Australia's love of whodunnits and crime stories helped make Jane Harper's Aaron Falk books a hit on the page. In cinemas, The Dry brought the character to the screen back in 2021 and proved a huge success there, too. Next came sequel Force of Nature: The Dry 2, also based on one of the Aussie author's novels, also starring Eric Bana (Blueback) as the determined detective and also helmed by Robert Connolly (Paper Planes) — and now you can check it out at home. The second move in the franchise took its time getting to the silver screen. Initially, Force of Nature: The Dry 2 was the most-anticipated new Australian movie of 2023; however, it was postponed from its planned August 2023 release amid the SAG-AFTRA strike and moved to Ferbuary 2024. The picture is still in cinemas at the time of writing but, if your busy schedule has gotten in the way of you catching it so far, you can make a date to see it on your couch instead. When Bana stepped into Falk's shoes in The Dry, more movies were always bound to follow. On the screen, the film became a massive Australian box-office smash thanks to its twisty mystery, determined protagonist, stunning scenery and spectacular cast. So, throw that formula together again and you have Force of Nature: The Dry 2. This second effort sees Falk again investigating a case, looking into the disappearance of a hiker from a corporate retreat attended by five women. Alongside fellow federal agent Carmen Cooper (Jacqueline McKenzie, Ruby's Choice), Falk heads deep into Victoria's mountain ranges to try to find the missing traveller — who also happens to be a whistle-blowing informant — alive. Also featuring in Force of Nature, which has a powerhouse list of Aussie talent just like its predecessor: Anna Torv (The Last of Us) as missing hiker Alice Russell, plus Deborra-Lee Furness (Blessed), Robin McLeavy (Homeland), Sisi Stringer (Mortal Kombat) and Lucy Ansell (Strife). Richard Roxburgh (Prosper), Tony Briggs (Preppers) and Kenneth Radley (The Power of the Dog) pop up, too, while Jeremy Lindsay-Taylor (Heartbreak High) is back in the role of Erik Falk. Reteaming not just after The Dry, but also Blueback in the middle, Connolly and Bana make quite the pair when it comes to Aussie crime cinema — with Connolly the producer of one of the best local crime movies ever made, aka 1998's unnerving The Boys, and Bana famously the star of the similarly excellent Chopper. Fans of Harper's work also have The Survivors to look forward to, but on the small screen. It's heading to Netflix from the pages of the author's text of the same name, and isn't linked to The Dry or Force of Nature. Here, the Tasmanian-set story follows families still coping with the loss caused by a massive storm in their seaside town 15 years earlier, then faced with a new murder. Check out the trailer for Force of Nature: The Dry 2 below: Force of Nature: The Dry 2 is currently screening in Australian cinemas, and also streaming via YouTube Movies and Prime Video. Read our review of Force of Nature: The Dry 2, and of The Dry — plus our chat about Force of Nature with Eric Bana and Robert Connolly. Images: Narelle Portanier.
The ever-expanding reach of Google has been a contentious topic over the past decade. Though great for reminiscing on an old family home or researching a new one, Google Street View has creepy Big Brother vibes all over it. Their control over our data is unsettling to say the least, and with European privacy clauses changing just last week, many users have opted out of its clutches completely. But some good has finally come from this global panopticon! In a similar effort to Street View, Google is now cataloguing the best street art from all over the world. After its launch today, Google's Street Art Project already has more than 4,000 works available for viewing. The artworks both large and small span all the way from the now defunct exhibition space 5Pointz in NYC to randomly scattered works along the streets of Belgium. As a user of the new system, you can take guided 360-degree tours through graffiti-coated buildings in metropolitan Paris and make your way down a street in Argentina alongside huge murals that may be gone within the month. It's pretty great. Created by the Paris-based Google Cultural Institute, the system works off a combination of images captured via Street View, images from existing cultural institutions and artists, and submissions from random art lovers. Basically, this is what it would look like if Google had an Instagram. Understandably, the project comes with its own problems and debates. With street art still in a legal purgatory, concerns are mounting about such a public endorsement of what is considered by many as vandalism. On the flip side, some artists are known to protest about others benefitting off images of their public work. To quell the latter, Google has ensured its users that if any artists are unhappy with their images being used, they will be removed. Furthermore, any organisations providing images for the project must sign contracts confirming that they own the rights to them. Unlike what's currently happening to Banksy in London, no one will be profiteering off work that was intended for public use. Proponents of the new database include famed street artist Shepard Fairey — the guy behind both Obey and Barack Obama's Hope posters. "I’ve always used my street art to democratise art," he told the New York Times. "It would be philosophically inconsistent for me to protest art democratisation through Google." Either way you look at it, it's undeniably an amazing project for those who love art. Users can search for street art via artist name, location or genre, and there's even a special section devoted to New York walls of the 1990s. Though the real works invariably get painted over or demolished, like everything in Google (for better or worse), these pictures never fade. Get a cup of coffee, cancel the rest of your work for the day and check it out for yourself over here. Via New York Times. Images via Google Cultural Institute.
Welcome to the joys of major film festivals in spring, Sydney. Getting holed up in a cinema for a week or so is usually a winter activity in the Harbour City, because that's when Sydney Film Festival takes place; however, the first-ever SXSW Down Under is arriving in 2023 with its very own celebration of peering at screens. So, for eight October days, movie lovers can wander in and out of darkened rooms while the weather is pleasant outside, not frosty — and see everything from Saltburn, the new Jacob Elordi (Euphoria)-starring thriller from Promising Young Woman director Emerald Fennell, to the freshly remastered 4K version of iconic Talking Heads concert flick Stop Making Sense. After dropping a number of screening highlights over the past few months, SXSW Sydney's debut Screen Festival has unveiled the full 75-plus session bill that'll get projectors a-flickering from Sunday, October 15–Sunday, October 22. So, opening night's Australian thriller The Royal Hotel from Casting JonBenet and The Assistant director Kitty Green (and starring the latter's Julia Garner) now has more company than just the world premiere of documentary Hot Potato: The Story of The Wiggles, plus nine other titles announced back in July that span everything from features starring Indonesian rappers and docos about Tokyo Uber Eats riders. Saltburn will enjoy its Australian premiere at SXSW Sydney, while Stop Making Sense will get The ICC's Darling Harbour Theatre echoing in glorious 7.1 surround sound. The venue will be home to the fest's biggest titles, which also includes opening night and The Wiggles doco; ONEFOUR: Against All Odds about the eponymous drill rap band; and Ryuichi Sakamoto|Opus, which covers the recorded concert by the late, great The Revenant composer, who passed away in March 2023. Also on the bill: supervillain parody The People's Joker, which gives the caped-crusader realm a queer coming-of-age spin; TLC documentary TLC Forever; Sleep, a Korean horror-comedy by Bong Joon-ho's former assistant; the Hugo Weaving (Love Me)-starring The Rooster, which follows a hermit and a cop who form a bond during a crisis; and a retro session of Aussie classic Lake Mungo. Or, SXSW Sydney's film fans can see Black Barbie, a Barbie flick that isn't filled affection; the Indian Australian Sahela, which tells a queer tale set in Western Sydney; Satranic Panic, a homegrown road movie and a creature feature; Milli Vanilli, another of the event's music docos; and Uproar, as starring Hunt for the Wilderpeople's Julian Dennison, Our Flag Means Death's Rhys Darby and Starstruck's Minnie Driver. As part of the fest's First Nations program, Fancy Dance explores being pushed to the margins with star Lily Gladstone just as she'll also be in cinemas in Killers of the Flower Moon — and, from the main program strand that heroes pushing boundaries and serving up surprises, attendees can see This Is Going to Be Big, about Sunbury and Macedon Ranges Specialist School in Bullengarook staging a John Farnham-themed musical. For fans of cult fare in the making, the SXSW Sydney Midnighters lineup includes the 16mm-shot Riddle of Fire and the Steven Soderbergh (Full Circle)-produced thriller Divinity, while the music selection will also celebrate Cyndi Lauper via Let the Canary Sing. Among a feast of screen content that also encompasses 40 shorts, plus 20 music videos and 13 XR projects, TV will get some love — that's why the event is called a Screen Festival, not a film fest. Standouts span Night Bloomers, a horror anthology from both Korea and Australia; Erotic Stories, another anthology that'll deliver exactly what it sounds like; and Doona!, a Korean rom-com led by Suzy Bae. If you recall hearing about SXSW winners from its Austin fests, Sydney's version is doing the same, with ten movies competing in its feature competition, another ten vying in the shorts field and eight XR works also seeking some extra love. Alongside indoor sessions at Darling Harbour Theatre and Palace Cinemas Central, free outdoor screenings are also on the bill at the SXSW Sydney 2023 hub in Tumbalong Park. The complete lineup there is still to come, but the program will survey the OG fest's best and brightest, starting with Taika Waititi and Jemaine Clement's What We Do in the Shadows — the movie, not the also-ace TV show — as well as classic anime masterpiece Ghost in the Shell and Richard Linklater's Dazed & Confused. "The first ever SXSW Sydney Screen Festival aims to platform the most exciting new voices, new forms and new ways of creating on screen. We hope to inspire our audiences and industry, by unwrapping the future of Screen innovation as it emerges," said Ghita Loebenstein, the event's Head of Screen, announcing the 2023 program. "Like our Austin counterparts, our festival presents global programming from leading creators, and our unique offer is this distinctive Asia Pacific lens. We also thematically lean into our sister pillars across music, games and tech, celebrating where our forms and communities converge. Most of all, SXSW Sydney is a festival which earnestly centres vision, irreverence and fun." Can't wait to watch your way through the everything that you can? SXSW Sydney Screen Festival wristbands are on sale now and will get you into unlimited screenings. [caption id="attachment_917938" align="alignnone" width="1920"] Netflix[/caption] As well as viewing movies and TV shows aplenty, the 2023 SXSW Sydney Screen Festival also features an array of speakers. Black Mirror's Charlie Brooker is one of the headliners — not just of the screen component, but of SXSW Sydney overall. Similarly getting chatting: Indigenous filmmakers Leah Purcell (The Drover's Wife The Legend of Molly Johnson), Kodie Bedford (Mystery Road: Origin) and Jub Clerc (Sweet As); Osher Günsberg recording an episode of his podcast Better Than Yesterday with a yet-to-be-announced special guest; and Gone Girl, The Nightingale, The Dry, Big Little Lies and Nine Perfect Strangers producer Bruna Papandrea and Binge's Executive Director Alison Hurbert-Burns. Queer Eye star Tan France was also slated to attend, but has had to drop out due to scheduling conflicts. SXSW Sydney will run from Sunday, October 15–Sunday, October 22 at various Sydney venues, with the SXSW Sydney Screen Festival running from Sunday, October 15–Saturday, October 21 at The ICC's Darling Theatre and Palace Cinemas Central. Head to the SXSW Sydney website for further details. If you're keen to make the most of Australia's first SXSW, take advantage of our special reader offer. Purchase your SXSW Sydney 2023 Official Badge via Concrete Playground Trips and you'll score a $150 credit to use on your choice of Sydney accommodation. Book now via the website.
This just out: Damian Griffiths, local Brisbane go-getter and owner of newfangled eateries Alfredo's Pizzeria and Chester Street Bakery and Bar (among a whole list of others) is opening a new hole-in-the-wall, artisan doughnut bar in the Valley — with the apt name Doughnut Time. Taking over a sectioned-off corner of Alfredo's on Alfred Street, and with design by Alex Lotersztain (who's provided interiors and accoutrements for most of Griffiths' other joints), Doughnut Time will start serving up its "hand-dipped artisan doughnuts" next month. If Chester Street's doughnut offerings are anything to go by (think blueberry crumble, key lime, and passionfruit meringue varieties), we're only too excited to see (taste) the sure-to-be-mod delicacies that Griffiths' dedicated doughnut shop will come up with. We're crossing our fingers for more desserts converted into doughy, iced-and-garnished circular confections of your dreams, and perhaps a good old-fashioned jam doughnut, oozing with tongue-burning strawberry conserve straight out of the oven. The bottom line is: expect to leave sticky-fingered and happily ready to sell your soul to Ned Flanders in a devil's outfit. Via The Courier Mail.
One of the world's most visited multi-sensory experiences will come alive in Sydney this spring From Friday, September 18, Van Gogh Alive will see more than 3000 large-scale images of the Dutch master's works projected onto walls, columns and floors at The Royal Hall of Industries in Moore Park. The project is the brainchild of Melbourne-based Grande Exhibitions, which, for the past 15 years, has hosted immersive exhibitions and gallery experiences in over 140 cities across the world. The company also owns and operates Rome's Museo Leonardo da Vinci. The family-friendly experience will create the sensation of walking right into Van Gogh's paintings. Famous works including The Starry Night and Sunflowers are presented in fine detail using Grande Exhibitions' state-of-the-art technology combining 40 high-definition projectors, while a classical musical score accompanies the vibrant colours in cinema-quality surround sound. The exhibition has already wowed audiences at 50 cities throughout the northern hemisphere and parts of South America — and was was initially meant to be unveiled in Melbourne this year inside a new multimillion digital art gallery in Melbourne called The Lume, but, because of the city's strict lockdown, the Australian premiere will now happen in Sydney. Van Gogh Alive runs at The Royal Hall of Industries, adjacent to the Entertainment Quarter, Moore Park from Friday, September 18 for a limited time. Tickets will cost $30 per person and go on sale at midday on Friday, August 21 via vangoghalive.com.au.
