend a few days up here, barbecuing by the lake, enjoying the views over the uber-clear, light blue waters and perhaps swimming out to one of many pontoons to indulge in a bomb or two. The water is super shallow so you'll be pleasantly surprised at how warm it gets during summer. Matai Bay Surrounded by open fields, Māori land, and blooming Pōhutukawa trees, Matai Bay looks like something lifted straight off a cheesy postcard. It's a small golden sand cove, before a crystal blue harbour dotted with rocky islands. For a slice of the bay to yourself, hang a left under the boat ramp and walk to the far end of the beach. Otherwise if you're seeking a thrill, whack your way through the bush covering the hill on the right end of the beach and you'll find a stone ledge a few metres high that serves as a perfect diving board. Find your very own Aotearoa New Zealand here.
On any given Saturday morning across Brisbane, plenty of pooches can be found descending upon the city's markets. Come 6am–12pm on Saturday, October 12, 2024 in Carseldine, dog lovers and their furry four-legged BFFs will be doing what they usually do — with the added bonus of attending the northside spot's returning Barktoberfest. What do cute canines have to do with celebrating this time of year? Nothing, but don't let that get in the way of a dapper doggo-friendly morning out. As well as the usual food and fresh produce, an array of pet-related stalls will ramp up the fun to barking great levels. There'll also be a pupper fashion parade and a pawparazzi photo contest — to determine just which canine cutie friend is the most adorable. Dog-focused demonstrations, pupper prizes, a hydration station that'll come in handy given Brisbane's sultry spring weather — they're all on offer, too. Entry is free, and live entertainment is part of the 150-plus-stall market as well.
When you're relaxing around the house with your pet pooch or cute kitten, you want your four-legged friend to be as comfortable as possible. Yes, all dogs and cats are masters at getting cosy in any given space — boxes, old blankets, your seat on the couch and your bed all included — because that just comes with the territory. But your furry little woofer or meowing companion is certain to dial up the snugness with an item from Big W's new spring pet range. Whether your shar pei would love to relax on a soft faux suede bed, your poodle would absolutely make the most of a pillow bed or your mouser could use a three-level space to scratch and sleep, you'll find it on offer in this new line. It's super-affordable, too, with dog beds starting from $15 and cat beds from $12. More than 400 items are currently available (including various sizes and colours), spanning collars, harnesses and leads, as well as pet clothing, toys and tunnels. The chain's pet line adds further items throughout the year, too — see: its winter collection — because even your doggo's wardrobe or kitty's favourite blanket can change with the seasons. As tends to be the case when it comes to accessories for pets, dogs have a broader range of items to choose from than cats. That said, while felines can be notoriously picky, we're sure your tabby won't notice if its getting some shut-eye on a soft, fluffy bed marketed at canines. Big W's 'Petember' collection is currently available to purchase — including online, with contactless home delivery and pick up available.
Penélope Cruz didn't score an Oscar this year for Parallel Mothers. Her husband Javier Bardem didn't win one for Being the Ricardos, either. And, just a couple of years ago, Antonio Banderas also didn't nab a shiny Academy Award for Pain and Glory — but the three acclaimed actors are all winners at the 2022 Spanish Film Festival. The annual cinema showcase spotlights not just Spanish but also Latin American cinema, and it's back for another Aussie tour throughout April and May — hitting up Sydney, Canberra, Melbourne, Perth, Adelaide, Brisbane and Byron Bay. On the bill: 34 movies that hail from both regions, or tie into them in one way or another, including several with Cruz, Bardem and or Banderas at their centre. Kickstarting this year's Spanish Film Festival with the Cruz- and Banderas-starring Official Competition must've been the easiest programming choice in the fest's history. A filmmaking satire, it casts Cruz as a famous director entrusted to bring a Nobel Prize-winning novel about sibling rivalry to the screen, and enlists Banderas as a Hollywood heartthrob. Throw all of that together and it's clearly film festival catnip, as the movie's berths at overseas fests such as Venice, Toronto and San Sebastián have already shown — and it'll enjoy its Australia premiere as the Spanish Film Festival's opening night pick. The aforementioned — and sublime — Parallel Mothers is also on the lineup after releasing in Aussie cinemas earlier this year, if you missed it then. And, so are two Cruz-Bardem collaborations: Jamón Jamón, the pair's first film together, which marks its 30th anniversary in 2022, and 2017's Loving Pablo, which sees Bardem play Pablo Escobar. Of course, the Spanish Film Festival spans plenty of movies that don't star Spanish cinema's best-known acting names, too — with 2022 Goya-winning political drama Maixabel, fellow Goya-recipient Mediterráneo: The Law of the Sea, psychological horror flick The House of Snails, road-movie comedy Carpoolers, and the coming-of-age-focused Once Upon a Time in Euskadi also on the program. Or, there's Girlfriends, about childhood pals reuniting; dramatic thriller The Daughter, which hones in on a pregnant teen; mother-daughter drama Ama; the Himalayas-set Beyond the Summit; and The Cover, about a pop star impersonator. From the Cine Latino strand, ten films hail from the likes of Argentina, Mexico, Uruguay and the Dominican Republic — including rom-com The Big Love Picture, thriller Immersion, the footballer-centric 9 and Goya-winner (yes, another one) Forgotten We'll Be. Plus, the lineup also includes Language Lessons, which is directed by and starring Natalie Morales (The Little Things), and also features Mark Duplass (Bombshell) — with the pair navigating an online setup to play a Spanish teacher and her student. And, there's sessions of the Spanish-language version of Disney's Encanto as well. SPANISH FILM FESTIVAL 2022 DATES: April 19–May 15: Palace Norton Street, Palace Verona, Palace Central and Chauvel Cinema, Sydney April 20–May 15: Palace Electric, Canberra April 21–May 15: The Astor Theatre, Palace Cinema Como, Palace Brighton Bay, Palace Westgarth, The Kino, Palace Balwyn and Pentridge Cinema, Melbourne April 27–May 18: Palace Nova Eastend Cinemas, Adelaide April 27–May 18: Palace Raine Square Cinemas, Luna Leederville and Luna on SX., Perth April 28–May 18: Palace Barracks and Palace James Street, Brisbane April 29–May 15: Palace Byron Bay, Byron Bay The Spanish Film Festival tours Australia from Tuesday, April 19–Wednesday, May 18. For more information or to buy tickets, visit the festival's website.
If you're fond of eating out, having a drink with dinner and not splashing around all your cash in the process, then you're probably fond of the words 'bring your own'. When it comes to gathering the gang to share a meal and still feel good about your bank balance afterwards, this simple phrase ranks among the best there are. Pair it with an affordable eatery, too, and you're dining out in style while still keeping your pennies in check. Whether you feel like pizza, pasta, an Asian feast or a nice fish 'n' chips spread, we're directing you toward spots that you and your mates should head to for your next dinner catch-up.
At some point, we all have to realise that we just can't watch every TV show ever made. It's a sad revelation, and it mightn't feel the case after a few years spent at home more often than anyone would've liked, but it's the practical reality. So many streaming platforms to choose from, so many new series hitting each and every one of them all the time — throw in all the regular old television channels, too, and that's every TV fan's current, ongoing, never-ending dilemma. We all have gaps in our viewing as a result. And while it seems like every television program that's ever hit airwaves or the internet is always available all of the time, even the list of shows that you can watch in Australia has gaps, because we don't necessarily get access to everything the moment it lands overseas. With all of that in mind, it's been impossible to watch everything new that's hit the small screen Down Under over the past year — but summer is a great time for catching up. Here are 12 standout series that mightn't have made their way to your streaming queues yet, but you should make a date with as soon as you can. And if you've seen them already, summer is also the perfect time for a rewatch. THE SEX LIVES OF COLLEGE GIRLS Here's a great way to know whether a new TV comedy is worth watching: check whether Mindy Kaling is involved. After stealing every scene she could in The Office, then turning The Mindy Project into a smart, funny and adorable rom-com sitcom made with oh-so-much love for the genre, she just keeps adding new shows to her resume as a co-creator, writer and producer. The Sex Lives of College Girls is the latest, and quickly thrives thanks to the kind of savvy, authentic, honest and highly amusing writing that's always been a hallmark of Kaling's work. If you didn't know she was behind it going in, you'd easily guess. It also sports an immensely descriptive title, following four college freshmen — strangers to each other, but now roommates — as they navigate the move from high school to the fictional Essex College in Vermont. Because three movies currently in cinemas starring a member of Chalamet family just isn't enough (aka Dune, The French Dispatch and Don't Look Up), The Sex Lives of College Girls features his Timothée's sister Pauline (The King of Staten Island). She plays Kimberly Finkle, who heads to Essex as valedictorian of her small-town school, is more excited about the classes than the parties, but still wants to have the full college experience. And, she's thrilled to find herself rooming with aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (first-timer Alyah Chanelle Scott) and the wealthy Leighton Murray (theatre star Reneé Rapp) — even if the latter in particular doesn't initially return the enthusiasm. The quartet's exploits from there navigate all the usual kinds of relatable college antics, but do so with a warm-hearted vibe, a great cast, insightful humour, and a shrewd focus on friendships and figuring out who you want to be. The first season of The Sex Lives of College Girls is available to stream via Binge. THE PURSUIT OF LOVE Bolters and stickers. They're the two labels given to women in The Pursuit of Love, a lavish, effervescent and also impeccably shrewd new three-part miniseries adaptation of Nancy Milford's 1945 novel of the same name. Befitting its source material's timing, the storyline leads into the Second World War, all as chalk-and-cheese cousins Linda Radlett (Lily James, The Dig) and Fanny Logan (Emily Beecham, Little Joe) grow from teens into women — and the former, the impulsive and passionate daughter of a Lord (Dominic West, Stateless) who doesn't believe in educating girls and hates foreigners, chases romance at all costs. Fanny narrates the story, detailing Linda's ups and downs alongside her own. Her own mother (Emily Mortimer, Relic) is purely known as "the Bolter", having left Fanny with her sister (Annabel Mullion, Patrick Melrose) as she too sought love again and again. It's a label that Linda despises when it's applied to her, though. Whether having her eyes opened to the world by her bohemian neighbour (Andrew Scott, His Dark Materials), falling for the first arrogant boy (Freddie Fox, Fanny Lye Deliver'd) she spends any real time with, or later crossing paths with a motivated Communist (James Frecheville, The Dry) and a French duke (Assaad Bouab, Call My Agent!), she does keep leaping forward, however. In contrast, Fanny literally bumps into Oxford academic (Shazad Latif, Profile) and settles into domestic bliss, all while worrying about her cousin. Mortimer also makes her directorial debut with this swiftly engaging look at well-to-do lives, and unpacking of the way women are perceived — and it's the latter, the vivid staging and cinematography, and the vibrant performances that make this a must-see. The Pursuit of Love is available to stream via Amazon Prime Video. CALLS Everyone has heard about the response that The War of the Worlds reportedly sparked back in 1938. That's when Orson Welles adapted HG Wells' novel into a radio play, and the result was so convincing that it reportedly incited panic among listeners. Watching Calls, it's easy to understand how. 'Watching' isn't exactly the right term for this mystery series, though. Like all those folks glued to their radios 83 years ago, Calls' audience is forced to listen intently. Indeed, in terms of visuals, the series only provides two types: words transcribing the conversations heard, and abstract visuals that move and shift with each sentence uttered and every suspenseful pause left lingering. Accordingly, focusing on the snippets of phone chats that tell the program's stories is what Calls is all about. Remaking the French show of the same name, and directed by Evil Dead and Don't Breathe's Fede Álvarez, something much more than a small-screen version of a story-fuelled podcast eventuates. A starry cast voices the chats — including everyone from Parks and Recreation duo Aubrey Plaza and Ben Schwartz to Wonder Woman 1984's Pedro Pascal and Zola's Riley Keough — but it's the tension and power of their words that leaves an impression. Each of the nine episodes tells a short story that eventually builds an overall picture, and getting caught up in them all is far easier than the underlying concept might initially make you think. Calls is available to stream via Apple TV+. THIS WAY UP In Britain, This Way Up didn't drop both of its seasons in the same year; however, that's how it panned out for Australian viewers. And, that's a great thing — not only because this smartly written, astute, insightful and delightfully acerbic series about London-based Irish siblings Áine (Aisling Bea, Living With Yourself) and Shona (Sharon Horgan, Catastrophe) keeps viewers hooked episode after episode, but because binging your way through it immerses you wholeheartedly in their chaotic lives and headspace. As the first season establishes, English teacher Áine is riding the ups and downs of a mental health journey that saw her spend some time receiving in-patient treatment, and has left Shona, the high-powered overachiever of the pair, perennially worried. Even as COVID-19 approaches and begins to affect their lives in the second season, that dynamic is still in place. But Áine is now embarking upon a relationship with Richard (Tobias Menzies, The Crown), the father of a French boy (Dorian Grover, The White Princess) she tutors, all while trying to hide it from her bosses and said kid. Shona is the least-fussed bride-to-be there is as she prepares to get married to her long-term boyfriend and ex-colleague Vish (Aasif