When a major arts festival drops its latest program, as Sydney Festival just has for its massive 2023 event, it's easy to start playing the numbers game. The figures are impressive, with the event's second year under Artistic Director Olivia Ansell boasting 748 performances across 54 venues. The lineup also spans more than 100 unique events, 26 of which won't cost attendees a thing. And, there'll be 18 world premieres and 14 Australian exclusives — aka shows that you'll need to travel to Sydney to see if you don't live there, because they won't pop up elsewhere. All of these stats do indeed tell a story, conveying how widely the festival crew has scoured for top-notch shows; how jam-packed the resulting calendar of performances, gigs and exhibitions is; and how busy the 25 days from Thursday, January 5–Sunday, January 29 are going to prove. And, they help express the most important message there is for audiences: if you're looking for not just a culture fix but to bathe in art, theatre, music and all-round exciting festivities for weeks on end all around Sydney at the start of 2023, then you'd best block out your diary now. There's no shortage of highlights in the program, no matter what kind of cultural experience take your fancy. Here's perhaps the most surprising one: turning Sydney Town Hall into a beach courtesy of 26 tonnes of sand. No, you won't be able to swim there — but you can watch Lithuanian opera Sun & Sea, which won the Venice Biennale's Golden Lion in 2019, stage its sandy work in the round. The end result explores the climate emergency, is certain to make for a memorable show, and is one of Sydney Festival's Australian exclusives. Also unlikely to be forgotten quickly: the Australian premiere of Frida Kahlo: Life of an Icon, a multi-sensory art experience dedicated to the iconic Mexican painter. Think: the immersive Vincent van Gogh showcase that's being doing the rounds, or the new Monet one headed to Melbourne, but all about the one and only Kahlo. Hailing from Spanish digital arts company Layers of Reality, alongside the Frida Kahlo Corporation, it'll take over the Cutaway with holography, 360-degree projections and live performances of traditional Mexican music, as well as a virtual-reality system that'll let you step inside the artist's iconic pieces. [caption id="attachment_874188" align="alignnone" width="1920"] Jacquie Manning[/caption] Other standouts include Bonobo hitting the decks at the Masonic Centre, and turning its banquet hall into a unique dance party; performance piece In Chamber, which literally takes place in a safe in the basement of the Margot Kimpton Hotel; ROOM, the latest surreal theatre piece by James Thiérrée; and Tracker, which sees choreographer-director Daniel Riley combine dance, ceremony and text. Or, there's also 16 days of live music inside the 70s-era underground bar beneath Martin Place's Harry Seidler-designed Commercial Travellers' Association building (yes, the mushroom building). That subterranean space remains unrenovated, so expect The Weary Traveller, as the fest-within-the-fest is called, to serve up a huge blast from the past (plus tunes by Alice Skye, Astral People, Automatic, June Jones, Kaitlyn Aurelia Smith, Lil Silva, Party Dozen, Tom Snowdon, Moktar, Two Birds with Bayand, Coloured Stone, HTRK and Potion). In the same structure, the 28-room hotel itself is being taken over by American artist Kelsey Lu. You'll want to check in for this one, and stay the evening — because In The Lucid: A Dream Portal to Awakening is an eight-hour audio journey. [caption id="attachment_874185" align="alignnone" width="1920"] Peter Wallis[/caption] Heartbreak High fans will want to catch Blue, and fans of homegrown theatre as well — it stars and has been written by Thomas Weatherall, and will enjoy its world premiere at Sydney Festival. Or, for something completely different, a Shinjuku-inspired magic bar will pop up at Darling Harbour, transporting you to Tokyo if you haven't already made Japan holiday plans now that the country has reopened its borders. The list goes on, including Bloodlines, an exhibition paying tribute to artists lost to HIV/AIDS; The Party, which'll celebrate Sydney's LGBTQIA+ nightlife and party culture between 1973–2002; and Retrosweat hosting a big 80s pool party that, yes, will involve aqua aerobics. Or, there's flamenco dancer Sara Bara in Alma at the Sydney Opera House; Dead Puppet Society and Legs On The Wall's take on the Trojan war in Holding Achilles; drag brunch show Smashed: The Brunch Party hosted by Victoria Falcone; and Prinnie Stevens singing tunes by superstars like Aretha Franklin, Ella Fitzgerald, Billie Holiday, Whitney Houston and Beyoncé. Plus, Sydney Symphony Orchestra will celebrate Lunar New Year outdoors at Parramatta Park; Polar Force at Carriageworks explores the extremes of ice and wind by pairing Antarctic field recordings with live industrial percussion; and Restless Dance Theatre's dance piece Guttered is set in a real-life bowling alley. And, Lego lovers can check out a new Brickwrecks exhibition, which recreates shipwrecks with the plastic bricks. Also, ENESS, who was behind the 2022 fest's Airship Orchestra, is back with Cupid's Koi Garden — which'll give Tumbalong Park a six-metre-tall immersive water-play park right in the middle of summer. [caption id="attachment_874184" align="alignnone" width="1920"] Sam Roberts Photography[/caption] Sydney Festival 2023 runs from Thursday, January 5–Sunday, January 29 at venues across the city. For further details and to buy tickets, visit the Sydney Festival website. Tickets go on sale at 9am on Wednesday, October 19. Top image: Andrej Vasilenko.
We don't know what you have to do to be considered a 'beach expert', but after Australia's best beaches were revealed over the weekend, we're sure we need to become one. The 2017 list details 101 of the country's most stunning beaches, but the beach that's come out as number one isn't Bondi or Jervis Bay — it's Cossies Beach. Where the bloody hell is Cossies Beach, you say? It's located on Direction Island, which is part of the Cocos (Keeling) Islands about a four and a half hour flight from Perth. It's closer to Jakarta than Perth, which makes the logistics of your escape to the exquisite blue water paradise extremely difficult — but perhaps that's why it's so coveted. Now, the 'best' beach is obviously a hard one to quantify, but Brad Farmer has done a pretty thorough research job. He's the aforementioned beach expert, and for the release of the first edition of 101 Best Beaches he visited, documented and rated a whole heap of beaches alongside coastal geomorphologist Professor Andy Short, who has personally visited every single beach in Oz (there's 11,761 of them, by the way). Eventually the pair landed on the remote Cossies Beach as number one. It's so remote in fact that it didn't even have a name — while conducting his research, Farmer named it after after Australia's 26th Governor-General Sir Peter Cosgrove, after seeking permission from locals. It's obviously insanely beautiful, and the pair have noted it as the best beach of them all due to its shallow water creating a brilliant blue colour, its 300-metre white sand strip, great snorkelling and shade from coconut palms. Other top beaches are ones you probably haven't heard too much about either — Moonee Beach on the Coffs Coast, Turquoise Bay in WA and Dolly Beach on Christmas Island all make the list. Tourist spots Burleigh Heads and Apollo Bay get a look in as well. Have a look at the top ten below. BRAD FARMER'S BEST BEACHES IN AUSTRALIA 2017 1. Cossies Beach, Cocos (Keeling) Islands, Indian Ocean 2. Nudey Beach, Fitzroy Island, Far North Queensland 3. Moonee Beach, Coffs Coast, NSW 4. Turquoise Bay, Coral Coast, WA 5. Burleigh Heads, Gold Coast, Queensland 6. Maslin Beach, Adelaide, SA 7. Dolly Beach, Christmas Island, Indian Ocean 8. Shelly Beach, Nambucca Coast, NSW 9. Boat Harbour Beach, North West Coast, Tasmania 10. Apollo Bay, Great Ocean Road, Victoria Images: Rik Soderlund via 101 Best Beaches.
For many of us, the prospect of sitting through reams of photos from our recently-returned-from-travelling friends can be a little scary. Unless you happen to be friends with independent film maker Rick Mereki, that is. Then it is something else entirely. Mereki has created three short films taken from footage of a trip with two mates, covering 11 different countries and over 38 thousand miles in 44 days. Each film is only about a minute in duration and is based on a theme; in Move we follow as one of Mereki's friends walks through a series of stunning landscapes, in Learn we see the skills he attempts to acquire along the way (soccer, pizza making, wine tasting, weaving, guitar) and in Eat we see a smorgasboard of international delights. It's a simple idea, as the brilliant ones usually are. The themes are clear, the images strong and it is all held together by a lovely little soundtrack. Move, Learn, Eat are beautiful reminders of the joys of travelling, the fun of learning and the delight of food. They also remind you of the shortcomings of your own travel snaps.
Australia is set to receive a healthy dose of 1920s razzle-dazzle, as record-breaking Broadway favourite Chicago shimmies onto stages across the country later this year. An Aussie production of the smash-hit musical will debut at Sydney's Capitol Theatre in August, before heading to Brisbane's QPAC Lyric Theatre in November and wrapping up at Arts Centre Melbourne from December. The longest-running American musical in Broadway and West End history, the original Kander & Ebb musical has reached the eyeballs of over 31 million people worldwide. Inspiring 2002's Academy Award-winning film of the same name, it tells the tale of a Chicago housewife and nightclub dancer who twirls through a whirlwind of murdered lovers, jail-time, fierce rivalries and tabloid sensationalism set in the decadent 1920s. Taking the stage for Chicago's local run is a cast of well-known Aussie names — catch acclaimed all-rounder Natalie Bassingthwaighte in the lead role of Roxie Hart, musical theatre veteran Alinta Chidzey as her rival Velma Kelly, and ARIA-winning superstar Casey Donovan playing Matron 'Mama' Morton. Based on a 1926 play by Maurine Dallas Watkins, the production showcases music by John Kander, lyrics by Fred Ebb and choreography by Tony Award winner Ann Reinking. Hot on its black patent heels are two more award-winning musicals heading Down Under. Saturday Night Fever will head to Capital Theatre in Sydney this August, before Waitress hits Aussie shores in 2020. Chicago premieres at Sydney's Capitol Theatre in August 2019, before heading to Brisbane's QPAC Lyric Theatre in November and the Arts Centre Melbourne in December. You can score tickets for the Sydney show or sign up for the Melbourne and Brisbane waitlists over at the website. Images: Paul Kolnik, Peter Brew Bevan, Jeremy Daniel
So much to see, so little time. If hitting the couch is one of your favourite ways to unwind, that'll be a familiar refrain. Now that there are far more streaming services to choose from than we each have fingers and toes, finding something to watch is never a problem — and in 2022, there's been a lengthy list of excellent shows worthy of your attention. Some have tapped into our struggles with work-life balance in chilling and thrilling ways. Others have made hearts soar and swoon several times over. Also on this year's must-see list: multiple shows that dance with exceptional movies, a behind-the-scenes television great doing what he does best, porn for women, spectacularly lifelike dinosaurs and murder-mysteries. And, they're just some of 2022's standouts. Haven't been able to watch all of the year's ace new arrivals thanks to life getting in the way? Not quite sure where to start? With 2022 now at its midway point, here are our picks of the year's 15 best new television and streaming shows — consider it your catch-up list over the next six months. SEVERANCE It's the ultimate in work-life balance, an antidote to non-stop after-hours emails and Slack messages, and a guaranteed way to ensure what happens at work stays at work. In mind-bending thriller series Severance — which plays like Black Mirror meets the Charlie Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind, with Wes Anderson's aesthetic if he designed soulless office complexes, plus sprinklings of everything from George Orwell to also-excellent 2020 TV effort Devs — switching off when clocking off at Lumon Industries is easy. There's a brain implant for exactly that, and it's a condition of employment on "severed" floors. Accordingly, when quittin' time comes for Macrodata Refinement division employee Mark (Adam Scott, Big Little Lies), he physically steps into a tiny, shiny elevator to re-enter his after-hours life; however, the version of him that works for Lumon won't recall anything beyond the company's walls. The instant that the lift starts moving, it goes back to the office for Mark's "innie", as his work-bound consciousness is dubbed. Voila, it's clocking-on time once more. Severance's attention-grabbing premise springs from creator Dan Erickson, a TV first-timer, and understands how most folks feel about the nine-to-five grind. The show is knowing in its lead casting, too, given that Scott is best recognised for two workplace comedies: the joyous hug that is Parks and Recreation, as well as the acerbic, astute and soon-to-return Party Down. But as savvily and evocatively directed by Ben Stiller in its first three season-one episodes (and again in its last three, with Kissing Candice filmmaker Aoife McArdle helming three in the middle), Scott's new series dwells in 'be careful what you wish for' territory. For the part of Mark's brain that blanks out work, Severance initially seems like heaven. For the half that only knows the office, it's hell. For everyone watching, soaking in its twisty mysteries — and enjoying Patricia Arquette (The Act), Christopher Walken (Percy vs Goliath) and John Turturro (The Plot Against America) as fellow Lumon employees — it's a surreal and riveting must-see. Severance is available to stream via Apple TV+. Read our full review. IRMA VEP One of 2022's most magnificent new shows, and a cinephile's dream of a series, Irma Vep requires some unpacking. The term 'layered' has rarely ever applied to a TV program quite as it does here. French filmmaker Olivier Assayas (Clouds of Sils Maria, Personal Shopper) retraces his own footsteps, turning his cult-favourite 1996 movie of the same name into an Alicia Vikander-starring HBO miniseries. And, in this series itself, a director is also remaking one of his own past flicks as a television project. In all versions of Irma Vep, the movies and shows being made are also remakes of 1915–16 French crime effort Les Vampires. It was a ten-episode, seven-hour cinema serial, and it's supremely real. Indeed, by first helming