Mandvi, Evil), and also navigates more than a little awkwardness with her friend and new business partner Charlotte (Indira Varma, Official Secrets). The heart of this series is the push and pull between this sisters, and how they try to weather everything that life throws their way — and it remains firmly intact across its full run so far. The first and second seasons of This Way Up are available to stream via Stan. THE NORTH WATER When ex-army surgeon Patrick Sumner (Jack O'Connell, Seberg) secures a gig on a whaling expedition to the Arctic working as the ship's doctor, he's clearly running from something. His new colleagues are instantly suspicious of his story, bloodthirsty harpooner Henry Drax (Colin Farrell, Voyagers) among them — although Captain Brownlee (Stephen Graham, Venom: Let There Be Carnage) and whaling company owner Baxter (Tom Courtenay, Summerland) are mostly just happy for his cheap services. That's the setup for The North Water, the 19th-century-set, five-part miniseries that takes to the seas, to the cold and to a brutal world, and proves grimly mesmerising with its Moby Dick-meets-Heart of Darkness vibes. Charting a survivalist tale not just of the physical kind amid all that unforgiving ice (and on those treacherous waters), but also of the emotional and mental variety as well, this is one of the most relentlessly intense shows to hit screens in 2021 — and it's also gripping from start to finish. The first episode sets the scene in a slow-burn fashion, culminating in sights so searing they're impossible to forget — and the story, as well as the vast chasm between Sumner and Drax, only grows from there. Writer/director Andrew Haigh adapts Ian McGuire's novel of the same name, but this series has the Weekend, 45 Years and Lean on Pete filmmaker's stamp all over it. He finds as much empathy here as he has throughout his stellar big-screen projects, and once again demonstrates his extraordinary eye for detail, exceptional sense of place and winning way with actors. With the latter, having O'Connell and Farrell lead the charge obviously helps. They're not only reliably phenomenal; they each put in some of their best-ever work, and their performances seethe with complexity. So does the entire miniseries, which is never willing to pose easy answers or provide straightforward interpretations when ruminating over the minutiae is much more riveting, fascinating and realistic. The North Water is available to stream via Binge. PHYSICAL On a typical early-80s day, San Diego housewife Sheila Rubin (Rose Byrne, Irresistible) will make breakfast for her professor husband Danny (Rory Scovel, I Feel Pretty), take their daughter to school, then run errands. She'll also buy three fast food meals, book into a motel, eat them all naked, then purge. Physical can be bleak — about the pain festering inside its bitterly unhappy protagonist, her constantly fraying mental health, the smile she's forced to plaster across her face as she soldiers on, and her excoriating options of herself — but it also finds a rich vein of dark comedy in Sheila's efforts to change her life through aerobics. Add the series to the list of 80s-set shows about women getting sick of being cast aside, breaking free of their societally enforced roles and jumping into something active. GLOW did it. On Becoming a God in Central Florida did, too. And now those two excellent series have a kindred spirit in this sharp, compelling and often brutally candid show. Byrne is a force to be reckoned with here, in one of her best performances in some time (and a reminder that in everything from Heartbreak High to Damages and Mrs America, she's always done well on TV). Also entrancing, engaging and difficult to forget: Physical's desperate-but-determined tone, and the way it seethes with tension beneath the spandex, sequins and sunny beach shots. The first season of Physical is available to stream via Apple TV+. MADE FOR LOVE When author Alissa Nutting penned Made for Love, no one needed to think too hard about her source of inspiration. Now bringing its tale to the small screen courtesy of the series of the same name, her story ponders one of the possible next steps in our technology-saturated lives. Hazel Green-Gogol (Cristin Milioti, Palm Springs) seems to live a lavishly and happily with her tech billionaire husband Byron (Billy Magnussen, No Time to Die). They haven't left his company's desert campus in the entire ten years they've been married, in fact. The site is designed to cater for their every desire and whim, so they shouldn't need to go anywhere else — or that's how Byron views things, at least. Then his next big idea looks set to become a reality, and Hazel decides that she can't keep up the charade. She certainly doesn't want to be implanted with a chip that'll allow Byron to see through her eyes, access her feelings and always know where she is, and she's willing to take drastic actions to escape his hold over her life. Bringing the plot to the screen herself, Nutting favours a darkly comedic and sharply satirical vibe as she follows Hazel's quest for freedom, with Made for Love filled with blisteringly accurate insights into the tech-dependence that's become a regular part of 21st century existence. That said, the series wouldn't be the gem it is without Milioti, as well as Ray Romano (The Irishman) in a scene-stealing supporting part as Hazel's father. The first season of Made for Love is available to stream via Stan. THE VIRTUES Director and screenwriter Shane Meadows has a fantastic track record, spanning everything from Dead Man's Shoes to This Is England — as well as the multiple TV shows inspired by the latter. Fellow screenwriter Jack Thorne is no stranger to working with Meadows, also thanks to the This Is England franchise; however his individual resume includes Dirt Music, Radioactive, The Secret Garden, Enola Holmes, The Eddy and His Dark Materials over just the past couple of years. So, the pair's involvement in The Virtues immediately marks it as a miniseries to watch. So does its star Stephen Graham, yet another veteran of This Is England. Here, all three combine for a four-part drama that's bleak, raw, frank and devastating — and, once you've started watching, it's also impossible to tear your eyes away from until the credits roll on the final episode. After it finishes, it's downright impossible to forget, in fact, a claim that can't be made of most television shows. Graham plays Joseph, a labourer who's barely getting by. When his ex-partner and his young son move to Australia, he hits the bottle, has a big night, and wakes up certain that he has to head back to Ireland and confront his troubled past. So starts an emotional journey that's never easy — not for a single second — but is also never anything less than astounding. The Virtues is available to stream via Stan. INVINCIBLE If you've ever shopped for a specific item on Amazon and found multiple similar versions of the same thing, then you already know what it can be like to dive into Amazon Prime Video's streaming catalogue. Many of its new additions instantly bring other shows in its catalogue to mind by sharing and mimicking elements, and Invincible follows that trend. At first, it'll have you thinking about The Boys. Next, you'll start recalling Undone. Those two series mightn't seem like a natural fit, but the combination of superheroes and existential malaise works well here. Animated like the latter, but willing to get bleak and dark with caped crusaders as the former does repeatedly, Invincible focuses on Mark Grayson (voiced by newly minted Oscar nominee Steven Yeun, Minari). The 17-year-old son of the well-known Omni-Man (J Simmons, Palm Springs), he's been waiting for his own powers to kick in — and, when they do, he's forced to grapple with exactly what that means. Among the star-studded cast, Sandra Oh (The Chair), Mark Hamill (Star Wars) and Mahershala Ali (Green Book) all lend their vocal tones. Off-screen, The Walking Dead co-creator Robert Kirkman is responsible for not only doing the same with the Invincible comic book, but with the series. What lingers most here is the mood, though, with the show at its best when it's getting contemplative and introspective with its teen protagonist. The first season of Invincible is available to stream via Amazon Prime Video. LOS ESPOOKYS It has taken almost two years for the delight that is Los Espookys to reach Australian screens — and it'll take you less than three hours to binge its six-episode first season. This HBO comedy is both worth the wait and worth devouring as quickly as possible, though. The setup: horror aficionado Renaldo (Bernardo Velasco, Museo) wants to turn his obsession into his profession, so he starts staging eerie scenarios for paying customers, enlisting his best friend Andrés (Julio Torres, Shrill), pal Úrsula (Cassandra Ciangherotti, Ready to Mingle) and the latter's sister Tati (Ana Fabrega, At Home with Amy Sedaris) to help. Torres and Fabrega co-created the show with Portlandia and Saturday Night Live's Fred Armisen, who also pops up as Renaldo's parking valet uncle. This mostly Spanish-language series only uses its biggest name sparingly, however, because its key cast members own every moment. Following the titular group's exploits as they attempt to ply their trade, and to weave it into their otherwise chaotic lives, Los Espookys always manages to be both sidesplittingly hilarious and so meticulous in its horror references that it's almost uncanny. There's nothing on-screen quite like it and, thankfully, it has already been renewed for a second season. The first season of Los Espookys is available to stream via Binge. MR MAYOR Here are five of the most glorious words you're ever likely to read: Ted Danson plays the mayor. The sitcom stalwart (see also: Cheers, Becker, Bored to Death and Curb Your Enthusiasm) has hopped from The Good Place into Mr Mayor, actually, and into the latest TV comedy created and/or produced by Tina Fey. Fans of the latter's other shows — 30 Rock, obviously, and also Unbreakable Kimmy Schmidt, Great News and Girls5Eva — will know the sense of humour her series tend to work with, and it's a fabulous match for Danson. So too is Mr Mayor's setup, which sees a wealthy, clueless but amiable businessman decide he can improve a post-COVID-19 Los Angeles, and get elected. Firmly a workplace comedy, the series chronicles the ups and downs in the mayor's office as Danson's Neil Bremer tries to do a job he clearly isn't qualified for. Naturally, with the arrogance of a rich, white and otherwise successful man of a certain age, he believes otherwise. Mr Mayor is firmly an ensemble comedy as well, however, and both Holly Hunter (Succession) and Bobby Moynihan (Saturday Night Live) are comedic gems as Bremer's over-enthusiastic deputy mayor and bumbling communications director, respectively. The series is a tad less successful when it endeavours to be a family comedy, too, bringing the mayor's teenage daughter Orly (Kyla Kenedy, Speechless) into the mix. But when its gags land — and whenever Danson and Hunter share the screen, which is often — it's smart, hilarious and all-too-easy to binge. The first season of Mr Mayor is available to stream via 9Now. SPREADSHEET When Katherine Parkinson starred in The IT Crowd 15 years ago, she played a woman trying to exude a cool, calm and collected air, but constantly finding her life — and her new job in IT — hindering that aim. In Spreadsheet, her new sitcom role, Parkinson's latest character isn't attempting the same feat. Instead, freshly divorced Melbourne-based lawyer and mother-of-two Lauren has has accepted that her existence is now messy; however, having a spreadsheet to keep track of her revamped love life is meant to help. Embracing being single, and all the opportunities for casual hookups that apps now bring, she isn't looking for a relationship. She even has her colleague Alex (Rowan Witt, Adore) helping to maintain her fast-growing database of sexual options. But this clearly wouldn't be a comedy if her new status quo turned out smoothly and stress-free. As this new Australian sitcom knows and keenly relies upon, there's a breeziness to Parkinson's comic performances that hits both humorous and relatable notes. Indeed, the British actor is the key reason that Spreadsheet's eight-episode first season is so incredibly easy to binge. Whether Lauren is being introduced in the throes of pleasure in the car park outside the Palais Theatre, is getting intimate in a snake dungeon or sports an eye patch after a run-in with a cuckoo clock, Parkinson is a comedic whirlwind. In a series that approaches its 'sex in the suburbs' setup with smarts and insights, too, she's also surrounded by an impressive local cast that includes Witt, Stephen Curry (June Again), Katrina Milosevic (Wentworth) and Zahra Newman (Long Story Short). The first season of Spreadsheet is available to stream via Paramount+.
You won't have to hack together IKEA's latest collection, as the iconic furnisher of homes everywhere has just released its collaboration with Stockholm-based architect-turned-designer Gustaf Westman. Renowned for his bubbly, curvaceous pieces, it's Westman's first-ever product design collaboration, though he's far from an unknown quantity. He counts design-conscious celebs like Tyler, the Creator and Olivia Rodrigo among his fans. While we usually associate the Swedish giant with ready-to-assemble furniture made for functionality, this collaboration brings a little more personality to the fore. Created with joyful informality, Westman's 12-piece collection is inspired by seasonal celebrations, challenging tradition through his trademark sculptural shapes and bold colour combinations. "For me, this was an opportunity to take traditional holiday decor aesthetics and turn it on its head, instead, introducing a sense of playfulness and boldness," says Westman. "This is my interpretation of the holidays; it's a new design for a new generation." So, what's in store for IKEA and Westman fans? As you might expect, there's no shortage of pieces celebrating food and togetherness. The most attention-grabbing is a dedicated meatball plate — especially appropriate considering IKEA's iconic dish turns 40 this year. Meanwhile, Westman has designed an offbeat porcelain cup and saucer set for glögg, aka mulled wine, shaped by memories of his grandma's holiday baking. Westman's collection is also here to level up your lighting. There are matching candlesticks and holders in two candied colours — red and blue — and a portable, rechargeable lantern that twists from a round shape into an orbital one. Those familiar with Swedish Christmas traditions will also recognise a reimagined candelabra-style lamp, traditionally placed in windows during the holiday season. "Celebration often comes with established traditions, and we were curious to explore a more fun and inclusive take," says Maria O'Brian, IKEA Range Identity Leader. "Teaming up with Gustaf Westman felt like a natural match to help us reimagine the holidays with a twist." The limited-edition IKEA x Gustaf Westman collection will be available for purchase from Monday, September 29. Head to the website for more information.