a feature about remaking Les Vampires, and now a series about remaking a movie that remakes Les Vampires (which, IRL, is also a remake of a movie that remakes Les Vampires), Assayas keeps remaking Les Vampires in his own way. It all sounds exactly as complicated as it is — and Assayas loves it. Viewers should, too. The nested dolls that are Irma Vep's meta setup just keep stacking, actually. The 1996 Irma Vep starred Maggie Cheung, who'd later become Assayas' wife, then ex-wife — and the 2022 Irma Vep haunts its on-screen filmmaker René Vidal (Vincent Macaigne, Non-Fiction) with visions of his ex-wife Jade Lee (Vivian Wu, Dead Pigs), who, yes, led his movie. If you're a fan of word puzzles, you might've also noticed that Irma Vep is an anagram of vampire; that said, Les Vampires isn't actually about bloodsuckers, and nor is any iteration of Irma Vep. To add to the list, while Cheung played a version of herself, Vikander (Blue Bayou, The Green Knight) plays fictional American star Mira — a name that's an anagram of Irma. You can also take that moniker literally, because mirroring is patently a pivotal aspect of the brilliant Irma Vep in every guise. Irma Vep is available to stream via Binge. Read our full review. WE OWN THIS CITY For the past 20 years, we've all fallen into two categories: people who've seen, loved and haven't been able to stop raving about HBO's Baltimore-set masterpiece The Wire; and folks who don't tick any of those boxes but have been told by everyone who does that they really need to watch it ASAP. We Own This City deserves to spark the same response — and shares many of its predecessor's key pieces. It too takes place in Maryland's most populous city. It also follows a law-and-order battle, complete with time spent within the Baltimore Police Department. It springs from former Baltimore Sun police reporter-turned-author, journalist and TV writer/producer David Simon as well, and sees him reteam with writer George Pelecanos, a veteran of not only The Wire but also Simon's Treme and The Deuce. Oh, and as it tells a compulsive crime tale, it's packed with phenomenal performances. One of those astonishing portrayals is among the first thing that viewers see, in fact, with We Own This City opening with Sergeant Wayne Jenkins lecturing new recruits on the BPD Gun Trace Task Force. Chatting through how to legally do the job — how to get away with what he deems necessary, that is — Jon Bernthal (The Many Saints of Newark) is hypnotically unsettling as Jenkins, who'll become the focus of a corruption investigation for his methods. He isn't the only "prime example of what's gone wrong in Baltimore," as viewers are told. So is Daniel Hersl (Josh Charles, The Loudest Voice), who is initially glimpsed pulling over and terrorising a Black driver for no other reason than that he can. Department of Justice Civil Rights Department attorney Nicole Steele (Wunmi Mosaku, Lovecraft Country) is charged with tracking the force's bad eggs, and that's just one of this complex, revealing and arresting six-part miniseries' layers. And if it feels so detailed that it could only be true, that's because it's based on a non-fiction book by Justin Fenton another ex-Baltimore Sun reporter. We Own This City is available to stream via Binge. MINX When home video, the internet and mobile phones with inbuilt cameras each arrived, six words could've been uttered: get ready to look at dicks. HBO comedy Minx is set the early 70s, so before all three, but the same phrase also applies here. It's true of the show itself, which isn't shy about displaying the male member in various shapes and sizes. It also stands tall in the world that Minx depicts. When you're making the first porn magazine for women — and, when you're making an ambitious, entertaining and impeccably cast The Deuce meets Mrs America-style series about it, but lighter, sweeter and funnier (and all purely fictional) — penises are inescapable. Also impossible to avoid in Minx: questions like "are erections consistent with our philosophy?", as asked by Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying). Idolising the magazine industry and unhappily working for the dispiritingly traditional Teen Queen, she has long dreamed of starting her own feminist publication — even penning a bundle of articles and making her own issues — but centrefolds splashed with male genitalia don't fit her ideal pitch. No one's buying what Joyce is selling, though; The Matriarchy Awakens, her dream mag, gets rejected repeatedly by the industry's gatekeepers. Only one is interested: Bottom Dollar Publications' Doug Renetti (Jake Johnson, Ride the Eagle), but he's in the pornography business. Minx is available to stream via Stan. Read our full review. OUR FLAG FLAG MEANS DEATH In the on-screen sea that is the never-ending list of films and television shows constantly vying for eyeballs, Taika Waititi and Rhys Darby have frequently proven gem-dappled treasure islands. When the immensely funny New Zealand talents have collided, their resumes have spanned four of the most endearing comic hits of the big and small screens in the 21st century so far, aka Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople — and now, with pirate parody Our Flag Means Death, they've given viewers another gleaming jewel. This show was always going to swashbuckle its way into streaming must-see lists — and into comedy-lovers' hearts — based on its concept alone, but it more than lives up to its winning idea and winsome casting. Come for the buccaneering banter and seafaring satire, stay for a thoughtful and sincere comic caper that's also a rom-com. The inimitable Darby stars as Stede Bonnet, a self-styled 'gentleman pirate' and a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier. Meanwhile, Waititi dons leather, dark hues aplenty, an air of bloodthirsty melancholy and an eye-catching head of greying hair as Edward Teach, the marauder better known to the world as Blackbeard. The two real-life figures eventually cross paths after Bonnet leaves his life of wealth, privilege and comfort to rove the oceans, captains a ship staffed by a motley crew to end all motley crews, and initially gets captured by Blackbeard — or Ed, as he calls him. As these two opposites bond, riding the waves from adversaries to co-captains to potentially something more, Our Flag Means Death truly and gloriously opens up its warm heart. Our Flag Means Death is available to stream via Binge. Read our full review. THE AFTERPARTY Only Murders in the Building isn't the only new comic murder-mystery series worth streaming from the past year or so. Joining it is The Afterparty, which also sports a killer cast — this time Sam Richardson (Detroiters), Ben Schwartz (Space Force), Zoe Chao (Love Life), Ilana Glazer (Broad City), Ike Barinholtz (The Mindy Project), Dave Franco (If Beale Street Could Talk) and Tiffany Haddish (The Card Counter) — and a savvy spin on an oft-used gimmick. Rather than skewering true-crime podcasting, this quickly addictive comedy from writer/director Christopher Miller (The Lego Movie) toys with the reality that every tale differs depending on the perspective. Whodunnits always hinge upon that fact, and Miller has also clearly seen iconic Japanese film Rashomon. And, considering that its big murder takes place after a school function, there's a touch of Big Little Lies at play, too. With his directing partner Phil Lord, Miller has made a career out of getting smart and funny with familiar parts, however, and that doesn't change here. The setup: at the afterparty following his 15-year high-school reunion, obnoxious autotune-abusing pop star Xavier (Franco) winds up dead on the rocks beneath his lavish mansion. Enter the determined Detective Danner (Haddish), who starts grilling his former classmates one by one to find out who's responsible. Her interrogations start with the sensible Aniq (the always-great Richardson), who was hoping to finally make a move on his schoolyard crush Zoe (Chao) — and after his version of events, Danner hears from Zoe's macho ex Brett (Barinholtz) in The Afterparty's second episode, then from Aniq's best bud Yasper (Schwartz, riffing on Parks and Recreation's Jean-Ralphio without being quite as ridiculous), and so on. The cast is top-notch, the writing is clever, there's much fun to be had with its genre- and perspective-bending premise, and the throwaway gags are simply glorious. The Afterparty is available to stream via Apple TV+. Read our full review. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. Heartstopper is available to stream via Netflix. Read our full review. PREHISTORIC PLANET Five episodes, one comforting voice, and a time-travelling trip back 66 million years: that's the setup behind Prehistoric Planet, an utterly remarkable feels-like-you're-there dive into natural history. Having none other than David Attenborough narrate the daily activities of dinosaurs seems like it should've happened already, of course; however, now that it finally is occurring, it's always both wonderful and stunning. Filled with astonishing footage on par with the visuals that usually accompany Attenborough's nature docos, all thanks to the special effects team behind The Jungle Book and The Lion King, it truly is a wonder to look at. It needs to be: if the Cretaceous-era dinosaurs rampaging across the screen didn't appear like they genuinely could be walking and stalking — and fighting, foraging for food, hunting, flying, swimming and running as well — the magic that typically comes with watching an Attenborough-narrated doco would instantly and disappointingly vanish. Welcome to... your new insight into Tyrannosaurus rex foreplay, your latest reminder that velociraptors really don't look like they do in the Jurassic Park and Jurassic World flicks, an entertaining time spent with al kinds of animals, and your next favourite dinosaur project with an Attenborough attached. Each of Prehistoric Planet's five instalments focuses on a different type of terrain — coasts, deserts, freshwater, ice and forests — and chats through the creatures that call it home. Set to a spirited original score by Hans Zimmer, fresh from winning his latest Oscar for Dune, there's a formula at work. That said, it's no more blatant than in any David Attenborough-hosted show. Viewers watch as some dinos look after their young, others try to find a mate, plenty search for something to eat and others attempt not to be eaten. The same kinds of activities are covered in each episode, but the locations and dinosaurs involved all change. Prehistoric Planet is available to stream via Apple TV+. Read our full review. LOOT Aptly given its title, new Apple TV+ sitcom Loot doesn't look cheap — or sound it. It's partly filmed in one of America's biggest private homes, an enormous mansion with 21 bedrooms, five pools, a bowling alley and a cinema. It's filled with well-known needle drops that come quickly and often, with one episode featuring three Daft Punk tracks alone. It couldn't scream louder or drip harder with excess; the series is about a mega-rich tech whiz's wife who gets $87 billion in their public and messy breakup, after all. And, it is inescapably made by a company that's a big technology behemoth itself, and has been splashing stacks of cash to build its streaming roster (see: The Morning Show, Ted Lasso, Severance, Physical, Prehistoric Planet, Foundation, The Shrink Next Door, Shining Girls, Slow Horses, Lisey's Story and more). Loot is also clearly a satire, however, and a canny, warm and funny one at that. The premise: amid being gifted a mega yacht for her birthday, then jumping to a party in that aforementioned sprawling home, Molly Novak (Maya Rudolph, Big Mouth) discovers that her husband John (Adam Scott, Severance) is cheating on her. Post-divorce, after that huge settlement and a stint of partying around the globe with her assistant Nicholas (Joel Kim Booster, Fire Island), she gets a call from Sofia Salinas (Michaela Jaé Rodriguez, Pose), the head of the foundation she's forgotten bears her name (and even exists). With Molly's drunken decadence all over the news, the charity is finding it difficult to do its work. So, the organisation's namesake decides to ditch the revelry — and her married moniker, becoming Molly Wells — and put all that dough to better use. She also commits to playing an active role in how her funds can truly help people. Loot is available to stream via Apple TV+. Read our full review. TOKYO VICE Seven years after making his most recent movie, aka 2015's Chris Hemsworth-starring Blackhat, one of America's best directors is finally back behind the lens. Thief, Heat, The Insider and Collateral filmmaker Michael Mann only helms Tokyo Vice's pilot, but what a tone-setting debut episode it is — as stylish and gritty a piece of television as you're likely to stream any time soon, in fact. Mann also serves as the eight-part book-to-screen series' executive producer, which explains why its slice of neon-lit Japanese-set noir always feels like it bears his fingerprints. Of course, the show isn't shy about its links to the director, who also executive produced the original 1980s TV series Miami Vice, and wrote and directed the 2006 big-screen remake. That said, Tokyo Vice's moniker actually stems from Jake Adelstein's memoir Tokyo Vice: An American Reporter on the Police Beat in Japan, about his years writing for Yomiuri Shimbun as a non-Japanese journalist. Nonetheless, everything about the HBO-backed program feels as if it was always fated to end up in Mann's hands. Adelstein was Yomiuri Shimbun's first foreign staff writer, with Tokyo Vice exploring his quest to cement himself inside the publication from the bottom up. As played by West Side Story's Ansel Elgort, Adelstein always stands out, as does his dogged determination to chase the stories he's explicitly instructed to ignore. Murders don't happen in Japan, he's told. What he's witnessing screams otherwise, though. So, he starts spending his own time investigating, befriending Tokyo organised crime division detective Hiroto Katagiri (Ken Watanabe, Godzilla: King of the Monsters) for guidance, and also getting close to club hostess and fellow American-in-Tokyo Samantha Porter (Rachel Keller, Legion), plus jaded Yakuza enforcer Sato (Shô Kasamatsu, Love You as the World Ends). Elgort is the weakest part of the series, but that also suits the overall narrative and its focus on the city's underworld — and everything around him, including Rinko Kikuchi (Pacific Rim: Uprising) and Hideaki Itô (Memoirs of a Murderer), is stellar. Tokyo Vice is available to stream via Paramount+. Read our full review. PACHINKO When novels are turned into movies, there's usually a sense that's something is missing, no matter how fantastic the film proves. That's understandable; when you compare the time it takes to unfurl a story on the page with the usual running time of a feature — even a