Planning a trip to the Red Centre for NAIDOC Week? The Ayers Rock Resort celebrates the occasion with '50 Years of NAIDOC' — a feast for the senses, where vibrant cuisine and captivating storytelling combine with art, culture and more. Running from Sunday, July 6–Sunday, July 13, Indigenous chef Mark Olive, aka 'The Black Olive', headlines the experience, taking over the resort's Arnguli Grill & Restaurant with a three-course set menu brimming with native bush foods and Indigenous wines. Olive will also host an intimate dinner on Wednesday, July 9, with guests invited to enjoy the exclusive menu sat alongside Olive, who'll recount stories and insights behind each dish and the ingredients' significance. Meanwhile, Olive will also present a complimentary Bushfood Masterclass, where culinary tradition, technique and storytelling blend across various sessions in the Gallery of Central Australia's outdoor amphitheatre. Beyond these gastronomic encounters, the Ayers Rock Resort has also produced a series of art experiences and cultural activities. Aṉangu artists Billy and Lulu Cooley will present their wood-carving talent in the Town Square Circle of Sand. Plus, the Sunrise Journeys encounter sees guests connect to Country at dawn, as three local Aṉangu artists bring the desert landscape to life each day using laser projection, music and the natural environment. On Wednesday, July 9, Uluru-Kata Tjuta National Park's Cultural Centre Inma Ground offers insight into traditional working tools and ceremonial song and dance, while the Town Square Lawns features the NAIDOC Markets, teeming with community, culture and cuisine on Sunday, July 6. For cinephiles, the Arkani Theatre will host the Indigenous Film Festival, screening free films throughout the week, including Charlie's Country and Bran Nue Day. Images: Carly Earl / Matt Lambley.
Fifteen years ago this week, in two Los Angeles cinemas, The Room enjoyed its world premiere. Telling the tale of a banker, his adulterous fiancée, his conflicted best friend, a local teen caught up in a drug deal, a mother with cancer, a particularly awkward party, a bunch of guys playing football in tuxedos and the worst apartment decorating scheme you've ever seen, the film wasn't met with applause, acclaim or anything in the way of excitement. And yet, all this time later, it has an avid fan base, still sells out screenings around the world, and has inspired both a behind-the-scenes book and an Oscar-nominated movie. Of course, you've seen The Room, thrown spoons at it and marvelled at how Tommy Wiseau somehow managed to make a movie that's both terrible and enjoyable — but Wiseau and his co-star Greg Sestero aren't done yet. They both played a part in last year's The Disaster Artist, as based on Sestero's book of the same name, and now they're back in something completely unrelated to their big claim to fame. In Best F(r)iends, the pair return as a mortician and a drifter. Yes, you can guess which part the lank-locked Wiseau plays. Sestero's down-on-his-luck LA resident Jon is given the chance to work for Wiseau's morgue owner Harvey Lewis, but neither is being completely honest with each other. Scripted by Sestero but (thankfully) not directed by Wiseau, the black comedy is literally a film of two parts, with Best F(r)iends: Volume One currently touring the world ahead of Best F(r)iends: Volume Two later this year. With Sestero returning to Australia for Q&A screenings of the first film, we chatted to him about not only making another movie with Wiseau, but writing a part specifically for him, among other topics. These are the ten things we learned. https://www.youtube.com/watch?v=OTu9N40E_MI HE WANTED TO MAKE A MOVIE THAT SHOWCASED TOMMY WISEAU'S ACTING TALENTS "For so long, I didn't expect to work with Tommy again after The Room for many reasons. But once I decided to take him seriously, I realised that he really hasn't been utilised properly as an actor. And this is really a chance to really do him right and put him in a part that he could succeed in — while at the same time, I was really genuinely interested in working with again. I really believe that Tommy can be interesting as an actor, but he just hadn't been given the right part." HE NEVER CONSIDERED GETTING WISEAU TO DIRECT "I really wanted to see him focus on being an actor. I'd handle the producing, and put the right team together that would just be there to make a film, and we wouldn't make The Room 2. And I thought he really shines as an actor — and I thought giving him a chance to focus on that. And he really put in the work. We rehearsed a lot. You know, he memorised most of his lines. I wrote the part with him in mind, so the dialogue definitely catered to his strengths, but he put in the work and he showed up ready to do this best." BEST F[R]IENDS IS BASED ON THE TIME WISEAU THOUGHT SESTERO WANTED TO KILL HIM "I took a road trip with Tommy up the California coast back in 2003. I thought we were just going up to have a good time, but Tommy assumed that I was plotting this thing against him, and that I was going to try to kill him. I mean it was just really far out. So when he explained to me why he thought that, and what he was feeling, all these years later when I was sitting down to write this story, I explored that. And I thought 'what if I was, and how would it go down, and what would happen?'. And so it kind of gave me a jumpstart into writing this story." THE FILM ALSO INCORPORATES A VERY REAL BLACK MARKET "The other true event was that my brother is a dentist, and so he told me this very bizarre, underground business that is happening in dentistry, with human teeth. So we use all real teeth in the film. That's all kind of stuff that actually goes on." HE DIDN'T REFERENCE THE ROOM ON PURPOSE, BUT YOU'LL SPOT A FEW NODS "Any reference to The Room, to be honest with you, was accidental or worked its way in. When I wrote the script, there were no references. There was no basketball scene. We shot at a real morgue, so there are bodies that'd come in and out that would interrupt the shoot — and we decided to play basketball as a break, and that ended up being filmed and being turned into a scene. The spiral staircase that was in that office just happened to be there, you know. There wasn't any intention to reference The Room in any way, but the things that did, I feel like if they were organic and worked their way in, it was fine." HE CREDITS THE ROOM'S SUCCESS TO WISEAU "It's just something that is completely unique — because it was made by one man who had creative control, had the money to say 'this is the way we're going to do it', and just sees the world so differently. So people see it and they can't believe that it really exists, and it's just one of those things you want to share with people because it has no business succeeding or even existing. And there's just kind of this magic to it. Because there's nothing else that exists like it, it unites people in a way — they're craving something different — and it just delivers a flavour that you know you can't recreate it. It's just to the power of being original, I think, is what I've learned. Tommy hasn't tried to change himself for acceptance. He just is himself, and I think people like that." IT REALLY ISN'T EASY TO BREAK FREE FROM THE ROOM "I never thought anybody would see The Room — it was kind of something that I was backed into. But I love a challenge, and I think there is something fun and challenging about trying to rework what you're working on I think it started with The Disaster Artist book. When a lot of people thought I was going to write a book about the experience, I think they expected fan service and a quirky making-of, like 'lets look at all these wacky things that Tommy did'. But I really approached it in a way that I thought could tell a story that could become an Oscar-calibre film. At the time I think people thought that was a little far-fetched. It's definitely a challenge for any cult film, but especially with this one — where it's considered the worst movie, and people who see it throw spoons at the screen, and actually get involved in the performance or the film that you're making. You just need to be really aware of what you're trying to say to your audience. I believe your audience will follow you if you approach things properly." HE'D LIKE TO MAKE A BABADOOK-STYLE HORROR FILM NEXT "I want to make a horror film. I definitely have been influenced by The Babadook and these kind of new horror films — and I want to play on the psychological aspect of horror rather than the blood and guts, or to try to combine the two. But definitely horror is the genre that I'd love to go for." HE'S FINE WITH AUDIENCE PARTICIPATION — SO BRING TEETH "People have started showing up with bloody shirts and holding homeless signs, but I think throwing plastic gold teeth would be kind of cool. That could catch on — or maybe plastic lemons or serving lemonade? That could be pretty cool. The audiences that I've seen it with, there's definitely some interaction — but nothing being thrown yet. But I'm sure that people will come up with something." BEST F(R)IENDS: VOLUME TWO IS HIS FAVOURITE THING HE'S EVER DONE "It's completely different. It's insane. I like to think that if this film is Nightcrawler and Double Indemnity, then Volume Two is Psycho meets Breaking Bad. But it's totally different. I think Volume Two is my favourite, but I think it really compliments Volume One — and I can't wait for people to actually get to watch them back-to-back. I really hope they enjoy it as much as we enjoyed making it." As well as touring Australia and New Zealand in Q&A screenings, 'Best F(r)iends: Volume One' will open at Melbourne's Cinema Nova on July 5.
For the third time in seven days, the Australian Government has introduced new restrictions on non-essential mass gatherings. On Friday, March 13, a ban on outdoor mass gatherings over 500 people was introduced, and was followed by a ban on non-essential indoor events of over 100 people on Wednesday, March 18. The latest, announced this afternoon, Friday, March 20, by Prime Minister Scott Morrison concerns non-essential indoor events of less than 100 people. A limit of one person per four square metres has been recommended by the Australian Government and Chief Health Minister. Airports, public transport, age care, correctional facilities, law courts, parliaments, food markets, supermarkets, office buildings, factories, mining sites, hotels, motels, schools, universities and transit spots — such as Bourke Street Mall, Martin Place — are considered 'essential', but cafes, pubs, nightclubs, restaurants, bars and cinemas (ones that are not already closed) will need to adhere to the new limits, the Prime Minister has today revealed. It's not clear how and if these limits will be enforced, but it's likely many venues will need to introduce new limits on capacity. With hospitality venues across the country closing and becoming takeaway-only already, it's also likely these new restrictions will lead to even more closing their doors, at least temporarily. The Prime Minister has also encouraged essential gatherings to adhere to the new guidelines, saying if it's done so more broadly we have a greater chance of "flattening the curve" (the term adapted for reducing the exponential spread of COVID-19, as shown by this graph). He has also, once again, pressed Australians to practise social distancing. It's predicted the above measures will be in place for "at least the next six months". For now, the bans on non-essential gatherings are in place indefinitely. A limit on one person per four square metres is now recommended for all non-essential indoor gatherings of fewer than 100 people. The Australia-wide bans on non-essential indoor gatherings of more than 100 people on non-essential outdoor events of more than 500 people are still in place. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Kitti Gould
Mary, Queen of Scots is a film steeped in two time periods, yet firmly of the times. A historical drama set in the 16th century as two female monarchs battle for supremacy, it's also a movie that could've only been made today. The true tale itself has graced the screen before, but the angle favoured by this interpretation of the story is straight out of the #MeToo era. As much as Mary, Queen of Scots tells of its titular ruler (Saoirse Ronan) and her conflict with her cousin Queen Elizabeth I (Margot Robbie), it also explores the forces pitting them against each other and putting them in their places. When Mary returns to Scotland after a childhood spent in France, she regains her throne and sets her sights on her other birthright. The only legitimate child of King James V, she boasts a claim to England, even if Elizabeth already wears that crown. What follows is a quest for sovereignty by two relatives as different as they are alike. Mary is a teenage Catholic open to love, life and birthing a successor to both kingdoms, while Elizabeth is a Protestant who refuses to marry and isn't expected to bear an heir. But they're each headstrong, intelligent and passionate, and determined to fight for what's theirs regardless of the obstacles in their path. In a movie filled with men unhappy about serving the fairer sex, including Mary's disapproving half-brother (James McArdle), a scare-mongering religious leader (David Tennant) and Elizabeth's duplicitous chief advisor (Guy Pearce), there's no doubting how cruel the world can be to a woman in power. While political manoeuvring and machinations drive Mary, Queen of Scots' plot, confident first-time director Josie Rourke works with screenwriter Beau Willimon (House of Cards) to focus on the bigger picture. Behind both queens stands a line of wolves in sheep's clothing, complying with their rulers to the bare minimum and trying to push their own agendas. If the male posturing and plotting didn't ring so true, it might've felt like a forced, convenient modern revision designed to highlight that women still struggle to be taken seriously, even if their troubles are finally getting more attention. Sadly, men attempting to tear down female leaders hasn't gone out of fashion in the past five centuries. A veteran of the London stage before this, Rourke knows where the strength of the story lies. Although her handsomely mounted picture is based on the biography Queen of Scots: The True Life of Mary Stuart and clearly favours the Scottish monarch over her cousin, Mary's struggles are deepened by the comparison to Elizabeth. Indeed, through skilled, fluid cross-cutting, the film convincingly closes the gap between two women who only actually share one scene. Their face-to-face, when it comes, is climactic, emotional and memorable (not to mention strikingly staged by Rourke and her team), but Mary, Queen of Scots places them face-to-face from start to finish, in a manner. History branded Mary and Elizabeth competitors; this version of history sees them as kindred spirits. Still, for all of Mary, Queen of Scots' successes, it ultimately mirrors the plight of its protagonists: striving for greatness, and to make an impact, yet often weighed down. It's a fine, meaningful film that could've been stellar, but sometimes makes its minutiae feel routine and elongated. After a while, the letters back and forth, the scheming and strategies, and the fears and the threats all bleed into each other, even for those already familiar with the details. Thankfully, the same can never be said of 2018 Oscar nominees Ronan and Robbie, each worlds apart from their respective acclaimed roles in Lady Bird and I, Tonya. One is plucky and idealistic, the other fierce yet silently fraying, and both are tinged by exhaustion and frustration — not from squaring off against each other, but from simply fighting to exist. Any movie would be lucky to have them, and their equally timely and timeless vision of women holding their own. Mary, Queen of Scots is lucky to have both. https://www.youtube.com/watch?v=QEC-F8cBD9s
Plan a trip to South Australia, and spending time surrounded by grapes is probably on your agenda. In 2022, you can pair all those winery visits with plenty of pumpkins, too, because Yayoi Kusama's pumpkin-focused infinity room The Spirits of the Pumpkins Descended into the Heavens will display at the Art Gallery of South Australia from Friday, April 1. Australia just keeps going dotty for Kusama. Brisbane's Gallery of Modern Art's hosted a kaleidoscopic exhibition dedicated to the Japanese artist back in 2017, her Obliteration Room has proven a hit in the Sunshine State several times and, going one better, Canberra's National Gallery of Australia acquired The Spirits of the Pumpkins Descended into the Heavens back in 2018. While the latter is a permanent addition to the NGA's collection, it's also going on the road on — which is why Adelaide is your next place to see oh-so-many dots. The piece was first exhibited in 2015. Comprised of a mirrored cube filled with yellow, dot-covered pumpkins, it's a quintessential Kusama work. Whether you're a devoted fan who considers visiting the artist's own Tokyo museum a bucket-list moment, or someone who has simply placed stickers around one of her obliteration rooms, you would've noticed that dots and the concept of infinity are crucial to her art — "our earth is only one polka dot among a million stars in the cosmos," she says. Inside the cube, the bulbous vegetables appear to create an endless field thanks to the shiny surface. On the outside of the cube, the structure's mirrored exterior reflects the yellow-and-black walls in the surrounding installation room — again, making it appear as though the pattern stretches on forever. The NGA's acquisition was made possible via a gift from Andrew and Hiroko Gwinnett, which is also supporting the infinity room's tour. AGSA hasn't revealed how long it'll be on display, but entry will be free — and it's obviously a must-visit addition to any Adelaide itinerary. The Spirits of the Pumpkins Descended into the Heavens forms part of the gallery's just-announced 2022 program, which also includes the 2022 Adelaide Biennial of Australian Art from March, a showcase of Japanese sculptural ceramics from May, and Robert Wilson: Moving portraits from July — with the latter displaying video portraits of international stars such as Lady Gaga, Brad Pitt, Isabella Rossellini, Robert Downey Jr and Winona Ryder, as created by the New York artist, designer and director. Find The Spirits of the Pumpkins Descended into the Heavens 2017 at the Art Gallery of South Australia, North Terrace, Adelaide, from Friday, April 1, 2022. Images: Installation view, THE SPIRITS OF THE PUMPKINS DESCENDED INTO THE HEAVENS by Yayoi Kusama, 2017, National Gallery of Australia, Canberra. © Yayoi Kusama, courtesy of Ota Fine Arts, Tokyo/Singapore/Shanghai.