lengthy one — not everything can make the leap from book to screen. Named for the gambling machines that fill Japanese arcades, Pachinko turns author and journalist Min Jin Lee's award-winning text into an eight-part series instead, and it's a canny and clever move. So too is getting filmmakers Kogonada and Justin Chon to direct four instalments apiece, both coming off fantastic work via After Yang and Blue Bayou respectively. And, adding to the smart and savvy choices made by this immediately engrossing series, which unfurls a sweeping, 20th century-set, multi-generational tale about struggle, resilience and endurance: casting always-wonderful Minari Oscar-winner Youn Yuh-jung — as well as newcomer Kim Min-ha as the younger version of her character. Youn and Kim play Sunja (and, as a child, first-timer Yuna does as well), who anchors a story that's both impressively sprawling and devastatingly intimate. As a girl, she grows up in Japanese-occupied Korea, a fact that shapes every part of her young life. When she's older, she moves to Japan — and by the time that she's a grandmother, that's where the bulk of her existence has unfolded. Jumping between different periods, Pachinko charts how the shadow of colonial rule has lingered over not just Sunja but the family she's brought into the world, including in the 80s where her grandson Solomon (Jin Ha, Devs) works in finance in New York and her son Mozasu (Soji Arai, Cobra Kai) has made his way thanks to the titular game. Splashing an epic story told with emotion, resonance, insight and elegance across the screen, this is at the pinnacle of novel-to-screen adaptations. Pachinko is available to stream via Apple TV+. SLOW HORSES One of several espionage-themed efforts hitting streaming this year — see also: the returning The Flight Attendant and movie All the Old Knives — Slow Horses gives the genre a pivotal switch and entertaining shake up. It's still a tense thriller, kicking off with an airport incident and then following a kidnapping, but it's also about the kind of spies that don't usually populate the on-screen world of covert operatives. Stationed away from the main MI5 base at a rundown, clandestine office called Slough House, Jackson Lamb (Gary Oldman, The Hitman's Wife's Bodyguard) and his team are the agency's rejects. They haven't been fired for a multitude of reasons, however, including boasting ties to influential past employees, being great at their jobs but also a drunk and having impressive hacking skills yet proving impossible to get along with. Given the nickname that gives the show its moniker, usually they do little more than push paper, too, until they get caught up in a high-profile case. Oldman goes big and broad as Lamb, and he's also ceaselessly absorbing to watch, but Slow Horses isn't short on stars. In a six-episode first season adapted from Mick Herron's 2010 novel of the same name, Kristin Scott Thomas (Rebecca) plays MI5 Deputy Director-General Diana Taverner, Lamb's supremely competent head-office counterpart — although it's Jack Lowden (Fighting with My Family) and Olivia Cooke (Pixie) as young operatives River Cartwright and Sid Baker, and their efforts to chase down a lead they're not meant to, that's at the forefront. Behind the scenes, executive producer and writer Will Smith (not that one) brings a sly and witty way with dialogue from his past work on The Thick of It and Veep, making Slow Horses both crackingly suspenseful and tartly amusing. The slinky theme tune by Mick Jagger also helps set the mood — and season two is already in development. Slow Horses is available to stream via Apple TV+. THE MAN WHO FELL TO EARTH Who'd want to try to step into the one and only David Bowie's shoes? Only the brave and the bold. Two people earn that description in The Man Who Fell to Earth, the new TV sequel to the iconic 1976 movie that starred the music legend in the role he was clearly born to play: an alien who descends upon earth and ch-ch-changes history. Bill Nighy (Buckley's Chance) is charged with taking over the character of Thomas Jerome Newton and, thankfully and with style, he's up to the task. Chiwetel Ejiofor (Doctor Strange in the Multiverse of Madness) slides into the same kind of part that Bowie owned in the original, however, as fellow extra-terrestrial interloper Faraday. He's this follow-up's newcomer to the planet, and he's just as destined to do big things. That's not a spoiler — early in the first episode, Faraday addresses a massive crowd like he's Steve Jobs announcing Apple's latest product, and The Man Who Fell to Earth's tech success uses the occasion to spin his origin story. Who'd want to try to pick up where one of the best sci-fi films ever made left off? That'd also be the brave and the bold, aka Clarice creators Jenny Lumet and Alex Kurtzman. Drawing inspiration from silver screen gems is obviously the pair's niche of late, but it's worth remembering with this new effort — which takes its cues from Walter Tevis' 1963 novel of the same name, too — that Kurtzman was also behind exceptional 2008–13 sci-fi series Fringe. Indeed, The Man Who Fell to Earth 2.0 feels like the perfect use of his talents, with the series thinking big and brimming with urgency in its vision of a world that might only be able to be saved by a spaceboy who truly cares about stopping climate change's damage. To follow through with his mission, though, Faraday also needs the help of former MIT physics whiz Justin Falls (Naomie Harris, No Time to Die). The Man Who Fell to Earth is available to stream via Paramount+. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Top Gun: Maverick) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range is available to stream via Prime Video. Read our full review. THE DROPOUT Dramatising the Theranos scandal, eight-part miniseries The Dropout is one of several high-profile releases this year to relive a wild true-crime tale — including the Anna Delvey-focused Inventing Anna, about the fake German heiress who conned her way through New York City's elite, and also documentary The Tinder Swindler, which steps through defrauding via dating app at the hands of Israeli imposter Simon Leviev. It also dives into the horror-inducing Dr Death-esque realm, because when a grift doesn't just mess with money and hearts, but with health and lives, it's pure nightmare fuel. And, it's the most gripping of the bunch, even though we're clearly living in peak scandal-to-screen times. Scam culture might be here to stay as Inventing Anna told us in a telling line of dialogue, but it isn't enough to just gawk its way — and The Dropout and its powerful take truly understands this. To tell the story of Theranos, The Dropout has to tell the story of Elizabeth Holmes, the Silicon Valley biotech outfit's founder and CEO from the age of 19. Played by a captivating, career-best Amanda Seyfried — on par with her Oscar-nominated work in Mank, but clearly in a vastly dissimilar role — the Steve Jobs-worshipping Holmes is seen explaining her company's name early in its first episode. It's derived from the words "therapy" and "diagnosis", she stresses, although history already dictates that it offered little of either. Spawned from Holmes' idea to make taking blood simpler and easier, using just one drop from a small finger prick, it failed to deliver, lied about it copiously and still launched to everyday consumers, putting important medical test results in jeopardy. The Dropout is available to stream via Disney+. Read our full review. Looking for more viewing highlights? Check out our list of film and TV streaming recommendations, which is updated monthly. We also keep a running list of must-stream TV from across the year so far, complete with full reviews.
Mark Ronson's newly released memoir Night People: How to Be a DJ in '90s New York City is officially being adapted into a feature film. As first reported by Variety, the Grammy- and Oscar-winning producer's story of New York nightlife will be brought to the big screen by Plan B, the production company co-founded by Brad Pitt. The studio has been behind acclaimed projects including Moonlight, F1 and Beetlejuice Beetlejuice, as well as Netflix's Emmy-winning series Adolescence. In a recent interview with Rolling Stone AU/NZ, Ronson said the deal only came together a fortnight ago after Plan B co-president Jeremy Kleiner reached out. "He just loved the book," Ronson explained. "He was like, 'I think this could be a great film.' And for me, I'm kind of a modest guy. It's my life. I was just so happy to be finished with the book. But it's a brilliant era, and they make such brilliant films. I'm so excited to see what they want to do with it." The exact direction of the movie is still up in the air — whether it will follow a biopic-style arc or take looser inspiration from Ronson's stories. "I actually don't think they've even decided yet, so it could be whatever," he said. "I think whoever the director is, the visionary who comes into it, [they are] gonna definitely lead that as well." Ronson also revealed he'll likely have input on creative decisions — including casting. "I think so, yeah. Only if it's Timothée Chalamet will I agree on this picture," he joked. "[Plan B] make such great films and I'm just down for whatever they wanna do." Night People: How to Be a DJ in '90s New York City is out now, and you can find more details via Penguin Random House. Images: Getty
Thanks to the wonders of technology, overcoming the language barrier isn't as difficult as it used to be. Forget phrasebooks — if you've got a smartphone, these days you're usually covered. Not all translation apps are created equal, however. In fact, only one promises real-time translation of both words and voice in 90 different languages. The free piece of software destined to find a home on every traveller's device of choice is DoTalk, an Australian-made invention aiming to make the process of making friends overseas even easier. And asking for directions, ordering a drink, trying to work out the local public transport system, asking for directions again (we all get lost while venturing far and wide, admit it) — plus all of the other routine holiday situations that involve human interaction. Available now for both iOS and Android, DoTalk offers users two options: translating via text, which is great if you're emailing or trying to read a sign; and translating live voice conversations, which is ace in plenty of other scenarios. For a fee, it can also handle group chats with up to 10 participants, even in multiple languages. As for just where it'll come in handy, Chinese, Korean, Japanese, Russian, Spanish, French and Indonesian currently rank among the app's most popular languages; however you'll also find everything from Albanian to Zulu on offer."Our goal with DoTalk was to create a free, fun and easy-to-use app which provides an open forum for people to easily connect and communicate, regardless of language barriers or location and without delay," says founder Reno Nicastro. For more information about DoTalk, visit their website.
For a beer with a killer riverside inner-city view, Brisbanites should be well-acquainted with Felons Brewing Co. For festivals on its lawn and movies in its Barrel Hall, everyone should know the spot as well. Also, it has become a regular go-to for Brisbane's creative community, with the Howard Smith Wharves brewery launching a makers' market in late 2023 — and bringing it back in both 2024 and 2025. Next taking over Felons' Barrel Hall on Saturday, June 28, 2025 — and free to head along to — The Great Artist Market features over 70 artists and makers. Attendees can spend a day from 8am–3pm browsing, buying and supporting local talents, going home with the mindfully made items that they have on sale. For the winter 2025 event, the stalls will also again sprawl outside across the rivergarden lawn, as introduced at the 2024 winter run — which is a result of the increased interest from creative folks to sell their wares. Whether you're looking for gifts or just love art and design markets, expect a wide variety of makers and items — with glassworks, ceramics, illustrations, furniture and pickles just some of the choices that'll be tempting your wallet. Also on offer: DJ-spun tunes, pet portraits outside, workshops and food and drinks. Sandwiches and bakery items will satisfy hungry stomachs, while coffee will add a spring to your step. And if you're keen on a beer after shopping, you're in the right place.
News that's noice, tight and cool cool cool hasn't been the norm over the past year or so, including when US TV network NBC announced that Brooklyn Nine-Nine would end after its next (and eighth) season. That revelation sparked plenty of questions, all of varying degrees of importance. One of the most crucial: how many more times will Jake Peralta (Andy Samberg) say "title of your sex tape"? Other essential queries have been running through B99 fans' minds since then, of course. So, if you've been wondering what this last batch of ten episodes will have in store for Brooklyn's fictional 99th police precinct, how the series will wrap up and if Gina Linetti (Chelsea Peretti) will make a final appearance — and how much more yoghurt can Terry Jeffords (Terry Crews) eat, too — you're not alone. Thankfully, in just a couple of weeks, answers will start flowing. That's when Brooklyn Nine-Nine's last season will hit screens for a final farewell. Come Friday, August 13, SBS On Demand and SBS will start both streaming and airing the show's last batch of episodes, starting with a double to kick things off, then dropping further eps week by week. Back in May, US network NBC revealed that Brooklyn Nine-Nine's last season would launch following the Tokyo Olympics — and it also dropped a teaser trailer — so, given that SBS has fast-tracked recent seasons, this is both an unsurprising and overwhelmingly welcome development. How many times Die Hard will get a mention before the series says "yippee-ki-yay" for the last time? How will Peralta and Amy Santiago (Melissa Fumero) handle parenthood? What other tidbits will Rosa Diaz (Stephanie Beatriz) drop about her past in passing? Which crazy food items will Hitchcock (Dirk Blocker) and Scully (Joel McKinnon Miller) eat? They're some of the other questions you're probably now pondering, as well as exactly what else the whole gang — including Charles Boyle (Joe Lo Truglio) and Raymond Holt (Andre Braugher), of course — will get up to. If you'd like to start planning your own Halloween heist now in celebration — yes, a few months early — that's perfectly understandable. Check out the teaser trailer for Brooklyn Nine-Nine's final season below: https://www.youtube.com/watch?v=oRFDHqFiYoE&t=3s The first two episodes of Brooklyn Nine-Nine's eighth and final season will be able to stream via SBS On Demand (and to view on SBS) on Friday, August 13, with new episodes dropping weekly afterwards.