When you think of ghosts and ghouls you most likely think of rickety houses covered in ivy, or old asylums on misty moors. The oceanic paradise of Australia is probably the last place to come to mind. But with waters full of stuff that eats you, and often inhospitable lands teeming with things just as iffy, this land with a darker history than most really does seem the perfect home for things that go bump in the night. So, here is a look at haunted Australia, a list of ten haunted prisons, houses and townships. Reader beware. OLD MELBOURNE GAOL Completed in 1844, the Old Melbourne Gaol is one of the most famous buildings in Australia. Before closing in 1929, the prison housed dangerous criminals among petty offenders, the homeless and the mentally ill. Executions were undertaken, and at least 133 prisoners, including the infamous outlaw Ned Kelly (whose remains were later sent to Pentridge and recently exhumed) and Jack The Ripper suspect Frederick Bailey Deeming, met their end on the hangman’s rope. The Gaol is an imposing building, but despite a bloody history, it isn’t known for its hauntings — though the things are reported, the building is relatively quiet. Some believe Elizabeth Scott, the first woman to be hung at the gaol, still walks the halls. MONTE CRISTO HOMESTEAD Compared to the Old Melbourne Gaol, and most other buildings in the country, the Monte Cristo Homestead is a hive of ghostly activity. Finished in 1885, the double-storey late-Victorian manor sits on a hill overlooking the town of Junee, and claims to be Australia’s most haunted house. Now a museum, it has a bloody past — a caretaker was murdered in the 1960s, a stable boy burned to death, a maid fell from a balcony, a baby was dropped from a stairwell and a man was imprisoned in the dairy. With wall and floors practically running red with blood it’s not exactly surprising that people report seeing ghosts. Supernatural occurrences range from strange voices, phantom lights and invisible forces, to ghostly figures and animal mutilations. Hardly the best place to spend a night. JENNY DIXON BEACH In 1870 a coal schooner called the Janet Dickson ran aground during a storm along the central coast. All on board survived, but others in subsequent years weren’t so lucky. Before the construction of a lighthouse, more than 20 people were killed. The area is famous for its ghosts; there have been many reports over the years, including that of a woman in a flowing dress who walks the beach at night, and the legend of a phantom hitchhiker that haunts a nearby road. STUDLEY PARK Now a country club and home to Rolls Royce enthusiasts, Studley Park was built in the last years of the 19th century, and has had many different uses. A highly recognisable building, it served as a school for nearly four decades, and it was during that time that Ray Blackstone, a fourteen-year-old student, tragically drowned while swimming. Sadly, that wasn’t the only premature death to befall a resident of Studley Park; in 1939 the son of Arthur Gregory, a former director of 20th Century Fox Australia, lost his fight with appendicitis. Visitors to the area report feeling of being watched, and mediums have claimed the presence of several entities, including a soldier who could have called the place home when it served as a command school, and a young girl who was supposedly raped and murdered in a top floor bedroom. THE GUYRA GHOST In 1921 in the town of Guyra events that would come to be mirrored by a cult movie of the same name saw twelve-year-old Minnie Bowen apparently possessed by a violent poltergeist. What began as shaking walls and thrown stones led to the cottage being constantly surrounded by people and international interest. Minnie’s parents did all they could to calm the spirit, but try as they might they could not. Soon the young girl claimed to be possessed by the ghost of a sister that had died just a few months earlier. The terrors continued even when Minnie was moved from the house, but all of a sudden they just stopped. PICTON Founded in 1822, the small town of Picton would appear to have more dead residents than living ones. The tiny St. Mark’s church and pioneer graveyard is the playground of children often seen walking hand in hand. Legend has it the children are Blanche Moon, who was crushed to death by falling sleepers in 1886, and David Shaw, who died from polio in 1946. The old maternity hospital is one of the scariest places in town. Haunted by an unpleasant matron, visitors report hearing the cries of unearthly babies, and waking with spectral hands wrapped around their necks. There are many more stories to be told in the town of Picton. THE STREET WITH NO NAME Believed by locals to be home to inexplicable evil, the area in Sydney's Annandale has served as a dumping ground for numerous mutilated corpses, and is thought to provoke strange behaviour in children and dogs. The street with no name has its share of resident ghosts to go along with the horrific happenings, including that of “Jock”, a railway worker struck while attempting to rescue an injured animal from the same fate. CHANNEL 9 Studio 9 in Willoughby was originally a church that was built in 1858. The building had been converted into a music hall and in the late 1950s it, and the surrounding area and cemetery, was purchased by the future owners of Channel 9 Studios. A new television production centre was built atop the old cemetery, where it’s rumoured the bodies still remain. Perhaps an unusual setting for a haunting, the staff at Channel 9 believe that a World War I soldier called Charlie roams the corridors, and is responsible for many ghostly goings on. Perhaps Charlie’s body still remains somewhere beneath the foundations. THE TEA TREE GULLY HOTEL Named after the trees that thickly dotted the landscape on which it was built, the Tea Tree Gully Hotel was opened in 1854 and since then its walls have played host to horror. Staff at the hotel refuse to visit parts of it alone, complaining of bad atmospheres, whilst others have heard voices, seen lights flash on and off, and heard phantom footsteps all around. Like many hotels of its age this one has seen its share of death, with accidents, suicides and murders all taking place there. Several people have reported seeing and speaking to a cheeky girl in period dress, though no records mention her. ARADALE ASYLUM An abandoned psychiatric hospital preserved as if it were still in operation, the Aradale Asylum is a labyrinth of dead ends and dark passageways, many of which could easily hide a ghost. Made up of 63 buildings, the complex looks imposing, so much so that sceptics sweep aside all notion of paranormal activity. But so many reports of footsteps, loud bands and apparitions by visitors and staff add up.
When Timothy Conigrave wrote Holding the Man, it was clearly a work of great personal significance. The year was 1994, he was 34, and his memory was fading as a result of HIV-related complications. The narrative he committed to paper wasn't just his own memoir, but his way of recalling his life-long lover, John Caleo. Alas, Conigrave would succumb to his condition before his book was published, but his words, their romance and their plight have persevered to touch the hearts of many. In fact, after more than two decades of reader devotion plus several stagings of theatre productions based on the text, Holding the Man comes to cinemas with the weight of considerable history. Others, including Walking on Water director and Conigrave's friend Tony Ayres, have previously tried and failed to bring the tale to the screen. That filmmaker Neil Armfield and writer Tommy Murphy — who also wrote the play — succeed is no mean feat. That they do the story and their subjects justice in a tender and touching film isn't, either. Conigrave (Ryan Corr) and Caleo (Craig Stott) first met as Melbourne schoolboys in the late '70s, the former an aspiring actor treading the boards in a class version of Romeo and Juliet, the latter running around football fields as an emerging Aussie Rules star, and both raising more than a few eyebrows for pursuing their relationship. Weathering the many storms wrought by the disapproval of their respective parents (played by Guy Pearce and Kerry Fox, and Anthony LaPaglia and Camilla Ah Kin), Australian society's intolerant attitudes, and the outbreak of the AIDS epidemic, theirs was not an easy romance, but until health issues cut short their time together, it was an enduring one. Making his first film since 2006's Candy, Armfield doesn't take the linear approach to Conigrave and Caleo's love as he flits from their early to later years. He jumps between important moments with the affectionate recollection of someone assembling their thoughts — which is how Conigrave's experience is framed. Sometimes the feature is clumsy and clunky as a result, particularly in trying to relate teenage antics and in spouting dialogue that sounds a little too theatrical. Sometimes, it hits the mark perfectly; just witness the hospital-set scenes, and try to keep your eyes from misting over. Of course, much of the emotion springs not from the warm colours the movie is painted in or from the period-appropriate rock soundtrack — both often overdone — but from the two lead performances. Even though they struggle with selling the characters' younger guises, Corr and Stott shine in conveying their opposites-attract pairing, as well as in showing the necessary growth and change as they traverse the trials, tribulations and troubles of being gay men in the 1980s. Indeed, the central duo's efforts in embodying the real-life figures they play with authenticity and intimacy is what makes the film linger long after viewing. Holding the Man's outcome might be known, but its lasting impact in telling one of Australia's great tragedies still offers many a surprise, perhaps none more so than its heartbreaking combination of the sweet and the sorrowful.
In Broken Eloise Laurence plays Skunk, a girl on summer holiday on the verge of her first year of high school. She lives with her lawyer father, Archie (Tim Roth), brother Jed (Bill Milner), au pair Kasia (Zana Marjanovic) and Kasia's much-admired boyfriend Mike (Cillian Murphy). Their neighbours are arrayed around the circle of their dead-end street: another single father, Bob (Rory Kinnear), raises three raucous girls, and an older couple try to nurture their mentally ill son Rick (Robert Emms). We watch adult problems through Skunk's eyes, a familiar trick that works well here. It's a trick Broken has carried through from Daniel Clay's original novel of the same name, which in turn has borrowed it from To Kill a Mockingbird. The film follows that same lead, also adding a stylistic touch of Terrence Malick's Tree of Life into its hospital-bound framing sequence. Broken successfully draws out much of the emotional richness of its earlier counterpart. Also, most of the plot. There's the decent father, rude neighbours, false accusations of assault and enigmatic neighbour — all building into a surprising, climactic confrontation. And while Roth's Archie is a decent man, Broken never gives him the same moral depth at the centre of Harper Lee's version of this story. Powerfully acted all the way through, the film observes suffering and love through a child's eyes, but it throws away its own beauty and carefully built tone to opt for a snack of needless drama at the end. It's a final melodrama that seems to come from Clay's book much more than screenwriter Mark O'Rowe's script. Some of the fun definitely lies in drawing out the parallels to Lee's book, but nothing is as much fun as simply watching these actors act. In the end, the fidelity to Lee's plot structure competes here with the story's fidelity to the characters' inner lives. Especially for Rick, whose ending seems to show a deep misunderstanding of mental illness, as well. Most of this film is fantastic. By no means avoid it. The acting alone makes it rewarding viewing. But maybe it shouldn't sit at the top of your cinematic list this weekend, either.
To look back at the Archibald Prize's history is to ponder Australia's own past. Since 1921, the acclaimed portrait prize has immortalised the nation's faces on canvas — and what a tale all those works can tell. The list of subjects captured is who's who of the country's best-known names. High-profile sitters only relay part of the Archies' story, though. Among the instantly recognisable folks is a survey of Aussies from all walks of life, of their diverse experiences, of the artists that immortalised so many people through their pieces and of art styles over the years. Expect to revel in all of the above at Archie 100: A Century of the Archibald Prize, which does exactly what's on the box: celebrates a century of this prestigious Australian art accolade. Displaying at HOTA, Home of the Arts on the Gold Coast from Saturday, July 15–Monday, October 2, it presents a carefully and lovingly curated selection of portraits that've been entered since the Archibald Prize's inception — and heads to Queensland from the Art Gallery of New South Wales. More than 6000 previous Archie works were considered — a massive range — with Art Gallery of NSW Curator Natalie Wilson and her AGNSW team also going digging to find lost portraits. Some pieces hail from other galleries, museums and libraries across both Australia and New Zealand. Others come from private collections, including internationally. In fact, a number of the paintings haven't been display in public since they were shown in their initial Archibald Prize year. If you're keen to head along more than once, HOTA is doing season passes. Fancy a party? It's also hosting an Up Late session. And, guided tours are on offer as well if you're keen on hearing more from art experts.
In the words of Tyrion Lannister, it's not easy being drunk all the time. Everyone would do it if it were easy. That may be true, but you can certainly give it a go, when Game of Rhones returns for another year. An epic wine tasting event inspired by the grapes of France's Rhone Valley and the works of George R. R. Martin, this year's Game of Rhones will visit Fortitude Valley's Lightspace on Sunday, June 11. The event will welcome more than 100 wines from winemakers such as Shaw + Smith, Yarra Yering, Ministry of Clouds, Henschke, Yalumba (and many more). There'll also be food from Gerard's Bistro as well as cheese from Yarra Valley Dairy to ensure you don't go hungry. In between goblets, ticketholders will get the chance to chat with sommeliers at the Rhone Bar, where you can purchase full glasses of wine. If you're really keen, you can purchase a Royal Pass, which will get you access to the event an hour earlier, a food voucher and some one-on-one time with a sommelier to help you work out which wines you like best. It should also go without saying that dressing up as your favourite GoT character is highly encouraged. Zombie John Snow, anyone?
Four decades back, concert film history was made. In December 1983, David Byrne walked out onto a Hollywood stage with a tape deck, pressed play and, while standing there solo, began to sing 'Psycho Killer'. Then-future The Silence of the Lambs Oscar-winner Jonathan Demme directed cameras towards the legendary Talking Heads' frontman, recording the results for Stop Making Sense. The best way to celebrate the 40th anniversary of the event behind the greatest concert film ever made arrived in 2024, and in cinemas. That'd be watching it on the big screen, of course, with cult-favourite independent film and TV company A24 — and Madman Down Under — releasing a complete restoration of Stop Making Sense. What's the second-best way to celebrate the occasion and the movie? Catching that new 4K version at home now that it's on Madman's documentary streaming service DocPlay from Thursday, June 13. Wearing big suits is optional. Now able to burn down your house — not literally, naturally — the 4K restoration premiered at last year's Toronto International Film Festival, and also had a date with SXSW Sydney's Screen Festival in 2023. So, no it isn't the same as it ever was: Stop Making Sense is now even better. The film isn't just iconic for how it starts, which definitely isn't how concerts usually kick off. From there, as captured at Hollywood's Pantages Theatre in December 1983, David Byrne, Tina Weymouth, Chris Frantz and Jerry Harrison put on one helluva show in support of their previous year's album Speaking in Tongues. Expect a lineup of hits, a playful approach, Byrne's famous oversized attire and even heftier stage presence, and the feeling that you're virtually in the room. Indeed, everything about this energetic and precisely executed documentary, which records the set from start to finish, couldn't be further from the standard concert flick. As 'Once in a Lifetime', 'Heaven', 'Burning Down the House', Life During Wartime', 'This Must Be the Place (Naive Melody)', 'Genius of Love' and more get a whirl, each element of the movie is that fine-tuned, and every aspect of the band's performance, too. And if it feels like Byrne was on-screen not that long ago, that's because his Spike Lee (Da 5 Bloods)-directed solo concert flick American Utopia did the rounds of Aussie cinemas back in 2020 — and proved one of that year's absolute best films. Check out the trailer for Stop Making Sense's 4K restoration below: Stop Making Sense is available to stream via DocPlay from Thursday, June 13, 2024. Images: Jordan Cronenweth, Courtesy of A24.
A film festival that brings the best and brightest new Japanese movies to Australian cinemas each year is a film festival to cherish. Also ace: a film fest that features a solely digital lineup of flicks and TV shows from Japan that you can check out from your couch. So, while it isn't time for the IRL Japanese Film Festival for 2024 yet — it last hit locations around the country across September–November 2023 — the Japanese Film Festival Online will keep you entertained come winter. Both fests serve up a handy way to view the latest and greatest Japanese fare without hopping on a plane, but only the online version lets you do so from home. Running from Wednesday, June 5–Wednesday, July 3, 2024's version will feature 23 films and two TV dramas, the latter serving up 20 episodes. And, you'll be able to check out for four Japanese horror shorts, too, all of which initially debuted in 2023 at the first-ever Horror Film Competition in Japan. The other big drawcard: Japanese Film Festival Online screens its program for free. Accordingly, this lineup won't test your budget, whether you're keen on I Am What I Am, which stars Drive My Car's Toko Miura; Anime Supremacy!, about a new director and a hotshot facing off while making their own competing anime; Single8, a Steven Spielberg (The Fabelmans)-influenced picture about Star Wars-loving teens making their own movie; or classic anime Kimba the White Lion from 1966. Film lovers will be catching the movies on the program between Wednesday, June 5–Wednesday, June 19. Fellow feature options include Father of the Milky Way Railroad, a biopic about poet and novelist Kenji Miyazawa; magazine drama Kiba: The Fangs of Fiction; Baby Assassins, where teen assassins are forced to give up the murderous life; and The Handsome Suit, about a magical outfit. TV fans will be tuning in from Wednesday, June 19–Wednesday, July 3, with 2017's Rikuoh starring Kôji Yakusho (Perfect Days), and stepping inside a traditional Japanese sock company — and 2015's Downtown Rocket based on Shitamachi Rocket novels about an ex-aerospace researcher who leads a factor that he inherited. While you won't pay a thing to watch, you do still need to register via the fest's website. Won't be in Australia at the time? The fest is available in 27 countries. "JFF Online 2024 is not just a film festival; it's a cultural bridge connecting fans of Japanese cinema across the globe," said The Japan Foundation in Sydney's Manisay Oudomvilay. "From the comforts of your home, you can traverse a wide array of genres — from heartfelt dramas and engaging documentaries to captivating anime stories. This festival celebrates the breadth and diversity of Japanese storytelling." "Our lineup includes films that challenge the norms, explore deep human connections, and celebrate the artistry of both seasoned and emerging Japanese filmmakers. We invite cinema lovers and Japanophiles alike from around the world to join us in this unique virtual celebration of Japanese cinematic artistry," continued Manisay. The 2024 Japanese Film Festival Online runs from Wednesday, June 5–Wednesday, July 3. For more information and to register to watch, visit the festival website. Top images: Single8 Film Partners / Jun Ikeido, TBS / Kenji Yamamoto / Anime Supremacy! The Movie Production Committee.
Everyone loves a comedy festival, but sometimes being so spoiled for comic choice isn't just amusing — it's overwhelming. That's where comedy festival showcases come in. They add laughs to the lulls between annual fests, plus they offer a bite-sized sample of the up-and-coming comedians you might not have seen live yet. Coming to Brisbane Powerhouse on Saturday, October 22, the Sydney Comedy Festival Showcase certainly promises both — serving up the brightest and most buzz-worthy performers from the 2022 event, which took place in the Harbour City earlier in the year. If it's highlights of hilarity you're after, then this is the place to get it. This year, Cam Knight, Luke Heggie, Mandy Nolan, Jacques Barrett and Cameron James are all on the bill, ready to give your funny bone a tickle. Also doing the honours: RAW Comedy winner Alexandra Hudson. Check them out now during side-splitting shows at 5pm and 8pm in the Powerhouse Theatre — and for just $39 — before putting their solo gigs on your must-see list for the 2022 festival circuit.
Thanks to the putt-putt course and driving greens at Golf Central, plus the DFO shopping centre at Skygate, going to Brisbane Airport isn't just for people with their suitcases packed. Come early 2025, Brisbanites sticking around town will have even more reasons to head by. Fancy a beer at an onsite brewery? A sip of spirits at a distillery? Catching live entertainment at an outdoor amphitheatre? Having a hit around a second mini-golf course, or trying your luck at padel? They'll all be on offer at Landers Pocket. Brisbane Airport is teaming up with Green Beacon Brewing Co and Golf Central on the new addition, which has been badged a "multi-faceted sports and entertainment precinct", and will cater to River City locals and travellers alike. And it'll be big. The Golf Central component alone, which will have a hospitality element, will cater to 800 patrons — and then there's the brewery and distillery, each of which Green Beacon will be running. "This announcement is unbelievably exciting for Green Beacon. The new brewery and hospitality venue will ensure we get our award-winning beers into the hands of more beer lovers than ever before," said Green Beacon General Manager Richard Shrosbery. "Green Beacon has been a part of the Brisbane community at Teneriffe for over a decade, and this expansion will be a huge springboard for our brand. We want to bring people together to connect, talk, laugh and have fun — and we believe this new precinct will enable that." The brewery first began in 2013 as an idea between a couple of mates, and has cemented itself as a Brissie favourite ever since. And yes, there'll be a beer garden at Landers Pocket, so you'll have somewhere to knock back drinks. [caption id="attachment_840975" align="alignnone" width="1920"] Green Beacon Teneriffe, Kgbo via Wikimedia Commons[/caption] Golf Central is clearly increasing in size as part of the new precinct, including by doubling its existing driving range. The second course to tap, tap, tap around will join the new padel tennis courts — and there'll be spaces for parties and other functions, too. "Landers Pocket will deliver a reimagined golf and entertainment experience to our local, interstate and international golfers. There will be something for everyone and we can't wait for this next stage of our evolution to open in early 2025." added Golf Central Managing Director James Cooper. An exact launch date for the new hangout in Brisbane's north hasn't yet been revealed, but fingers crossed that you'll be adding a visit to your summer plans. [caption id="attachment_840974" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] [caption id="attachment_816485" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Landers Pocket is set to open at 40 The Circuit, Brisbane Airport, sometime in 2025 — we'll update you with more information when it is announced. Keep an eye on the Landers Pocket website in the interim.
Could this be the most missed-the-mark themed eatery yet? East London's latest pop-up might have taken things a little too far down the provocatory rabbit hole. For £50 a head (around AU$80), punters can make a reservation at a new temporary eatery called Death Row Dinners — a 'high security restaurant' with a five-course menu inspired by the last meals of death row inmates. According to the website, "for a short time only in beautiful Hoxton you can enjoy the idea of the last meal, without the nasty execution bit." DEATH ROW DINNERS IS COMING TO TOWN. The dates for your sentence have been confirmed and your meal tickets are now on sale. — Death Row Dinners (@DeathRowDinners) September 4, 2014 Capitalising on the apparently "age-old question" — "What would your last meal be?" — Death Row Dinners works like this, according to the website: "On the night of your incarceration, you will join 80 fellow inmates and experience a night behind the bars of one of London’s toughest high security restaurants where our prison chefs serve up a five-course feast of their culinary twists on some of death rows most interesting and popular last dinners. You don't need to know anymore than that really, but prepare to be charged, sentenced, searched and frisked." Because nothing says bon appetit like cheerfully chowing down on someone's final request before they're killed by the state. The website featured real photos (before they were taken down) of inmates with their last menus around their necks. Reactions were pretty angry across the board, ranging from pure anger to bluff-calling. Publications like Vice are calling it "an elaborate ruse set up by art students," while Twitter has inevitably erupted. @DeathRowDinners using pictures of people who were executed with "menus" round their necks, how on earth did you think that was okay?! — Primrose Prints (@PrimrosePrints) September 16, 2014 Hi @DeathRowDinners I want the full "death row" experience but without any of the trials, imprisonment, death or indignity. Can you do that? — linkshund (@linkshund) September 16, 2014 But some thought the idea 'genius' and chose novelty over thematic implications. Am I a bad person because I actually love the idea of #deathrowdinners ? Only in East London. #EC1forever — Alex (@girlfridayx) September 16, 2014 When you move past the eery factor, it's sort of genius. I would absolutely go there. #deathrowdinners #njom-njom pic.twitter.com/O36uBx5W8z — Cubcake (@iBearo) September 16, 2014 After sufficient cons (heh) outweighed the pros the team had no choice but to put the whole thing on pause and formally apologise. This statement was issued on the Death Row Dinners website: "We're shocked and saddened by the response to Death Row Dinners and are genuinely very sorry for any offence caused. The pop up is intended to explore the concept of last meals; anyone who has ever been to a dinner party has probably had this conversation – what would they love their last meal to be." After such a unanimously opposed reaction to the idea, Death Row Dinners are considering their next steps; promising to update the angry mob with their decision. Via Vice and Buzzfeed. Top image: British artist James Reynolds recreated Death Row meals in 2010.