Eriksson Architects have compiled a proposal for an eco-silicon valley that will revolutionise modern enviro-friendly architecture. They have created blueprints for the Mentougou Eco Valley, an experimental 100 square-metre development with buildings of diverse contemporary design. If and when the Chinese government approves the proposal, the company plans to install the Mentougou Eco Valley about 60 kilometers west of Beijing, in a deep valley surrounded by lush mountains, an ideal haven for eco-friendly living. The city will be self-sufficient in producing water, returning nutrients back to the environment and maintaining its own agriculture because it will be built amidst vast vegetation and small bodies of water. Protected by the surrounding wall of mountains, noise and pollution are also kept out of the Mentougou Eco Valley. The development is designed to include nine environmental research institutes, a city center and small residential neighbourhoods built into the mountains that would house over 50,000. The architects will experiment with new building materials and designs, technologies and floor plans in an attempt to build the most modern eco-friendly city ever created. [via designboom]
Another day, another streaming platform. While there's a service for everything these days — Disney flicks, documentaries, Aussie movies, films recommended by Drive director Nicolas Winding Refn and, soon, British television (just to name a couple) — the just-launched Quibi comes with a few twists. We hope you like glueing your eyes to your phone and watching everything in ten-minute chunks, because that's what's on offer with this newcomer. It's all in the title, really, with Quibi shortened from 'quick bites'. Whether you're checking out a new version of Punk'd hosted by Chance the Rapper, seeing Chrissy Teigen preside over small claims cases in the Judge Judy-style Chrissy's Court or getting immersed in a Reese Witherspoon-narrated documentary series about females in natural history, you'll be doing so in small portions. And, you'll be watching on your mobile device of choice, because that's the only place the Quibi app is available. https://www.youtube.com/watch?v=3awKJu7EN6I Created by ex-Disney chairman and DreamWorks cofounder Jeffrey Katzenberg, and led by former eBay president and CEO Meg Whitman, Quibi has been in the works since 2018 — and earning ample attention thanks to its huge stash of cash (reportedly raising $1.75 billion to spend on content), as well as its hefty array of stars and shows (including an upcoming remake of How to Lose a Guy in 10 Days). But the service's arrival in Australia actually came as a surprise, with the platform touting a US launch on April 6, then becoming available Down Under on the same date. That means Aussie viewers can now catch everything from dramas and comedies to news and reality TV in bite-sized chunks, with instalments maxing out at ten minutes but most running shorter (between five and eight minutes). Also on Quibi's lineup are 'movies in chapters', which are exactly what they sounds like — films broken down into episodic segments to fit the platform's whole concept. Launching with a sizeable range titles — with an ultimate aim of hitting 175 different shows and 7000 episodes in its first year — Quibi highlights include mockumentary Nikki Fre$h, which follows Nicole Richie's efforts to become a wellness-focused rapper; cooking competition show Dishmantled, where host and Unbreakable Kimmy Schmidt star Tituss Burgess shoots food at two culinary industry figures, then forces them to try to recreate the dish in question; and Lena Waithe-hosted documentary series You Ain't Got These, about sneaker culture. From the 'movies in chapters' lineup, there's also Flipped, starring Will Forte and It's Always Sunny in Philadelphia's Kaitlin Olson as a down-on-their-luck couple desperate to host their own TV renovation series; Most Dangerous Game, the latest twist on the humans-hunting-humans idea, this time with Christoph Waltz and Liam Hemsworth; and Survive, which casts Game of Thrones' Sophie Turner as a suicidal patient suddenly forced to fight for her life after a plane crash. https://www.youtube.com/watch?v=Q3IRvX9UaIk&feature=emb_logo If you're wondering about watching all of the above on your phone, Quibi is designed to play in full-screen no matter whether your handset is vertical or horizontal — with the image automatically changing as you move your device around. And if you're thinking "clearly this is targeted for people watching on the go, such as on the train to work", you're spot-on. Thanks to COVID-19, of course, that's not how folks will be using the service for the near future, though. That makes Quibi a Netflix-meets-YouTube streaming platform with plenty of things to watch, but a flimsy gimmick — or a poorly timed one, at least. Whether anyone wants to get their TV and movie fix on their phone while they're cooped up at home is one of the questions the service currently faces. The other is the lack of communal viewing, because no one wants to crowd around one handset to watch a show or film with their significant other. https://www.youtube.com/watch?v=nKPuomRV5C8 Still, Quibi is betting that audiences will be interested anyway, with more big-name titles in the works. Serving up car-based stunts, Elba vs Block will see Idris Elba face off against professional rally driver Ken Block. And expect lots of cuteness in Barkitecture, which'll see the construction of OTT houses — for dogs. In the remake category, a new version of late 90s sports flick Varsity Blues is on the slate, as is a revival of comedy series Reno 911, as well as a Kiefer Sutherland-starring take on 60s TV series and 90s movie The Fugitive. Sci-fi movie Code 8 is getting a Quibi spinoff, starring Robbie and Stephen Amell, while Japanese horror manga Tomie is being adapted for the platform. And even Steven Spielberg is jumping on the bandwagon, courtesy of horror series Spielberg's After Dark. For further details about Quibi, visit the streaming platform's website. To download the Quibi app, head to the App Store or GooglePlay — with a 90-day free trial currently available, and subscriptions costing AU$12.99 per month afterwards. Top images: Survive and Barkitecture
If you get to and from work via Translink public transport, or anywhere else across Queensland, your wallet won't be getting as much of a workout for the next six months. First announced in May and in effect from Monday, August 5, 2024, fares across Translink services have dropped in price to 50 cents per journey no matter how far you're going. The price-slashing move is both a cost-of-living relief measure and an effort to reduce traffic congestion, and it impacts a hefty range of travel options. Translink, which falls within Queensland's Department of Transport and Main Roads, runs trains, buses, ferries and trams in southeast Queensland, for starters. So for Brisbanites, whether you ride the rails as part of your daily commute, hit the road or hop on a CityCat, you're now scoring a hefty discount, getting there and home for just $1 a day. [caption id="attachment_796727" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] This is a statewide measure. Translink also runs buses in Bowen, Bundaberg, Cairns, the Fraser Coast, Gladstone and Gympie — and in Innisfail, Kilcoy, Mackay, Rockhampton, Yeppoon, the Sunshine Coast Hinterland, Toowoomba, Townsville, Warwick and The Whitsundays. The 50-cent price applies to everyone, including concession cardholders, but is only available on Translink services. Accordingly, privately operated transport services won't be doing the cheap fares. Airtrain fares also aren't being slashed to 50 cents; however, they are being cut in half for the same six-month period. The most that you'll pay if you're travelling to and from Brisbane Airport is $10.95 each way. [caption id="attachment_630654" align="alignnone" width="1920"] Andrew Thomas via Flickr[/caption] Running for six months until the beginning of February 2025, the fare drop isn't a permanent change — but it will help you stop spending more than a fiver to get to and from your job if you work a five-day grind. When it was initially announced, The Sunday Mail reported that the Queensland Government will reassess the move in early 2025 if Labour is re-elected in October's state election. [caption id="attachment_857365" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] [caption id="attachment_958247" align="alignnone" width="1920"] John Robert McPherson via Wikimedia Commons[/caption] [caption id="attachment_749921" align="aligncenter" width="1920"] John via Flickr[/caption] [caption id="attachment_754201" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] All fares across Translink's Queensland public transport services now cost 50 cents as at Monday, August 5, 2024, running for six months. To find out more information about Translink's services, head to the company's website. Top image: Kgbo via Wikimedia Commons.
Again and again, fans of slasher films have seen the one about the unhinged murderer butchering teen victims. They've seen more than one, in fact. It's a horror convention: take a bunch of young adults, then dispense with them person by person as a killer works through childhood trauma. Penning and helming his first feature — his short Z Is for Zygote was included in The ABCs of Death 2, and he did special effects work on Psycho Goreman, too — writer/director Chris Nash knows the basics of his chosen genre as much as any other diehard viewer. He's just as aware of the great, and greatly influential, flicks gone by such as Halloween and Friday the 13th. He's well-versed in their tropes in storytelling and in form alike. Making his full-length debut with a picture called In a Violent Nature, he's also clued up on what happens when someone sinister gets a-stalking in scenic surroundings. Plot-wise, Nash isn't trying to break the mould with his account of Johnny (Ry Barrett, Massacre at Femur Creek) and the folks who are unlucky enough to fall across his path. But the filmmaker asks a question: what if a rampaging slaughterer's terrors came not with a score heralding their every menacing move (even when those tunes can become iconic, as John Carpenter's Halloween music has), but with the ordinary silence of everyday life in nature punctuated only by noises just as commonplace, and then by the sounds of a killer at their insidious worst? In its imagery, In a Violent Nature adds another query: what if the audience wasn't biding its time with those likely to perish, tension dripping from not knowing when and where the murderer would strike, but was stuck at the side of the force causing such gruesome mayhem as the inevitable approaches? There's seldom any escape from a slasher; however, Nash finds a new way to take that idea literally. Let's call it the bang-and-whimper method of tackling the genre, because lives cease here with each given as much attention. Johnny still metes out big kills that create a din and sear themselves into memory. One inventively grisly death in particular can never be erased from brains, and ensures that everyone watching is incapable of contemplating its setting or the pastime involved in the same way ever again. Another sequence suggests that it's going a similar way, but becomes unforgettable for the fact that it holds back on grim expectations. And, of course, mewls of pain are hardly new to horror. Here, though, Nash's commitment to the film's ambience gives both its bangs and its whimpers extra impact. This is the way that the world ends for Johnny's prey: not with just a bang or solely a whimper, but with the haunting, echoing combination of the two that compels In a Violent Nature's viewers to reckon with them in the moment. Nash's understanding of horror at its most stock-standard commences with In a Violent Nature's opening, where wandering campers chat while stumbling across a grave beneath an old fire tower. A gold locket hangs in plain sight, which leads Troy (Liam Leone, Eli Roth Presents: A Ghost Ruined My Life) to pocketing the jewellery, opting for the kind of stupid decision that people in a slasher flick love. Yes, it'll come back to taunt him. So awakens Johnny from the earth. So stirs his ire as well. But how the audience might anticipate that this plays out from the above description isn't ever how the feature stages it. The focus is rarely on those potentially awaiting a date with the heavens, to the point that their faces aren't the picture's most-common sight. Neither is Johnny's, whether or not it's under a smoke helmet. Nature isn't merely a location, but the expanse that fills cinematographer Pierce Derks' (Frankie Freako) frames — sometimes in close shots, sometimes sprawling. As Johnny sets off, there's not a shred of doubt lingering that he'll indulge his violent urges — the reasons for which get a backstory layered in, details that are knowingly by the book — via a relentless frenzy. Nash and Derks aren't in a hurry, largely lurking behind their killer with patience as he turns the wilderness into his hunting ground. He walks. He slays. Sometimes the results are splattered across the screen with slaughterhouse-esque gore and guts. Sometimes a savvy cut by editor Alex Jacobs (V/H/S/85) conveys what has happened instead of getting blatant and bloody. The camera remains static more than it roves, and peers on from long-held wide shots more than it zooms forward. Johnny's temperament is expressed by the pace of his stride, which becomes In a Violent Nature's metronome of unease. Masked characters, not the actors who play them, tend to carve their place in common pop-culture knowledge out of horror movies. Michael Myers is the household name, for instance, as much as Nick Castle (Halloween Ends) should be. Barrett deserves the same recognition, making Johnny a petrifying presence even when so frequently spied from a few footsteps back. That said, he isn't carrying the film alone on-screen. The travellers that meet the figure's hooks and other weaponry start out disposable, but leave an impression the longer that they survive, Andrea Pavlovic (Our Mother's Secret Affair) especially. That'll ring familiar, too; to take the risks that Nash does, and to test if a slasher flick can work the way he wants it to — and it can — he leans into the template everywhere else possible. It was a Sundance sensation to kick off 2024, proved a box-office hit in America for independent studio IFC Films and now has a sequel in the works, but a movie like this, with the output of director Terrence Malick (A Hidden Life) as much of a touchstone as the Friday the 13th and The Texas Chain Saw Massacre franchises, is a gamble. Both of the latter two horror sagas earn clear nods, yet there's no mistaking In a Violent Nature's lyrical skew thanks to its ever-present greenery and naturalistic soundtrack. Combine the two and scares still spring, laced with dread that gushes like a limb lopped off by a log splitter. While it's frightening to ponder that ghastly turns of fate can and do occur randomly, as regular slashers capitalise upon, it's bone-chilling to confront that truth when it's presented as an inherent, innate, matter-of-fact certainty of existence. In a violent nature indeed.
Ningaloo Reef is the only large reef in the world that you can access straight off the shore. Whether you’re lazing on the sand in Exmouth or Coral Bay, all you have to do is slip on your snorkelling gear, paddle out a few metres and, within minutes, you’ll be hanging out in dazzling coral gardens, along with dolphins, turtles and manta rays. You’ll find the UNESCO heritage-listed wonder 1,200 kilometres north of Perth, from where it runs north along the coast for 260 kilometres, between North West Cape and Red Bluff. Like the Great Barrier Reef, its fragile environment is under constant threat — from both development proposals and excessive tourism. Here's your eco-friendly guide to spending time in Ningaloo, while treading carefully. For the best prices on flights and accommodation on the WA Coral Coast, check out Wotif.com. SWIMMING WITH WHALE SHARKS Ningaloo is most famous for the hundreds of mammoth-sized visitors that come around once a year — between April and July. Even though they’re called whale sharks, they’re so gentle you can swim alongside them. And they also happen to be the biggest fish in the world. In few places do they gather in big crowds, but when you have 18 metres of body to feed, Ningaloo’s plankton feasts are hard to pass by. To swim, snorkel or dive with whale sharks, book yourself into a day tour. Needless to say, we don’t want to bombard them with strangers, so tours are tightly controlled, with only ten people allowed to hang about each creature at a time. If you happen to be in Exmouth between 21 and 24 May 2015, you’ll be right on time for the Whale Shark Festival. HUMPBACKS, TURTLES AND DUGONGS Whale sharks aren’t the only underwater life seeking out Ningaloo’s culinary abundance. Where other habitats have been over-fished and stripped of their diversity, Ningaloo is still thriving (so far). 30,000 humpback whales breach and spout their way past between June and November, on their 11,000 kilometre journey from Antarctica to the warm breeding grounds just off the Kimberley. Minke, southern right and blue whales pop by frequently, too. Excellent spots for whale watching include Exmouth’s main beach, Bundegi Beach and Vlamingh Head, but if you’d like to get closer, join a whale watching tour. Then there are dolphins, manta rays, one thousand dugongs and Jacques Cousteau knows how many fish. Six of the world’s seven marine turtle species call Ningaloo home, four of them vulnerable or endangered, and the reef is one of the most important nesting grounds on the planet for green and loggerhead turtles. To watch hundreds of hatchlings making their dangerous dash to the sea, you’ll need to visit between November and February. The breeding process is incredibly delicate, so you’re asked to follow the guidelines outlined in the Ningaloo Turtle Watchers’ Code of Conduct, which you can pick up from the Exmouth Visitor Centre, or join a tour. PROTECTION AND PRESERVATION Back in the 1960s, the WA branch of the Australian Marine Sciences Association recommended that Ningaloo be turned into a marine reserve, but it wasn’t until May 1987 that their suggestion was realised, and not until November 2004 that the park boundary was expanded to incorporate the entire reef. At present, 34% of the reef is made up of protective sanctuary zones. Regardless of such legislation, however, Ningaloo hasn’t been immune to threat from developers. In 2003, a plan to build a 2,000-bed resort at Mauds Landing was rejected, largely thanks to the Save Ningaloo Reef Campaign. Then, in 2010, sustained opposition successfully defeated a proposal to develop a salt mine in Exmouth Gulf. Now, the focus is on ensuring that development of, and tourism in, the area happens along sustainable lines. If you’re visiting, be sure to opt for eco-friendly activities and choose ethical tour operators.
What does a group of pink guards do when they hit an Australian beach? That isn't likely to be a storyline in Squid Game when it returns for its second season on Boxing Day 2024, but we have been given the answer in the lead up to the show's much-anticipated comeback anyway. In Melbourne on the morning of Tuesday, December 10, 2024, St Kilda Beach welcomed 200 visitors, all kicking back on the sand — on towels, reading, sitting under umbrellas, throwing balls, flying kites and more — in eye-catching Squid Game attire. As announced on Monday, December 9, Netflix sent a continent of pink guards to the seaside patch of the Victorian capital to remind everyone that the show's second season is on the way — and soon — in an eerie fashion. There wasn't a green tracksuit in sight, but there were plenty of jumpsuit- and mask-wearing folks enjoying a morning out. This isn't the first time that the streaming platform has brought the South Korean sensation Down Under. When season one proved a massive success, the creepy Red Light, Green Light doll from the show towered over Sydney Harbour. Up at Sydney's Luna Park, you'll have another chance to get some IRL Squid Game action — without any murder, of course — when an immersive experience hits the tourist attraction to get you playing Red Light, Green Light from Monday, December 16, 2024. Three years have passed since Squid Game became an award-winning Netflix sensation — for viewers and, in the show itself when new episodes drop, for Seong Gi-hun (Lee Jung-jae, The Acolyte) as well. Audiences and Player 456 are alike are in for a new round of life-or-death matches when the streaming smash finally returns, although only the series' protagonist will be fighting for survival again while on a quest to shut down this chaos forever in season two. No one watching should ever want Squid Game to end; however, the show itself will wrap up in 2025 with season three. First comes the long-awaited second season to end 2024, though, where Player 456 is back in the game with new fellow competitors for company. Netflix has been dropping multiple early looks at season two, including a teaser trailer to kick off November — and it finished off the month with a new glimpse at what's to come. As the show's protagonist dons his green threads once more for the new season, his new fellow competitors are wary of his motives. Also part of the recent teases: Lee Byung-hun (The Magnificent Seven) as Gi-hun's nemesis Front Man, plus Wi Ha-joon (Little Women) also back as detective Hwang Jun-ho. For season two, Gong Yoo (Train to Busan) also returns as the man in the suit who got Gi-hun into the game in the first place; however, a show about a deadly competition that has folks battling for ridiculous riches comes with a hefty bodycount. Accordingly, new faces were always going to be essential — which is where Yim Si-wan (Emergency Declaration), Kang Ha-neul (Insider), Park Sung-hoon (The Glory) and Yang Dong-geun (Yaksha: Ruthless Operations) all come in. Squid Game's pink guards took over St Kilda Beach in Melbourne on the morning of Tuesday, December 10, 2024. Head to Netflix's social media for more details. Squid Game season two streams via Netflix from Thursday, December 26, 2024. Season three will arrive in 2025 — we'll update you when an exact release date for it is announced.