In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. Savage also has a fitting moniker, impeccably capturing how ferociously she takes on her starring role. Blaze, the Sydney schoolgirl that she plays, isn't always fierce. She's curious and imaginative, happy dwelling in her own dreamy universe long before she flees there after witnessing a rape and murder, and then frightened and fraying while also fuming. In how she's portrayed by Savage, and penned by Barton with co-screenwriter Huna Amweero (also a feature first-timer), she's intricately fleshed out, too, with every reaction she has to the assault proving instantly relatable — especially to anyone whose life has been touched by trauma. We don't all see dragons made out of fabric, felt, feathers, papier-mâché and glitter, helping us through times good and bad, but everyone can understand the feelings behind that dragon, which swelter like the creature's fiery breath. Game of Thrones or House of the Dragon, Blaze isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, High Ground), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. The pivotal sequence, lensed by cinematographer Jeremy Rouse (The Turning) and spliced together by editor Dany Cooper (The Drover's Wife The Legend of Molly Johnson) to be as jarring and unflinching for Blaze's audience as it is for Blaze, is nightmarish. Avoiding agony and anguish isn't Barton's way — and it can't be with this subject matter. While never as harrowing in the same manner again, Blaze is styled by its artist-turned-writer/director in the same expressive, impressionistic way from start to finish, so that watching its frames flicker feels like diving inside its lead character's heart and mind. That internal realm is a place where a pre-trial proceeding erupts into flames spat from Blaze herself, via a tiny white dragon figurine she places between her teeth. Unsurprisingly, that's a spectacular and gloriously cathartic sight. Barton isn't afraid of symbolism, but she's also allergic to emptiness; not a single image in her kaleidoscopic trip through her protagonist's imaginings is ever wasted. As set to a soundtrack that's soulfully moody and brooding as only Nick Cave can be one minute, then psychedelic and soaring with The Flaming Lips a short time afterwards, the contents of Blaze's brain and soul is where cogs turn — not literally, not once, but in processing everything that the pre-teen has seen and felt. It's where she glimpses a corpse turned mesh and material, then spies a tiny girl climb a ladder out of its mouth, in one of the movie's many mixed-media moments. It's where tiny kissing ceramic animal figurines morph into something more, fleshy tongues waggling, and where putting her feet in a sandbox transports her to the beach. And, it's where thoughts and emotions can better be distilled through surreal stop-motion animation and puppetry, and via that towering pink-hued dragon that any child would want as their pal and confidant, and with hallucinogenic collages that everyone who has seen Barton's other art will immediately recognise as springing from her head. If Barton took on Where the Wild Things Are, Pete's Dragon or A Monster Calls, all of which deal with sadness and tragedy through fantasy as well, it'd look like this — well, as a starting point. As brilliant and deeply affecting as all three of those films are, Blaze is always bolder and darker. It's more enraged, audacious, unsettling and astounding. It stresses that hardship is what shapes us but not what solely makes us, but it's a gut-punch rather than a heartstring-tug of a feature (by design; facts and figures about femicide are purposefully worked in). Barton emphasises that surviving is both a battle and a feat, that coping through art is a balm, and that seeing and speaking are pivotal acts. In other hands, though, Blaze might've resembled another recent feature that plunged into distress, and a headphone-wearing adolescent feeling it, that's also helmed by a big-name Aussie debuting as a director after coming to fame in a different medium. Thankfully, however, similarities with Sia's Music end are superficial. Big things deserve to await Savage, who never lets Blaze forget that it's about a living, breathing, hurting, loving person, and about the screaming, receding, dreaming, needing and steaming that characterises her response to such an ordeal. In support, Baker offers a sublimely judged mix of care, stress and uncertainty, playing a dad who knows he doesn't have all the answers, because no one can — and Stone, in her crucial and devastating part, is phenomenal. Big things have already come Barton's way in the art world, but they deserve to shower over her for this also, which comes after short films The Nightingale and the Rose and Red. Blaze is brutal and beautiful, blunt and labyrinthine, and a trip, a heartache, an escape and a release. When its namesake asks why she ends up temporarily institutionalised but Jake hasn't been, the movie makes one of its points as loudly as it can, but every inch of every frame already says everything.
When an author publishes their memoirs it is reasonable to assume that the contents of the book, being based on that person’s life experiences, are factual; right? Not necessarily, it would seem. Remember that particularly infamous scandal when a book that had been chosen by Oprah’s Book Club was examined under a microscope and had its inconsistencies revealed? That’s one of a few literary hoaxes that have emerged recently. Rick Viede’s A Hoax was inspired by these so dubbed “misery memoirs”. The play focuses on Currah, a young indigenous girl with a horrific past. When social worker Ant discovers Currah, he’s certain he has found the way to make a difference. When literary agent extraordinaire Ronnie Lowe discovers Currah, she’s certain she’s found marketing gold. Now Currah’s got the world at her feet, an army of fans and isn’t returning any of Ant’s calls. Finding himself flung aside, Ant will do anything to be part of the spotlight. Presented by La Boite Theatre, co-produced with Sydney’s Griffin Theatre, and directed by Lee Lewis, A Hoax is a vicious satire on the politics of identity, modern celebrity and the peddling of abuse culture. Don’t miss the Brisbane premier of this Griffin Award-winning play.
Last summer, Australians sat down in front of their televisions to watch a famous train cross the country. And, it proved a hit. In fact, a three-hour documentary about Adelaide-to-Darwin locomotive The Ghan was such a success that SBS aired a 17-hour version that followed the entirety of the train's daytime trip. Yes, 17 whole hours. It cut out the evening parts, where the screen would just be black, for obvious reasons. Come January 2019, The Ghan will have company in the very niche genre that is TV docos about super-lengthy Aussie train journeys — and, once again, there's two versions. Following the Indian Pacific, the transcontinental railway line that crosses Australia from Perth to Sydney, the documentary will air on SBS in a three-hour format at 7.30pm on Sunday, January 6. It'll then be followed by the entire 17-hour marathon, which'll run on SBS Viceland from a yet-to-be-confirmed time on Saturday, January 12. Now, The Indian Pacific: Australia's Longest Train Journey could've been longer. Much, much longer. In fact, the whole 4352-kilometre trip takes 65 hours from coast to coast, with stopovers in places such as Broken Hill, Adelaide, the Barossa Valley, Kalgoorlie, Rawlinna and Cook depending on the direction of the journey. A train with a hefty history, the Indian Pacific first ran along the rails on February 23, 1970, and is now considered an Aussie icon. The lengthy doco forms part of the slow TV movement, and it's not the only instance that's coming to SBS this summer. Like boats? Multiple types of transport? The broadcaster is also airing The Kimberley Cruise: Australia's Last Great Wilderness, which follows a Broome-to-Darwin route through the Top End; plus North to South, which ventures from Auckland on New Zealand's north island down to the Southern Alps and Milford Sound on the country's south island, including railways, sailing and driving the route. Both will screen three-hour cuts as well as lengthier versions up to 18 hours, with the Kimberley getting its time to shine on Sunday, January 13 and Saturday, January 19, and NZ in the spotlight on Sunday, January 27 and Saturday, February 2. If that's not enough, SBS Viceland will replay the whole The Ghan experience on Saturday, January 26 too. If staring at transport trekking across landscape is your kind of thing, there's your Saturdays in January well and truly sorted. For further details, visit the SBS website. Image: Great Southern Rail.
Pair a meal with the right company, and you'll never be bored — but that doesn't mean that you can't spice up your dinner in interesting ways. Yes, the food should be the star of the show; however, for one night at Alchemy during Brisbane Good Food Month, the cuisine and your date can become part of a whodunnit as well. Here, you'll solve a murder over a three-course meal. If you've always wanted to unleash your inner Sherlock, Poirot or Veronica Mars, here's your chance. You'll also need to dress up, as you'll be given a role to play as part of this murder mystery dinner on Thursday, July 8. The setup: Aiden Abet, the leader of the Tracy Gang, has been scamming unwitting folks — and when one of his victims turned the tables, he stashed away $1 million. Now, a murder has taken place, which you'll sleuth your way through. No need to break out a game of Cluedo after dinner, obviously.
The couple at the centre of relationship dramedy Before Midnight is one we know oddly well, Jesse (Ethan Hawke) and Celine (Julie Delpy). In a typically Gen X act of slacker romanticism, they spent one night walking and talking around Vienna in 1995's Before Sunrise and were finally reunited for a further afternoon in Paris in 2004's Before Sunset. In the nine years since, it turns out they've stuck with each other, but the insouciance of those early encounters has gone now they're into their early forties. "When was the last time we just walked around bullshitting?" Jesse says in one beautifully self-aware moment, as they rediscover the pastime on holiday in Greece. With this series of films, dialogue is everything. In Before Midnight, it sparkles, dances and defies the bounds we expect of film. All three instalments are the product of a unique collaborative partnership between director Richard Linklater, Hawke and Delpy; from the start the actors have written parts of their own selves into the characters, and the possibility for honest exploration seems to have deepened with the passing of time. Before Midnight is in cinemas on Thursday, July 18, and thanks to Hopscotch Films, we have ten double in-season passes to give away to. To be in the running, sign up to the Concrete Playground newsletter (if you haven't already), then email hello@concreteplayground.com.au with your name and address. Read our full review of Before Midnight here.
No matter when your birthday is, you're getting a present this week — as long as you're keen on booking a getaway and you get in quick. Jetstar turns 21 this year, and the Australian airline is celebrating. First, it announced a LARPing tournament in Melbourne with $50,000 in flights up for grabs. Next comes the latest return of its always-popular return-for-free sale. Your dream vacation plans can now include jetting off to Tokyo, Seoul, Phuket, Bali, Singapore and more, then flying home for free — or holidaying in Australia while scoring the same deal for getaways to Cairns, the Gold Coast, Byron Bay and other locations. Here's how it works, if you're new to the concept: you buy a ticket to your chosen destination across more than 80 routes, with 95,000-plus fares available, then the carrier covers the cost of you coming home. For free flights back to Australia from international spots, Osaka and Vanuatu are also on the list. Sticking with Down Under destinations, so are Hobart, Margaret River, Adelaide and Perth. Wherever you'd like to venture, the key part of this sale is making your way back without paying for the return flight, which'll also make your holiday oh-so-much cheaper. The special runs from 12am AEST on Wednesday, May 7–11.59pm AEST on Thursday, May 8, 2025 or until sold out if that happens earlier — with Jetstar members getting an extra 12 hours to access the sale from 12pm AEST on Tuesday, May 6, 2025. And yes, it really is as straightforward as it sounds. Whatever flights you opt for as part of the sale, you'll get the return fare for nothing. Prices obviously vary depending on where you're flying from and to, but some include Brisbane to Tokyo from $373, Cairns to Osaka from $285, Melbourne to Singapore from $209, Perth to Bali from $154, Sydney to Port Vila from $209, Sydney to Phuket from $299 and Brisbane to Seoul from $309. Domestic fares span deals such as Sydney to Ballina/Byron from $38, Newcastle to the Gold Coast from $59, Melbourne to Hobart from $69 and Cairns to Brisbane from $89. You'll be travelling within Australia from September 2025–March 2026, and from late-May 2025 to late-March 2026 if you're going global. The caveats that are always in place with this Jetstar deal remain this around. So, you need to book an outbound fare, then you'll get the return fare for free — and the deal only applies to Starter fares, and only on selected flights. Also, checked baggage is not included, so you'll want to travel super light or pay extra to take a suitcase. Plus, you have to use the same arrival and departure ports for your flights — which means that you can go from Brisbane to Tokyo and back, for instance, but can't return via another place or to another city. Jetstar's 21st birthday 'return for free' sale runs from 12am AEST on Wednesday, May 7–11.59pm AEST on Thursday, May 8, 2025 — or until sold out if prior. Jetstar members get an extra 12 hours access to the sale from 12pm AEST on Tuesday, May 6, 2025. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Brisbane's drink scene was never lacking, but the arrival of venues like The Alligator Club certainly helped to jumpstart some new growth when things had otherwise slowed down. To bring a bit of zip to the area, The Alligator Club's owners turned to the never-boring energy of a New Orleans-themed establishment. Now, it's a space where "music moves the room, and the bar keeps up" — appropriately on-theme. From the get-go (being the sizeable disco ball dangling above the entrance), the space sets expectations. Exposed brick walls lead past a long leather couch to the table seating, with barstools and wooden seating in front of a curtain-backed stage that's regularly occupied by funk and soul bands to fill out the space with a sonic commitment to the theme. The menu caters to its nature as a live music venue, with dishes that don't distract from anything happening on-stage. The food menu is exclusively pinza (Roman-style flatbread pizza), fries and bar snacks, with six choices of the former that range between a straightforward parsley and parmesan medley all the way up to a luxe serve of lobster, scampi caviar, tarragon, chives, and gold flakes. The drinks lead with cocktails, the so-called 'Alligators Eight' being the mix of house specials, followed by the 'Gone but not forgotten' selection, before champagnes, wines, Slipstream beers and a healthy mix of spirits dominate the remaining choices. No matter what you order, it's available until late, since The Alligator Club is open seven days a week from 5pm to 3am daily, with a special invite offered to hospitality workers — claim a free golden keyring and flash it on arrival to claim exclusive offers from Thursday to Sunday. Browse the live music lineup, pick a night and let the good times roll — New Orleans-style.