Aakash Nihalani takes the stationery store to town. Creating 3D images on two-dimensional surfaces, the New York-based artist uses an unlikely medium to create his street art — tape. Immediately identifiable by his signature style of bright, bold lines, look-twice illusions and meticulous repetition, Nihalani conjures movement by playing with your expectations. Hailing from Little India, Jackson Heights in Queens, the artist grew up in Jersey and returned to NYC around 2004 to dive headfirst into art school. Now, Nihalani's works are highly recognised from NYC to Vienna — he's even done a residency at the De Kooning estate in the Hamptons. Nihalani's work is created using cardboard, tape and a whole bunch of accuracy. Not one to shy away from experimenting with materials, Nihalani found his magic thread by chance. "I stumbled upon using tape by accident," he told Design Boom. "I was using a painter’s roll to attach some screen prints to the wall for a student exhibition. There was a pedestal in the space that was casting a cubic shadow on the floor that matched the shapes I was using in my prints, so I outlined the shadow with the tape. It all made sense in that moment." Dotted around NYC, the perspective-warping works range from epic installations like Platforms, Drop and Dominos, attached to concrete walls and best posed in front of; to the most recent shirt-attached Landline series (which would be unbelievably cred-prompting worn to a party as a pair). Budding artists, looks like it might be time you ditched Eckersley's for Officeworks. Via Lost at E Minor and Design Boom. Images from the artist's website, Eye Scream Sunday.
Maybe you hop on the ballot the moment that it opens each year. Perhaps you wait to find out who'll be behind the mic before trying to nab tickets. Either way, Golden Plains dropping its lineup is always big news. In 2025, get ready to see PJ Harvey, Fontaines DC, 2manydjs and Kneecap — and also Wet Kiss, Durand Jones & The Indications, Magdalena Bay, Osees and Thelma Plum. And yes, that's just the beginning. "Something special in the soil this season. In the water, in the manna gum, in the air, the ether, the atmosphere, the troposphere. And it has all landed right here, in a wonderland designed and refined over 30-odd years for the sole purpose of hosting something truly remarkable," said the festival team, announcing the lineup. "Right size, same shape, ample time, abundant space." Come Saturday, March 8–Monday, March 10, 2025, it'll be time to dance among the autumn leaves in regional Victoria again, at the Meredith Supernatural Amphitheatre in the same place that Meredith Music Festival also calls home. And now that the lineup is here, you still have the chance to put your name down to get tickets. This round of Golden Plains will mark the fest's 17th year. The ticket ballot has been a part of the event since its debut — and this year's is now open until 10.17pm AEDT on Monday, October 21, 2024, which means that clicking ASAP is recommended. [caption id="attachment_976058" align="alignnone" width="1920"] Theo Cottle[/caption] Catering to 12,000 punters each year across three days and two nights, the fest has long proven a favourite for its one-stage setup, which skips the need for frantic timetabling. And, like Meredith Music Festival, its sibling, Golden Plains is also known for the Aunty crew's star-studded bills. If you're wondering how the roster of talent has shaped up in past years, 2023's fest boasted Bikini Kill, Carly Rae Jepsen, Soul II Soul and Four Tet, while 2024's featured The Streets, Yussef Dayes, King Stingray and Black Country, New Road — and plenty more. [caption id="attachment_976059" align="alignnone" width="1920"] Kira Puru[/caption] Golden Plains 2025 Lineup PJ Harvey Fontaines DC 2manydjs Wet Kiss Durand Jones & The Indications Magdalena Bay Osees Kneecap Thelma Plum Grace Cummings Bahamadia Hermanos Gutiérrez Ela Minus Bonny Light Horseman Adriana Mulga Bore Hard Rock CCL Teether & Kuya Neil Skeleten Zjoso Jada Weazel Elliot & Vincent Storytelling with Uncle Barry Sun Ra Arkestra Golden Plains returns to the Meredith Supernatural Amphitheatre from Saturday, March 8–Monday, March 10, 2025. Head to the festival's website for further details, or to enter the ticket ballot before 10.17pm AEDT on Monday, October 21, 2024. Golden Plains images: Chip Mooney and Ben Fletcher.
The next dancefloor filler from 'Love Tonight' favourites SHOUSE is on its way, but it needs your help in the best possible fashion: by taking part in a huge music party that'll fill Melbourne's St Paul's Cathedral for RISING 2024. The Victorian capital's major annual arts festival has announced its first commission for next year, with Ed Service and Jack Madin overseeing Communitas — where hundreds of people will make tunes, then a single will be released. Free to attend, Communitas wants its participants to form a choir; however, not only using their voices but dancing and making sound vibrations will be on the agenda. Think of it as a huge gathering that's also a jam and a ritual, composing collectively and spontaneously as everyone parties and communes. There's no audience here, just folks joining in, connecting and chasing shared joy. The date to pop in your diary: Saturday, June 15, for what's certain to be a standout event on the full RISING lineup. Nothing else has been announced for the fest so far, but the entire program of art, music, installations and performances for its third year will run from Saturday, June 1–Sunday, June 16. Jon Madin is creating handmade instruments for participants to use, while Deep Soulful Sweats is in charge of the choreography. While the end result is something to experience, the single that springs will give everyone who is there a songwriting credit as it aims to share the fun beyond Communitas' one massive night. "Communitas is more than a musical event; it's a collective celebration of the human spirit, a symphony of shared joy that transcends boundaries," said Service. "We're thrilled to collaborate with RISING, and invite hundreds into the heart of St Paul's Cathedral to join us in forging connections through the language of music. Join us in the beat of drums, a chorus of voices, a mass of humanity, finally together in space and time." Getting its audience participating en masse, and not just passively watching, is one of RISING's focuses, including at 2023's fest when 11,000 people formed a kazoo orchestra. RISING 2024 runs from Saturday, June 1–Sunday, June 16 across Melbourne, with Communitas taking place on Saturday, June 15 at St Paul's Cathedral, Flinders Street. Head to the festival's website for further information and to register to take part in Communitas.
Good things happen when the minds behind Peters Ice Cream and Gelato Messina come together, as has proven the case multiple times now. In the summer of 2019 — centuries ago — the dessert experts unveiled a limited-edition line of gourmet Drumsticks. Fast forward to spring 2020, and they teamed up for a range of Messina X Peters gelato bars. Now, with spring 2021 in full swing, they've added a new lamington flavour to its in-supermarket lineup. Yes, next time you're hankering for a frosty sweet treat, you can nab one of Messina's takes on the best chocolate- and coconut-covered cake there is. The new creation, which has just landed in the freezer aisle of your local supermarket, comes filled with chocolate gelato mixed with desiccated coconut, plus raspberry sauce — a mix that might taste familiar if you're already a Messina fiend. Here, all that gelato is placed on a biscuit base, then covered in milk chocolate. The Messina lamington gelato bar joins the existing Messina X Peters choc hazelnut and espresso dulche de leche numbers. The former features layers of chocolate biscuit, cocoa gelato, a hazelnut sauce and a chocolate coating, while the latter pairs espresso gelato and dulce de leche, then covers it in milk chocolate. All three flavours are available at supermarkets around Australia. Each comes in pop art-style boxes of four, priced at $10 per box. On Tuesday, October 19, to mark the new lamington gelato bar's launch, Messina is also giving away boxes of them. To get your hands on one, you'll either need to make a purchase at a Messina store — or order from Messina via Uber Eats from 12pm onwards and tick the 'free box of lamington gelato bars offer' box. Both giveaways are while stocks last, so getting in early is obviously recommended. Gelato Messina X Peters gelato bars are available at supermarkets around Australia.
A man struts into a diner and asks "who've I gotta kill to get a coffee?". When a woman hears the doorbell ring, she instantly grabs her gun, baseball bat and taser. The series that'll include both? Fargo, the anthology TV show inspired by the big-screen Coen brothers masterpiece, which is returning for its fifth season in November. 2023 marks almost a decade since writer, director and producer Noah Hawley leapt from Bones, The Unusuals and My Generation to diving back into crime in often-frosty American places — and always with a strong streak of black comedy pumping through its veins. The first two seasons arrived back to back in 2014 and 2015, with season three then following in 2017 and season four in 2020. Now, after another three-year gap, the show returns with a whole new story and cast, but still set in the same world as the Fargo movie. Oh you betcha there's accents, crime capers, dedicated cops, and people doing dark deeds for selfish reasons and then getting karmic comeuppance. When it arrives in Australia via SBS On Demand on Wednesday, November 22, Fargo's fifth season will do so with a stacked lineup of talent, too: Juno Temple (Ted Lasso), Jon Hamm (Good Omens), Jennifer Jason Leigh (Hunters) and Joe Keery (Stranger Things) all included, plus David Rysdahl (Oppenheimer), Lamorne Morris (Woke), Richa Moorjani (Never Have I Ever), Sam Spruell (The Gold) and Dave Foley (The Kids in the Hall) as well. Like season one, two and the movie, this season spends its time in Minnesota and North Dakota. The year: 2019. Dorothy 'Dot' Lyon (Temple) is the otherwise-ordinary person falling afoul of the law — so, when she grabs those weapons in one of the show's sneak peeks, she's clearly not an average Midwestern housewife — while Roy Tillman (Hamm) is the North Dakota Sheriff (and preacher) on her trail. In a case of spectacular casting, Keery will put his famous hair to good use as Tillman's son Gator, in a franchise that also loves unpacking the ties of blood that bind and cause chaos. Spruell plays a drifter who is enlisted to help on the search for Dot, while Rysdahl is her husband Wayne. Leigh hops on board as his mother, aka the 'Queen of Debt' thanks to being a debt collection company CEO, and Foley plays her in-house counsel. Among the cops, there's Moorjani as a deputy from Minnesota and Morris as a North Dakota counterpart. Everyone on-screen joins a saga that's seen Billy Bob Thornton (The Gray Man), Allison Tolman (Gaslit), Martin Freeman (Breeders), Kirsten Dunst (The Power of the Dog), Patrick Wilson (Insidious: The Red Door), Jesse Plemons (Love and Death), Jean Smart (Hacks), Ewan McGregor (Raymond & Ray), Carrie Coon (Boston Strangler), Mary Elizabeth Winstead (Ahsoka), Chris Rock (Amsterdam), Jessie Buckley (Women Talking) and Jason Schwartzman (Asteroid City) all feature in past seasons. Off-screen, Hawley is back as showrunner, writer and director, guiding a series that started with the hard task of living up to the masterpiece of a movie and hasn't struggled so far. Check out the teaser trailers for Fargo season five below: Fargo season five will start streaming via SBS On Demand on Wednesday, November 22. Images: Michelle Faye/FX.