Presented as part of the Sydney International Art Series 2025–26, Data Dreams: Art and AI is an exhibition that's sparking nuanced conversations surrounding artificial intelligence. MCA has brought together ten visionary contemporary artists at the forefront of technology to unpack how AI is transforming the way we exist in the modern era. Spanning a series of interconnected gallery spaces, the exhibition looks at the cultural, political, and environmental impact of artificial intelligence that society is currently grappling with. [caption id="attachment_1076493" align="alignnone" width="1920"] Hamish McIntosh[/caption] Through multi-sensory installations, paintings, films, sculptures, and imagery, Data Dreams aims to tackle the big questions: Who holds the power behind the algorithm? How is AI shaping our perception of reality? And, of course, what does it mean to be human in an era of such intense technological change? The exhibition isn't encouraging AI "slop", but rather, exploring how we are intersecting with the technology. A number of international artists (who have been at the forefront of critically engaging with artificial intelligence for decades) have contributed their work, including Angie Abdilla, Kate Crawford, Vladan Joler, Fabien Giraud, Lynn Hershman Leeson, Christopher Kulendran Thomas, Agnieszka Kurant, Trevor Paglen, Hito Steyerl, and Anicka Yi. Their pieces contemplate everything from algorithmic bias and surveillance to the environmental cost of the data economy. [caption id="attachment_1076490" align="alignnone" width="1920"] Hamish McIntosh[/caption] Billed as the first exhibition of its kind at an Australian institution, Data Dreams offers a rare chance to see how leading international artists are responding to artificial intelligence today. Supported by the NSW Government through Destination NSW, the exhibition is exclusive to Sydney, so you won't catch it anywhere else in the country. The mind-bending exhibition is ticketed with Adult entry starting from just $35 and free entry for MCA members and under 18s. MCA is also open late on Thursday nights from 5–9pm with 2-for-1 tickets on offer. So, consider this your cue to log off and take a critical peek behind the AI curtain. Book your tickets now. Lead image: Anna Kucera
'ZomRomComs'. That's what you get when you add zombies to romantic comedies. First came Shaun of the Dead, then Zombieland and now Warm Bodies, a delightful Romeo and Juliet meets Frankenstein tale, in that two star-crossed lovers must overcome deep-seeded family prejudices, and that Romeo is a monstrous zombie. That zombie is 'R' (Nicholas Hoult), and his Juliet is 'Julie' (played by Australian actress Teresa Palmer). R is just your everyday teenage boy, grappling with your everyday teenage problems: a changing body, crippling social isolation and a tendency to grunt instead of speak. He's also a zombie, but instead of being scary that's mostly just a source of embarrassment. R's charming and self-deprecating narration throughout the film provides a constant source of laughter, particularly with self-aware lines like: "……God we walk slowly!" It's a sublime mix of dark comedy and tender romance, centred on a familiar yet infinitely more appealing relationship than Twilight's Bella and Edward. For an adaptation that openly acknowledges its Shakespearean underpinnings, this has somehow still emerged as one of the most original stories of the year. Thanks to Icon Film, we have 10 double passes to give away to see Warm Bodies. To be in the running, subscribe to Concrete Playground (if you haven't already) then email us with your name and postal address at hello@concreteplayground.com.au. Warm Bodies opens nationally on April 11. Read our full review here. https://youtube.com/watch?v=07s-cNFffDM
Unless you took advantage of Australia's trans-Tasman travel bubble with New Zealand while it was open earlier this year, you've probably forgotten what an overseas holiday feels like at this stage of the pandemic. And with the entire states of New South Wales and Victoria currently in lockdown, and plenty of domestic borders closed as a result, the idea of jetting off overseas probably still seems like a dream. Qantas and its discount airline Jetstar are hoping it'll become a reality before the year is out, however. The Qantas Group, the company behind both carriers, is planning for that to happen in fact. Back in February, the airlines were aiming to start flying Aussies around the globe again in October. Then, in May, that idea was pushed back to December. Obviously, the latter is now inching closer, so Qantas has revealed that it's still working towards getting its international flights back in the air before 2022 hits. At present, those plans depend upon Australia's vaccine rollout, and also the National Plan to transition Australia's National COVID Response — which outlines what Aussies will be able to do once the country reaches various jab thresholds. When 80 percent of adults are fully vaccinated, Australians will be permitted to travel overseas again for holidays under the current proposal. At the time of writing, 31.6 percent of people over the age of 18 have had both doses. Previously, Qantas had revealed its intention to recommence flights to 22 of its 25 international destinations — including London, Singapore and Los Angeles — while Jetstar was intending to resume trips to all of its 13 international routes. In a statement today, Thursday, August 26, the Qantas Group have now advised that it'll be focusing on destinations with high vaccination rates, including Singapore, Japan, the US, the UK, Canada and Fiji. Singapore has previously been floated as a possible candidate for a future travel bubble by the Australian Government. Also, Qantas will put flights for Australia–New Zealand routes back on sale, operating on the assumption they'll be able to resume in mid-December. "Key markets like the UK, North America and parts of Asia have high and increasing levels of vaccination. This makes them highly likely to be classed as low risk countries for vaccinated travellers to visit and return from under reduced quarantine requirements, pending decisions by the Australian Government and entry policies of other countries," said Qantas. "This creates a range of potential travel options that Qantas and Jetstar are now preparing for. While COVID has shown that circumstances can change unexpectedly, the long lead times for international readiness means the Group needs to make some reasonable assumptions based on the latest data to make sure it can offer flights to customers as soon as they become feasible." Obviously, a lot still needs to go to plan for the two airlines to have you jetting off to overseas spots this summer. That's Qantas and Jetstar's current target date, though. Hong Kong flights are targeted to restart in February, too. And, if you're interested in trips to other destinations, Qantas has pushed back its expected takeoff dates in places that have low vaccine rates and high COVID-19 cases — including Bali, Jakarta, Manila, Bangkok, Phuket, Ho Chi Minh City and Johannesburg — to April 2022. When overseas flights do resume, Qantas will use digital health passes to verify vaccination and testing status. Qantas CEO Alan Joyce has also previously stated that the airline would only allow vaccinated passengers to travel on international flights. Of course, even once international flights are up and running again, you can expect a much lower capacity than pre-COVID travel — Qantas previously said that it's not anticipating a full return to normality until 2024. As part of its efforts to encourage vaccinations — and to help speed up the return to its normal operations — the airline is also currently giving away discounts and frequent flyer points to vaxxed Aussies. To find out more about Qantas and Jetstar's international travel plans, visit the Qantas website.
Brisbane has already welcomed in 2025, but that's not the only new year that demands celebrating. Before January is out, Lunar New Year will hit, kicking off the Year of the Snake. Fancy marking the occasion with street food in South Brisbane's Fish Lane, a rooftop party in Sunnybank, watching the Mt Coot-tha Botanical Gardens light up, listening to the Singapore Symphony Orchestra, dancing to K-pop, giggling to stand-up comedy or enjoying a DJ-spun soundtrack? At BrisAsia Festival, you can. For 13 years now, the River City has commemorated Lunar New Year with a citywide fest, and that isn't changing in 2025. This year's lineup includes 25 events around town, all designed to get you in celebration mode. The Asia Pacific Triennial of Contemporary Art forms part of 2025's program, if you need another excuse to head to Queensland Art Gallery and the Gallery of Modern Art to check it out between now and April, but the bulk of the BrisAsia fun takes place across ten days from Friday, January 31–Sunday, February 9. After debuting in 2024, Asian street festival Lush is back again this year, with Southside Restaurant, Hello Please, Chu the Phat and Bird's Nest set to serve up bites to eat. That's just one of BrisAsia 2025's fests within the broader fest. While the Hội chợ Tết (TET Festival) is taking place in advance, on Friday, January 24, the Vietnamese festivities in Richlands are still included on the lineup. And, Southside by Night is back, once more combining street food with a car meet in Willawong. The Sunnybank Lunar New Year Rooftop Party is always a highlight, showcasing Sunnybank Plaza's eateries, busting out lion and dragon dance performances, and capping the night off with fireworks. Consider it the perfect way to help close out BrisAsia 2025, with the shindig happening on Saturday, February 8. New in 2025 is Lunar New Year in the Gardens at Mt Coot-tha, complete with sitar tunes, martial-arts displays, street food and K-pop. For more of the latter, the Thomas Dixon Centre is hosting a showcase. Other events for your calendar include BrisAsia Stands Up, enlisting Brisbane's Asian Australian comedians; a special presentation at Brisbane Planetarium; Longwang featuring Korean dishes across a Seoul-themed weekend; and Warehouse 25's BEAT STREET party in Milton. Or, albeit just after the fest's official dates — on Sunday, February 16 — you can catch the Singapore Symphony Orchestra at QPAC. Whichever part of the festival piques your interest, expect plenty of company, with more than 25,000 people attending BrisAsia in 2024. "It's such a privilege to curate one of the most innovative and diverse festivals in Australia with an exciting program of events combining elements of traditional and contemporary Asian culture," said BrisAsia Festival Executive Producer Anthony Garcia. "The festival is brought to life by more than 200 artists, producers and creatives whose work allows us to celebrate life and art in a way that brings together people from all walks of life, offering artists opportunities to experiment, collaborate and evolve their practice whilst giving audiences the chance to experience world-class entertainment." BrisAsia 2025 runs from Friday, January 31–Sunday, February 9. For further details, head to the Brisbane City Council website.
In a river city like Brisbane, eating, sipping and kicking back by the water — or in sight of it — is the hospitality holy grail. That's true along Eagle Street, where waterside restaurants and bars pair their menus with impressive vistas. And it's a big drawcard at Tillerman, the CBD roadway's latest addition, which opened its doors inside Riparian Plaza back in 2022. A restaurant can't get by on views alone, of course. Tillerman's riverfront location includes a vantage over the river across to the Story Bridge, with that sparkling vision able to be glimpsed from all tables. But restaurateurs Andrew and Jaimee Baturo, plus Naga Thai chef Suwisa Phoonsang, want their food and drink offering — and the just-opened venue's decor and mood, too — to be as much of an attraction. Serving customers from lunch onwards from Tuesday–Sunday, Tillerman marks the latest collaboration between the Baturos and Phoonsang, after Naga Thai has shut its doors at Eagle Street Pier — the fact that the riverside precinct is being torn down to make way for a new $2.1-billion development will do that. Clearly the trio can't get enough of that part of the CBD, or the waterfront. And this time, nestled into the mezzanine level between Madam Wu and River Bar, they're focusing on seafood, that watery backdrop and a relaxed holiday-style vibe. First, the decor — with Brisbane's Hogg & Lamb taking cues from travel across a timber-heavy setup that seats guests at both high and low tables, banquettes and mini booths. Spotted gum features heavily around the 120-seater space, the main bar spans ten metres in length, and floral and botanical prints help add a breezy, comfortable feel. Textured porphyry stone sits among the floorboards, too, and pendant lighting adds a glow. Plus, three backlit portholes draw the eye while adding a touch of nautical theming. For folks looking for an intimate dining experience with their nearest and dearest, there's also a glam private dining room behind a sheer copper curtain, with a wine wall lining one side. In the kitchen, Phoonsang has designed a menu that's guided by fresh, premium seafood, rather than a particular cuisine or culture — but the culinary range takes inspiration from the best dishes found around the world. Highlights include Fremantle octopus carpaccio, fish 'Sanga', seared kingfish with crepes, fish of the day served with nuoc cham, Balmain bugs and salt-baked Murray cod, spanning both small bites and mains. Tillerman doesn't only serve up seafood, though. Among the other standouts: wagyu flanks, crumbed lamb backstrap, tarte tartin of roasted seasonal vegetables, and tempura zucchini flowers stuffed with macadamias, feta and thyme. And, for dessert, choices cover rum and raisin deep-fried ice cream, lemon meringue pie, and chocolate mousse with brown butter, confit-spiced pear, peanut praline and cocoa sorbet. The drinks lineup also nods in a clear direction: the world's oceans and waterways, fittingly. With that in mind, Tillerman's signature martini is called is the Mariner Martini, and uses Never Never Oyster Shell Gin. Or, there are four types of daiquiris built on Plantation 3 Stars white rum, plus six gin and tonics. Flavours to look out for include earl grey, lemon and fennel, musk, and watermelon and cucumber among the daiquiris, and elderflower, hibiscus and rosemary in the G&Ts. The vino offering spans 30 wines via Coravin from a 150-tipple list all up, with whites from Veneto and Margaret River, pinot noirs from the Mornington Peninsula, and reds such as grenache and chilled provencal rosés a big feature. And, as well as bubbles, the sherry and port selection gets a hefty focus, while the full drinks range also covers beer, cider and spirits. Food images: Judit Losh.
Like seafood? Given Brisbane is drenched in sunshine for most of the year, and that it's a river city between two glorious coastal hotspots, that's far from surprising. Make River Quay Fish your next dinner destination then. No prizes for guessing what it serves, or what kind of body of water it's near, though. In fact, you've probably been to this South Bank spot before, when it was known as Cove Bar & Dining. With a change of name comes a change of menu and focus, much to the delight of anyone keen on dropping by the breezy space and munching on the ocean's finest. That includes dine in and takeaway offerings such as oysters, smoked trout salad, salt and pepper calamari, and good ol' beer battered fish of the day, plus white anchovy bruschetta, whiting tacos and grilled Moreton Bay bugs. The menu also boasts pan-fried Huon Valley salmon, Portuguese stew with oven-baked fish and chorizo, and fries with rosemary sea salt, for those after something different. Yep, prepare to be in seafood heaven.
Launched during VAMFF last week in Melbourne, Bared Footwear's collaboration with artist Carla McRae is one to slip your tootsies into immediately. The limited edition sneaker collaboration is a first for Victorian footwear label, kicking off the first of many, or so we're told. Suffice to say, these are some sneaks to freak over. Capturing the carefree spirit of McRae's playful illustrations and street murals, the Pintail shoe brings to life McRae's iconic female character, who appears in many of her works. We're keen to take a walk in these chunky soled shoes with swirling embroidery and metallic details — also apparently imbued with extreme comfort factor. After all, Bared was founded by Victorian podiatrist Anna Baird with the design ethos of creating modern, wearable shoes, so you know these shoes will treat your feet well. For the collaboration launch, Carla McRae painted one of her cheery, colour-blocked murals out the back of the Bared store in Armadale — the perfect backdrop for these sweet, minimal kicks that come in white with rose gold, and black with silver. The Carla McCrae x Bared Footwear Pintail shoe is available now for $229 from the Bared website.
So the saying goes, life imitates art. But in times of political and economic upheaval, perhaps the art we turn to isn't a mirror — it's a doorway. In 2025, Australians aren't just listening to music that reflects the world around them, but the worlds they'd rather escape to. Dance floors have become places of release, bass drops a kind of collective exhale, and the 2025 ARIA Award nominations tell the story: we're craving movement, connection and joy. According to Spotify editor Marty Doyle, this year's ARIA nominees capture that cultural shift — one that's driven not just by hooks and beat drops, but by a distinctly Australian sense of optimism. Dance and electronic music now dominate both the charts and the cultural conversation, with acts like Dom Dolla, RÜFÜS DU SOL and record-breaking nominee Ninajirachi leading the charge. Together, they represent a generation of artists who have turned isolation into innovation, transforming post-pandemic energy into something deeply communal — and distinctly global. [caption id="attachment_1005091" align="alignnone" width="1920"] Dom Dolla performing on his recent tour.[/caption] "The dominance of Australian dance music is undeniable and a true testament to the amazing work our artists are doing," Doyle says. "There were one billion export streams of Australian dance music in March 2025 alone, which is an amazing result." Those billion streams aren't just happening at home. Australian artists are setting the global tempo, taking sweaty club tracks and festival anthems far beyond local shores. "Artists like Fisher, RÜFÜS DU SOL and Dom Dolla are some of our biggest exports," Doyle says, "and they're helping pave new roads for more Australian artists to come behind them." That international reach now extends to Ninajirachi, whose eight nominations — the most ever for a female electronic artist — mark a new benchmark for women in dance music. "It's incredibly exciting to see Ninajirachi lead the charge," Doyle adds. "It's an achievement that should be celebrated." [caption id="attachment_1035191" align="alignnone" width="1920"] DJ Nina Wilson performs as Ninajirachi during Lollapalooza 2023.[/caption] The Sound of Escapism If dance and electronic music are thriving, it's not just about BPMs — it's about emotion. In uncertain times, Australians are finding joy, connection and escape on the dance floor. "It's impossible to pinpoint one reason," Doyle says of the genre's surge. "But COVID definitely accelerated our appetite for dance music." When lockdowns shut clubs, cancelled festivals and erased social connection, music filled the gap. "The idea of dancing in a sweaty club together or even being outside at a festival became one of our biggest aspirations," Doyle says. "When we were finally able to get outside again, there was an explosion of enthusiasm. People were partying like it was their last night on earth." That post-pandemic energy, Doyle argues, hasn't faded — it's evolved. "Amidst an unsettling and shifting geopolitical world, Aussie artists have managed to not only address complex issues within their music, but they've also found solace in making it fun," he says. "It's a testament to our resilience, optimism, sense of humour and shared values as Australians." In other words: when the world feels heavy, Australians dance. [caption id="attachment_913128" align="alignnone" width="1920"] Home-grown EDM favourites RÜFÜS DU SOL performing live.[/caption] From Lockdown Loops to Global Stages The pandemic didn't just reignite audiences' desire to dance — it reshaped how artists created. "COVID provided a chance for artists to retreat into their home studios and create some of their most profound work," Doyle says. Fred again.. is perhaps the most famous example, but the ripple effect was global — and local. Aussie duo Shouse turned their track 'Love Tonight' into an international anthem of resistance during lockdowns, soundtracking balcony singalongs across Europe. "There are so many stories like this that have contributed to the acceleration of dance music over the last few years," Doyle says. That creative spark continues. Spotify's data shows that dance and electronic streaming in Australia now spans every part of the day — from morning workouts to study playlists and nights out. "Electronic music is made up of various sub-genres, and new ones are constantly being invented and mashed together," Doyle explains. "It's fertile ground for innovation and discovery." And increasingly, that experimentation is paying off on the charts. "We're seeing electronic music cross over into mainstream and end up on the ARIA Charts," Doyle adds. "That curiosity among Australian listeners is helping drive the rise of the genre." [caption id="attachment_1035190" align="alignnone" width="1920"] Marty Doyle— Editorial Lead, Spotify AU/NZ[/caption] Beyond the Beat While electronic and dance dominate the conversation, other genres are thriving too. "Indie and guitar-based music is also booming," Doyle says. "Australia has always punched above its weight in this space." Spotify data backs it up: Australian indie exports have surged 94 percent since 2021, while indie pop isn't far behind, up 86 percent in the same period. It's evidence that our music scene isn't defined by one sound — it's an ecosystem of artists pushing boundaries across styles. Looking ahead, Spotify's editors don't expect the momentum to slow. "There's no evidence to suggest this growth will drastically change," Doyle says. "But we're also seeing exciting early signs in local country and post-punk." [caption id="attachment_1014087" align="alignnone" width="1920"] Melbourne's Electronic and EDM A3 Festival, returning later this year.[/caption] A New Era of Australian Sound If there's one takeaway from the 2025 ARIA nominations, it's that Australian music is entering a new era — one powered by diversity, innovation and fearless experimentation. "While you'll see some familiar names among the nominees," Doyle says, "it's amazing to see a record-breaking number of first-time and independent artists in the mix too. It proves there's a never-ending pipeline of incredible new talent that Australian audiences are embracing." From massive export numbers to global festival stages, Australian artists and producers aren't just making people move — they're exporting a feeling. And right now, that feeling sounds a lot like hope. Find out more about 2025's Aria Award nominees and cast your votes now. Images: Supplied | Getty Images
Agnes isn't just popular – it's one of the restaurants that reshaped how Brisbane dines. Housed inside a dark, heritage brick warehouse in Fortitude Valley, the space feels almost monastic in its focus. There are no gas burners, no conventional ovens — just wood, charcoal and flame. But fire isn't a flourish here; it's the entire philosophy. The open kitchen glows from morning prep through to late service, with chefs cooking almost everything over coals or in wood-fired ovens. The result is food layered with smoke, char and depth – from blistered seafood and dry-aged meats to vegetables transformed by flame. The menu shifts with the seasons, but the through-line remains the same: bold produce, elemental technique and confident restraint. [caption id="attachment_1079144" align="aligncenter" width="1920"] Anyday Group[/caption] The drinks offering is just as considered. The wine list leans into texture and structure to match the fire-driven menu, while the adjoining wine bar and terrace provide a slightly more relaxed entry point for walk-ins. Inside, the mood is intimate and enveloping, all exposed brick, dark timber and low light. Agnes isn't simply a place to eat. It's an experience built around heat, atmosphere and intent. Book ahead, settle in and let the fire do the talking. [caption id="attachment_1079146" align="aligncenter" width="1920"] Callie Marshall[/caption] Images: supplied.
Everyone should have a go-to wine bar within a stone's throw of their house — the kind of spot that's compact but inviting, sports a highly curated vino list and boasts plenty of folks who know what they're talking about while you're getting sipping. Ardo's is that type of place, and it's seemingly on a mission to give every wine lover in Brisbane their own local outpost. When it opened in Hawthorne in August 2023, the chain notched up three sites since the year began. The experience at each Ardo's is the same, just in different areas of Brisbane. So, wine fans in Brisbane's inner east now have easy access to the plonk-slinging chain's carefully selected range of vino, including over pintxos, cheese and charcuterie, on Lindsay Street just off Hawthorne Road. Like its sibling sites, Ardo's Hawthorne is welcoming in patrons in for a glass and a bite, and will also let folks pick up their favourite tipples — or a new discovery — to take home. Offering a selection that you wouldn't just find at any bottle-o is a big source of pride, with Ardo's staff on-hand to chat you through its drops, help you make a choice and impart their expert knowledge. Here, customers can enjoy wines by the glass and the bottle. The lineup rotates, but everything you see on the shelf is able to be drunk on the premises or taken away. As you're getting cosy, you'll also be surrounded by vino all across the walls, plus a wine tap that looks like an altar. And, you'll be tucking into seasonal snacks. There are a couple of new inclusions for Hawthorne, too: gourmet seafood preserves from Conservas, which you can eat into bread and butter, or as a part of a pintxos platter; and Woombye Cheese's dairy goods.
South Bank is alive and buzzing with the beat of Brisbane Festival. The month-long event has brought the area alive after dark with Wunder Bar and the Garden Bar keeping Brisbane up-late. Right now these pop-up bars are a bit of fun, but come October they'll be shut down and those looking for a drink post-dinner are caught between a cab ride elsewhere and a jug of sangria. It's safe to say South Bank is the restaurant hub - certainly not known for its bars - and so when you go looking, where are they? Sometimes the thirsty have to get creative, and it pays to look inside. With views that could kill and a relaxed coastal vibe, The Jetty's bar sits within the heart of the busy restaurant. For those who like it long - the Pining Lilli takes vodka, ginger liqueur and lillet, throwing in tropical flavours of lime and mint, topped with pineapple juice. Served martini style, the Semi Royal goes down a treat. Vodka is aided by the sweetness of peach and apple liqueur and cut by sour fresh grapefruit and lime. Served with a lime sugar rim, 'The Don' mixes tequila and pomegranate liqueur against the sharp tastes of pink grapefruit and passionfruit. Most interesting was the 'Jack Sparrow' - a mix of rum, ginger wine, frangelico and mandarin topped with iced tea. Think hazelnut meets citrus in a strange twist on jaffa. The Jetty also serve steins on Asahi on tap, and offer a range of craft beers, and of course wine. Serving up modern Australian cuisine with an Indonesian influence, The Jetty has won a place in the hearts of many for its open and warm atmosphere and tasty Australiasian dishes. Bar snacks don't disappoint, and the piping hot tempura prawns ($6) top our list. Also on offer are the classic sourdough and oil combo, warmed olive, oysters, edamame and almonds all given a Jetty twist. For something more substantial, fresh rice paper rolls, fish cakes and calamari round out a very coastal list.
Perched on the river at Howard Smith Wharves, Stanley brings a refined take on Cantonese dining to one of Brisbane's most scenic addresses. Inspired by Hong Kong's Stanley Bay and led by Head Chef Louis Tikaram, the restaurant balances traditional technique with premium Australian produce, resulting in a menu that feels both grounded and expansive. Seafood plays a starring role. Guests can select live coral trout, mud crab or lobster directly from the tank before the kitchen prepares it in classic Cantonese styles, from simply steamed with ginger and shallot to wok-fried or chilled and dressed. Elsewhere, signatures such as Peking duck pancakes, Sichuan-style char siu and Moreton Bay bug spring rolls anchor the offering, alongside banquets designed for everything from relaxed yum cha to celebratory feasts. An extensive wine list curated by Group Sommelier Alex Gale supports the menu with premium international and local drops. Upstairs, Stan's Lounge offers a darker, moodier setting for post-dinner cocktails and Cantonese-inspired bites, extending the experience well into the evening.
Here's some news worth slathering whichever type of food you love in McDonald's coveted Szechuan sauce: in less than a month, Rick and Morty will return for its sixth season. Anything can happen in the animated show's next batch of episodes, because that's the kind of dimension-hopping sci-fi series it is. Don't just take our word for it, though — the just-dropped full trailer for the upcoming season drips with chaos, unsurprisingly, and also paranoia. Well, actually, the sneak peek is set to the sounds of 'Paranoid' by Black Sabbath, but it's also a rather apt theme tune for the show's titular duo. When you're zipping around the galaxy and sliding through time, changing multiple worlds, making a whole lot of enemies and just generally causing interstellar mayhem in the process, being suspicious and mistrustful is bound to come with the territory. As for what'll occur from there, the trailer teases lectures about Die Hard, killer robots, vanishing from reality, alien armies, Wolverine-style claws, using Jerry as a human shield, arcade shootouts and exploding cars. So, just your usual Rick and Morty shenanigans. As always, anyone keen to get schwifty with the episodes can probably expect that Rick Sanchez and Morty Smith (both voiced by show co-creator Justin Roiland, Solar Opposites) will keep wreaking havoc, and that the series will keep zooming between as many universes as it can. And, because that's the way the news goes, Rick and Morty's hijinks will keep drawing in Morty's mother Beth (Sarah Chalke, Firefly Lane), father Jerry (Chris Parnell, Archer) and sister Summer (Spencer Grammer, Tell Me a Story). Everywhere across earth where television is screened and streamed — interdimensional cable, too — Rick and Morty is set to return on Sunday, September 4 in America. That's on Monday, September 5 Down Under, where the series beams into your queue via Netflix. And if you're wondering what kinds of chaos are in store this time around, Adult Swim, the US channel behind the show, has advised that the new season will pick up with its titular pair "where we left them, worse for wear and down on their luck". "Will they manage to bounce back for more adventures? Or will they get swept up in an ocean of piss! Who knows?! Piss! Family! Intrigue! A bunch of dinosaurs! More piss!" the network also teased. Check out the trailer for Rick and Morty's sixth season below: Rick and Morty's sixth season will premiere globally on Monday, September 5 Down Under. It streams via Netflix in Australia and New Zealand.