From the ruthless world of magazine publishing to the blood and guts of an Aussie hens weekend gone supremely wrong: that's been Aisha Dee's journey of late. There's far more to the Gold Coast-born actor's career so far, of course, including coming to fame as a teenager back in 2008 courtesy of The Saddle Club, subsequent parts on Dead Gorgeous and Sweet/Vicious, and showing up in St Vincent-starring satire The Nowhere Inn. Still, on screens big and small alike, she's been garnering attention for navigating pressure-filled situations — and revelling in them. In Sissy, her latest role and her return to Australia after years working in the US, Dee is in positively savage territory. She plays the titular character, better known as @SincerelyCecilia on Instagram to the tune of 200,000-plus followers. Liking and subscribing is what her devotees do all day, responding to her calming and inspiring missives about being yourself and finding your bliss, and Cecilia's whole sense of self is built on that online adoration. Sissy is a comedy, too, with writer/director duo Hannah Barlow and Kane Senes having ample fun parodying the wellness and influencer industries. That said, when the movie's namesake attends a bachelorette shindig for her long-lost childhood BFF, old torments resurface and this proves firmly a horror flick as well. Dee wasn't initially approached to play Cecilia. When the script came her way, she was earmarked for Fran, fiancée to Emma, Cecilia's primary school bestie. But Dee felt an instant bond with Sissy's eponymous figure. She felt protective of her. "Honestly, I read the script and immediately I felt like I had to defend Cecilia," she tells Concrete Playground. "I cared so deeply for her. I really felt really connected to her and had a lot of empathy for what she was experiencing in the moment, and how easy it would be under those circumstances to kind of just slip and fall." Once you've seen Sissy, Dee's words obviously come with a caveat: clearly, she hasn't found herself in the exact same situation, behaving in the exact same way. But in a film that happily, smartly and entertainingly rips into a whole heap of targets — with humour and as a slasher flick alike — she makes Cecilia a compelling protagonist amid all the chaos. It's a bold performance, because The Bold Type isn't just an entry on Dee's resume. The international film festival circuit heartily agrees, with Sissy premiering at SXSW 2022, enjoying its Australian premiere in June at the Sydney Film Festival, and doing the rounds everywhere from Melbourne and Perth to South Korea and Scotland since. Dee hit the Harbour City midyear with the movie, which is now in cinemas across Australia — and chatted to us about social media, knowing that she had to play Cecilia, preparing for the part in hotel quarantine, making a different kind of Aussie movie and getting an opportunity she didn't think would happen. ON SOCIAL MEDIA'S PREVALENCE — AND SILLINESS "The film doesn't offer solutions, but I do think it poses questions and forces us, in a way that feels quite uncomfortable, to question our own relationship with social media and how we interact with it. I think it's hard to be a human in the world right now and not have some kind of relationship with social media, because it is such a prevalent part of our society now. Personally, I don't use social media in the same way [as Cecilia] — I wish I was better at it, it's not something that comes super naturally to me, to be posting on Instagram all the time. My relationship with social media has always been really about creating boundaries, because I find it a very triggering environment in terms of even just having the confidence to post something. I second-guess myself a lot, and I get very existential. Every time I post something, I'm like, 'well, what's the point? What is Instagram? What is a telephone?'. It's all pretty silly." ON NEEDING TO PLAY CECILIA "It was towards the end of 2020 — and, you know, we were all there for 2020. I had been in LA for most of that year, really only seeing a select few people and kind of feeling quite isolated socially, a bit awkward, and reexamining a lot of my relationships. And my manager sent me this script. Initially they wanted me for the role of Fran, and I could see that, because Fran felt really similar to a couple of characters I had played before. But literally, I couldn't shake the feeling that I felt like Cecilia was my little sister or my best friend, or just someone that I loved so deeply and cared so deeply for. It wasn't something that I planned or knew was going to happen when I read the script, but I felt like I had to honour it. I called my manager and I said 'please tell them that I really love the script, but I just don't feel connected to Fran as a character — but I feel really connected to Sissy, tell them that I love Sissy'. I said that knowing it was kind of presumptuous but not expecting them to ask to meet me at all, but they were really into the idea. I think they had had someone very different in mind — she was described as having blonde hair and being very petite and pale, and I am none of those things — but I just felt like something felt right. ON DRAWING ON 2020'S CHAOS FOR THE PART — HOTEL QUARANTINE AND ALL "There's the year of 2020 as a whole. But then, in order to get back home to Australia, I had to do two weeks of quarantine in hotel quarantine where you literally see no one. It is the most extreme version of isolation. I was on a really low floor in this big tall building, and every day at like 12pm, I would lose the sun. I would be out my window — like I needed the sun and I needed the fresh air, and I felt like I was going absolutely insane. So while I was in quarantine, I was actually sending Hannah and Kane, the writers and directors of the film, I was sending them videos as Cecilia. Just every morning I would wake up and do a different kind of like sermon or meditation or something, just because I did't really have anything to do. Getting out of quarantine, I definitely felt like Bambi on ice a little. I felt very awkward. I'm an awkward person to begin with, but having those two weeks alone in a room — it wasn't intentional but I do think it kind of leant itself to getting into some kind of headspace." ON RETURNING HOME TO MAKE A DIFFERENT KIND OF AUSSIE MOVIE "Something that jumped out to me when I was reading it was the way that there was this really heavy female gaze on the movie — which I think is rare for genre films to have such a strong female gaze. And beyond just Cecilia the character, you had a very small cast that consisted of an interracial lesbian couple, a gay man with disability and an Asian woman. And the only man that you really saw was a queer man." I loved this this. I just loved the world that I could see imagining it and reading it. It didn't feel like any other Aussie movie that I had seen. It really reflected the colourful, diverse, beautiful Australia that I know. I think unfortunately, up until kind of recently, Australian film and television really hasn't reflected that same colourful melting pot that like we all know actually exists here — so that was another big reason why I wanted to be a part of it." ON GETTING AN UNEXPECTED OPPORTUNITY "I definitely had hoped that I would be able to play a character like this. But, being realistic, opportunities like this don't come up every day for someone who looks like me, especially in the Australian film space. So I had always hoped that maybe I would be able to play a role like this, but the fact that the opportunity was actually presented to me is really, really, really cool. I guess it kind of was on my bucket list. But when I think about it, I don't know that I ever could've anticipated that this would be an opportunity that I would've had. And to me, it really meant nothing whether people were going to see it or they weren't, it didn't matter to me — because with independent film, you really are rolling the dice, chances are nobody's going to see it. The fact that like it's doing such big things is really cool. I think that honestly it's a testament to what can happen if the Australian film industry embraces diversity the way they should." Sissy released in Australian cinemas on November 3. Read our full review.
Home ownership. It’s the great Australian dream. And the American dream. And probably a dream for quite a few other nationalities too. But with house prices almost constantly on the rise, the dream can seem unattainable. So how about a home that costs just $200? That’s what this ‘Gypsy Junker’ cost, built from abandoned shipping pallets and recycled materials by Derek Diedricksen, a micro-house enthusiast in Massachusetts. The aim was to design and build a shelter for homeless people, for as little as possible. With only 24 square feet of space, estate agents would no doubt dub it ‘extremely cosy’. While the ‘Gypsy Junker’ was built by a hobbyist to prove the concept, smaller and more affordable housing is a goal for architects too. Revelations Architects in Wisconsin have focused on the fundamental uses of a home – eating, bathing, sleeping and communal fellowship – and worked out they could squeeze it all in to a footprint of just 340 square feet. Named the E.D.G.E (Experimental Dwelling for a Greener Environment), the building is pre-fabricated to simplify construction, and the reconfigurable interior is designed to optimise the use of space. The architects are already working on the next version, and hope to see it put to use as a holiday retreat or full time residence. If you’re thinking: “Tiny houses are fine in America, but we don’t need that here,” think again. There are already plans for a micro-house in Sydney, where a judge wants to build a four story house on a 2.7 metre wide block of land. Down-sized dwellings might be the way of the future for all of us. [Via Neatorama and PSFK]
Physical navigation tools might've largely gone the way of landlines, cassette tapes and eating meals without taking a photo first, but one company has come up with a tasty alternative. You mightn't be able to navigate your way through London, New York or Tel Aviv with one of Tamtik's chocolate city maps, but you will have quite the eye-catching dessert, gift or both. A collaboration with online marketplace Nisnas Industries, the artisan creations combine three things everyone loves — aka travel, confectionery and art — into a melt-in-your-mouth package that proves the ultimate edible souvenir. Inspired by the geometric-shape heavy traditional Arabic patterns often seen in architecture, known as mashrabiya, the chocolates feature stylised designs depicting the streets of their chosen locations. And, lest you think they're too abstract, landmarks such as the Thames River and Central Park stand out among the curved lines of dark cacao. Indeed, to ensure that each map accurately reflects each city's landscape, they're made by local artisans. Tamtik are currently running a Kickstarter campaign to spread their wings to another city, with participants able to vote for their preferred destination. Rewards not only include chocolate, obviously, put copies of the moulds should you want to whip up your own at home. Alas, before you go dreaming about breaking a representation of an Australian or New Zealand city into chocolatey pieces, Tamtik only ship to the US, Canada, the UK and Israel at present. That said, just as they're planning to add more maps to their lineup, they're also planning to deliver to more areas in the future. Via My Modern Met. Images: Tamtik.
Last year, we scored a musical adaptation of Aussie flick Muriel's Wedding. Now, another classic 90s flick is getting the stage musical treatment and heading on down to Melbourne: Adam Sandler's smash-hit film The Wedding Singer. Hitting the Athenaeum Theatre from Friday, June 19, The Wedding Singer: The Musical Comedy is an all-singing, all-dancing stage show based on its hilarious namesake 90s flick. And it's from the same crew that propelled it to sell-out success on Broadway and across the UK, including the writer of the original movie, Tim Herlihy. This one promises to yank you right into The Wedding Singer's 1980s world of big hair and classic wedding bangers, thanks to a toe-tapping score that's sure to prompt a few hearty crowd singalongs. It retells the story of party-loving wedding singer and wannabe rock star Robbie Hart, who's left stranded at the altar at his own nuptials. Heartbroken, he sets out to destroy every other wedding he's a part of, until a chance encounter with a waitress: Drew Barrymore's character Julia. Now, he just has to win over the girl... and somehow put a stop to her own upcoming marriage along the way. The Wedding Singer: The Musical Comedy hasn't announced runs in any other Aussie cities just yet, but we're crossing our fingers and warming up the vocal cords in readiness. We'll keep you posted as soon as any news drops. In the meantime, you can watch the OG nostalgic film trailer: https://www.youtube.com/watch?v=8yjOXMTa6vA The Wedding Singer: The Musical Comedy shows from Friday, June 19, at the Athenaeum Theatre, 188 Collins Street, Melbourne. Join the ticket wait-list over at the website.
There's nothing little, only big, about Liane Moriarty's success as both an author and the source of twisty TV shows. There's nothing minor, only major, about Danielle Macdonald's success as an actor over the past 15 years, too. The Last Anniversary brings both Australian talents together — adapting Moriarty's sophomore novel of the same name two decades after it initially hit the page, and starring Macdonald alongside Teresa Palmer (Mixtape) and Miranda Richardson (Good Omens) as it tells of a multi-generational family's dramas and secrets on the fictional Scribbly Gum Island on New South Wales' very real Hawkesbury River. From Moriarty's bibliography, Big Little Lies, Nine Perfect Strangers and Apples Never Fall all reached readers after The Last Anniversary, but made their way to screens first. Macdonald is part of a new achievement among the genre that is Moriarty adaptations, however: this is the only one of the scribe's novels to retain its Australian setting on-screen so far. The debut season of Nine Perfect Strangers was made here, as was Apples Never Fall, but both changed the locales in their plots to the US — as Big Little Lies, the American-filmed series that got viewers hooked on Moriarty's tales, also did. The idea that something homegrown needs an overseas stamp of approval before Australia embraces it isn't new in the film and TV industry — and it isn't quite the situation with The Last Anniversary. But that concept also floats over Macdonald's career, after she made the move Stateside when she was 18, featured in a 2011 episode of Glee and in 2013 movie The East, then popped up in Pretty Little Liars, 2 Broke Girls, The Middle and American Horror Story before her breakout lead role in 2017 Sundance sensation Patti Cake$. Fellow films Lady Bird, Skin, Bird Box, Dumplin' and French Exit all followed, as did streaming series Easy, Unbelievable and Poker Face. As Macdonald tells Concrete Playground, yes, that makes coming home to feature in gripping shows like this, and also The Tourist before it, all the more special. "Absolutely. It's funny that l went overseas and found some success there, and then got to come back for jobs at home, and that feels special to me. Because a lot of people, they start out in Australia and then they try to branch out overseas — and I'm like 'I had to do the opposite just to be able to work in Australia'," she advises. "And it is funny and ironic, but at the at the end of the day, I love coming home. It's my favourite thing in the world. And you're never going to have to try too hard to convince me to work here, because it's where I love being. I feel completely at home here. I love Aussie crews. I love Aussie casts. It feels always like coming home and getting to do my job at the same time. It's this beautiful thing. It's always going to be special. It never won't be special. And it's not really for any reason than it just feels like coming home, at the end of the day. And getting to do what I love to do at home is something I never really thought I'd be able to do, so that will always be special to me. It just will." One of 2025's standout local series since it debuted earlier in the year, The Last Anniversary has Palmer's Sophie Honeywell, an unlucky-in-love 39-year-old journalist, at its centre — as well as the waves that she makes when she inherits a house on Scribbly Gum Island from Connie (Angela Punch McGregor, Troppo), the grandmother of her ex-boyfriend Thomas (Charlie Garber, Barons). Macdonald plays the latter's twin sister Veronika, who is angry and antagonistic about Sophie being bequeathed one of her family's homes, still harbours resentment over their friendship fading, and is struggling with her own recently divorce and move back in with her parents (Aftertaste's Susan Prior and Audrey's Jeremy Lindsay Taylor). She's also attempting to kick her life back into gear with a project: a podcast about the baby Munro mystery that the small island is known for. As a teenager, Connie (Elizabeth Cullen, Last King of the Cross) and her sister Rose (Josephine Blazier, also an Audrey alum) found and brought up an infant girl after young couple Alice and Jack Munro suddenly disappeared. Cue The Last Anniversary's jumps back and forth between decades. In its modern-day timing, that baby is now Enigma (Helen Thomson, Spit), and has a daughter, Grace (Claude Scott-Mitchell, Hotel Portofino), of her own that's just given birth herself — and the pair, plus Grace's partner Callum (Uli Latukefu, Countdown), are as much a part of the family, and the island, as Veronika, her mum and dad, and Rose (Richardson). As both Veronika and Sophie dig into everything they can about baby Munro, then, cue also long-kept-clandestine truths being spilled. The Last Anniversary follows not only the Jamie Dornan (A Haunting in Venice)-co-starring The Tourist among the recent titles to Macdonald's name with local ties, but rom-com film Falling for Figaro, an Australian–UK co-production also featuring Joanna Lumley (Amandaland), as well. If I Had Legs I'd Kick You isn't Australian, but it did earn fellow Aussie talent Rose Byrne (Physical) the Silver Bear at the Berlin International Film Festival for Best Leading Performance — and it's opening 2025's Melbourne International Film Festival. Firmly homegrown is the upcoming Saccharine, though, with Australian Relic and Apartment 7A director Natalie Erika James behind the lens, and with Macdonald leaping into a genre that she doesn't watch herself: horror. That journey from Glee and Patty Cake$ to The Last Anniversary, what appeals to Macdonald in a new project — Australian or not — and the mystery angles that have been appearing among her recent work: these also fuelled our discussion. We explored what excited her about stepping into Veronika's shoes, too, as well as playing a character that's almost reverting back to her teenage self, joining the growing lineup of Moriarty adaptations, working with her The Last Anniversary co-stars and more. On Macdonald's Journey Over the Past 15 Years From an Episode of Glee to Patty Cake$, French Exit, The Tourist, The Last Anniversary and More "Honestly, I think it's weird — because some people, you start out as an actor and you're like 'I want to be the lead of this and this', and I think I never actually really expected that, in a weird way. I think I was like 'I really want to be a working actor'. Like, 'I'll go from guest star to guest star, and I'll hopefully do recurrings on a show here or there, or maybe get a series regular, as a supporting character'. I never actually expected what has happened, in a strange way. That wasn't actually part of my plan. I just really wanted to be a working actor — and I am a working actor, which is amazing. But I've had more roles than I could have imagined that are just really, really cool, integral lead female characters That is really incredible and I didn't quite expect that, I'm not going to lie." On What Excited Macdonald About The Last Anniversary and Specifically Stepping Into Veronika's Shoes "She was fun. She's gone through something — but for me, it was really fun to explore. I knew that I got to deal with someone that's regressing in life. She's someone that had moved out of home, had a job, was married. And now she's divorced, she's moved back home, she doesn't have a job and is just trying to figure out who she is. That's fun to explore because it's that part of you that has to revert to being a teenager, in a weird way. Like when you move back in with your parents, or you go home just for the holidays, and your mum starts doing your laundry and cooking for you and everything. It's that kind of vibe. And that was actually really, really fun for me to just get to play with, especially filming in Australia, because I moved away from Australia when I was 18. And so when I'm in Australia, that is weirdly where I revert a little bit more into being a teenager. So it was fun to get to come back here and play a character that is reverting a little bit more into being a teenager again. So that was that was interesting to me. But I just love the story. I love the story. The story was amazing. And I knew I get to have a lot of fun with Veronica, and I just wanted to be a part of this world." On What Macdonald Looks for in an Australian Project "I think I look for the same thing no matter where in the world it is, to be honest. If I love a script, I love a script. And sometimes it's a first-time filmmaker that's directing it. Sometimes it's a first-time scriptwriter. That doesn't really sway me. It's always stories first. That is the number one thing. So if I read a script and I love a script and I relate to a script, I want to be a part of that. So that's always number one. And I think it's a feeling that you get. That's the best way to put it. It's not anything specific in a script — it's the feeling you get when you read it. And I felt that for many, many different ones. For The Tourist, I could not put it down. I read four episodes in one sitting, could not put it down. I loved it. So I really wanted to be a part of it. Same with this script. I read three episodes in one go. I think Saccharine was actually interesting. It was a little different, because I don't read horror movies. I don't watch horror movies, so I'm not great at reading horror scripts. And my managers loved it, and so I read it, and I was like 'here's the thing — as someone that doesn't understand horror movies, I refuse to watch it because it terrifies me'. But I can tell that it's a really well-written script, and this is a really interesting concept, that it was so funny — because that was actually a different experience going into it. Because I was like 'horror is the one genre that I don't understand and don't watch'. So that was actually more like I really loved the director, and I loved her vision, and that was really what drew me in. And talking to her about it, I was like 'oh, this is bringing the script to life now in a way that I don't understand from initially reading, because I don't understand this genre — and when you explain it to me, I can visually see it'. And then it became really real. So it really depends on the piece. And it always depends on the creatives. When you talk to people, that's when it really comes to life and you can see if their vision aligns with what you've read or not." On Whether It's Exciting, Stressful or a Bit of Both to Step Into a TV Adaptation of a Liane Moriarty Book "Liane's books just adapt really well. They're like these really strong characters. They're really complicated people. There's always a mystery-thriller element to it. And they work really well on-screen. I've always found that with all of her stuff. And it is daunting in the sense that you know that there is all this pressure to follow up and everything. But in a weird way, I just saw it as an individual thing. I was like 'this is just an awesome book that has been adapted into an amazing script that has got this amazing cast and crew around it, and I get to be a part of it'. I try not to really put expectation on any job I do. I think that that helps, because that way you just really stay in the moment and focus on what it is and the creative part of it. So for me, it was more just loving the content that I got to work with. But, yeah, when you think about it, it's like 'wow, it's really cool that I get to be a part of this world that she has created'. And it's like little family in and of itself." On Veronika's Path From Antagonism, Anger and Reverting Back to Her Teenage Self, Through to Perhaps Finally Realising Who She Is for the First Time — and the Juggling That Comes with It "When you start, you know that the character's going to go on a journey — which is amazing because you don't want to ever have something be just two-dimensional. So it's definitely a balancing act of seeing a character grow. And especially because we always shoot out of order, it's definitely trying to figure out 'okay, so this is the headspace that my character is in — and I know that she's growing here, but this hasn't quite happened yet. What impacts her? What is the change?'. It is definitely a lot of figuring out, kind of like a mental timeline, honestly, for someone. And I'm really big on writing notes about where my headspace is at the time of which scene, so that I can shoot out of order and make sure that it tracks the whole way through. But it's definitely a balancing act, because I want to keep the character, like who she is, Veronika, who she is from the beginning to the end — she is the same person. She is brash. She is going to speak her mind. That's not going to change just because she's becoming aware of what she wants to do with her life and who she loves. That's all happening, but she's still herself at the end of the day. You don't want someone to be unrecognisable. It's baby steps. This happens over the course of not a huge amount of time. So it's like someone growing and evolving, but also remaining who they are at their core." On Why Series with Mystery Angles Keep Popping Up on Macdonald's Resume — and Keep Appealing to Audiences "I don't know. I feel like true crime has always been a thing, but it was never really talked about the same way. I think with social media and everything, all these true-crime lovers had all these spaces to talk about it for the first time. Which I think is really cool — because when I think about it, there were all of the crime movies, they were always so popular when we were younger, or well before I was even born, even. If you think about the movies — like The Godfather, that's a crime family. That's one of the greatest movies of ever. So it's always been something that I think people have been fascinated by. There were also all those reenactment crime shows when I was growing up, I remember. And now that we have social media and we have Instagram, TikTok, there's now forums for people to chat about things. And then when you hear about people online figuring out mysteries themselves, they're like Internet sleuths — you're like 'that is so cool'. Like, 'wow, everyone can become a detective'. I used to watch Veronica Mars and it was about a teen PI, and I was like 'that's so cool'. I feel like it's always been around, and now there's just a forum for people to talk about it and share their passion and love for mystery and thrillers and stuff. So I feel like this generation has evolved with technology into making it more of a thing that people talk about, maybe, but I feel like it's always been like bubbling there around, and it's just now kind of come into light." On How Being Surrounded by Such a Stacked Cast Helps Your Own Performance "It was so fun. It just really was. We all got along really well. We became this big, dysfunctional family. Our favourite scene that we filmed in the entire series was just a big dinner scene together. It was so much fun. We had a great time. We had to really keep straight faces a lot of the time, because we were dying laughing — we were just having a good time. And that's a lot. When you're doing a 12-hour day and you're doing the same thing over and over again, it can get monotonous. And it wasn't. We were enjoying each other's company. And then there was another day, later on in the series, there's a big anniversary — the last anniversary party — and we're all filming different little segments, and then we all get brought back to the same area. We got in trouble for being too loud because we were playing cards, and we were playing games together and having too much fun. They're like 'we're sending you guys back to base so you don't interrupt filming' because we just had so much fun. It was just such a great time. We did genuinely love each other. And it happens on some sets. Some sets you just all click, you all find your way together and it's beautiful. And then other times, it doesn't quite happen that way — but this was one of those jobs that just was magical. And I'm so, so glad we had such a great group of people that just really, really embraced each other. I think that's the big thing. It's being open to each other — and that was really beautiful about this job. I honestly loved it." The Last Anniversary streams via Binge. The Last Anniversary stills: Mark Rogers.
Abel 'The Weeknd' Tesfaye is swapping screens for stages, and ditching playing a sleazy nightclub owner on HBO for his usual music superstar beat. Fresh from starring in The Idol, the Canadian singer-songwriter has locked in Down Under dates for his After Hours Til Dawn stadium tour, heading to Australia and New Zealand in November and December this year. The 'Starboy', 'I Feel It Coming', 'Can't Feel My Face', 'The Hills' and 'Blinding Lights' artist will hit up arenas in Brisbane, Sydney, Melbourne and Auckland, as part of a tour that's been notching up soldout shows far and wide. In the UK, The Weekend saw 160,000 folks head to London Stadium across two nights, smashing the venue's attendance record. And in Milan, he became the first artist to sell out the Ippodromo La Maura for two nights. Those feats are just the beginning. In Paris, he scored Stade de France's biggest sales this year — and in Nice, the 70,000 tickets sold across his two shows are the most in the city's history. Will his Down Under dates add to his record-breaking run? Australia in particular has been loving the return of huge international tours. See: the Taylor Swift frenzy. The reason for the Aussie and Aotearoa gigs, other than just because, is to celebrate The Weeknd's 2020 record After Hours and its 2022 followup Dawn FM. Obviously, he'll be playing tracks from 2013's Kiss Land, 2015's Beauty Behind the Madness and 2016's Starboy as well. In support across The Weeknd's four Down Under shows: Mike Dean and Chxrry22. The tour will help a good cause, too, other than your need to see The Weeknd live. The artist has been contributing funds for his shows to the United Nations World Food Programme's XO Humanitarian Fund, as one of the organisation's Goodwill Ambassador, raising over $1 million from his Europe run alone. THE WEEKND'S 'AFTER HOURS TIL DAWN TOUR' 2023: Monday, November 20 — Suncorp Stadium, Brisbane Friday, November 24 — Accor Stadium, Sydney Friday, December 1 — Marvel Stadium, Melbourne Thursday, December 7 — Eden Park, Auckland The Weeknd is touring Australia and New Zealand in November and December 2023. For more information, and for pre-sale tickets from Friday, August 25, then general tickets from Friday, September 1, head to the tour website.
Two years in the making — as anyone that spotted the constant construction site on James Street will know — the seven-storey, this 175-room spot is calling itself 'Australia's first urban resort'. Yes, that means that going for a splash in the central pool, lazing around in cabanas or on a sun lounge, and eating on the hotel's outdoor deck are all on the agenda. So is hanging out at the spa, which is also open to the general public, and just making the most of Brissie's climate. The white brick design, by architects Richards and Spence, certainly highlights the tropical side of things. Think open-air spaces and breezeways, natural ventilation and plants aplenty, as well as a cool, soothing colour scheme. Inside the rooms, guests will find oak furniture, cork floors and sisal matting in the bathrooms, day beds for afternoon naps, linen robes and a mini bar stocked from local suppliers. Recognising how sunny the city gets, every room is also fitted with motorised blackout blinds. If you need to escape the glow, the in-suite Chromecast and sound bar will help as well. Rooms start from just over $200, with The Calile also featuring nine suites and two premier suites, complete with poolside and terrace-style balconies as well as two private rooftop terraces — for when you're feeling like splashing some cash around. Operated by TFE Hotels Collection, other drawcards include the all-day Lobby Bar, the opening of Hellenika's first Brisbane digs — bringing the Gold Coast's favourite Greek eats to town — and meeting and function rooms that can cater for up to 500 people, including an outdoor amphitheatre.
When you've already spent 2025 singing and dancing with Robyn at Saturday Night Live's 50th-anniversary concert, then releasing the Saoirse Ronan (Blitz)-starring first-ever music video for 'Psycho Killer' 48 years after the song's debut, what comes next? For David Byrne, the answer is a new album in September, plus a new world tour that kicks off the same month — and heads Down Under in January 2026. The iconic Talking Heads founder and frontman has dropped two huge pieces of news at once, revealing his impending latest record Who Is the Sky? and the live shows to support it. In Australia and New Zealand, he'll be playing his first gigs since 2018, when he brought his American Utopia tour — which none other than Spike Lee (Da 5 Bloods) turned into a concert flick also called American Utopia, aka one of 2020's absolute best films — this way. [caption id="attachment_1008708" align="alignnone" width="1920"] Shervin Lainez[/caption] If you're in Auckland, Brisbane, Sydney, Melbourne, Adelaide and Perth and you're thinking "this must be the place", then you're right: Byrne is venturing to each of these cities. First, he'll hit up Spark Arena on Wednesday, January 14 on his sole NZ stop, before kicking off his Aussie dates on Saturday, January 17 at Brisbane Entertainment Centre. From there, he'll play ICC Sydney Theatre on Wednesday, January 21; Sidney Myer Music Bowl in Melbourne on Thursday, January 22; Adelaide Entertainment Centre Arena on Saturday, January 24; and Perth's RAC Arena on Tuesday, January 27. If you caught his American Utopia gigs or watched the film, you'll recognise some other familiar faces on the Who Is the Sky? tour. Byrne is taking to the stage with 13 musicians, singers and dancers, some of whom were part of the American Utopia band. Just like in those famous shows, his fellow performers will all be mobile throughout Byrne's latest set. Like tour, like album: Who Is the Sky? isn't just Byrne's first set of live gigs since American Utopia, but also his first record since that Grammy-winning release came out in 2018. Launching on Friday, September 5, 2025 — with first single 'Everybody Laughs' out now — the new album features St Vincent, Paramore's Hayley Williams, The Smile drummer Tom Skinner and American Utopia percussionist Mauro Refosco among its guests. Byrne has long been a must-see live performer — and there's long been filmic proof of that fact. Forty-two years ago this December, he made concert film history with Talking Heads when he 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 his way, recording the results for Stop Making Sense. David Byrne Who Is the Sky? World Tour Australia and New Zealand 2026 Dates Wednesday, January 14 — Spark Arena, Auckland Saturday, January 17 — Brisbane Entertainment Centre, Brisbane Wednesday, January 21 — ICC Sydney Theatre, Sydney Thursday, January 22 — Sidney Myer Music Bowl, Melbourne Saturday, January 24 — Adelaide Entertainment Centre Arena, Adelaide Tuesday, January 27 — RAC Arena, Perth David Byrne is touring Australia and New Zealand in January 2026, with ticket presales from 2pm local time on Thursday, June 12, 2025 and general sales from 1pm local time on Friday, June 13, 2025. Head to the tour website for further details. Live images: Raph_PH via Flickr.
Sorry Sydney. Melbourne is getting the country's first-ever 67 Pall Mall outpost, due to launch some time in mid-2025. This incredibly luxe, global private members club is set up exclusively for wine lovers who want to sample the very best drops out there. It's not for those of us hunting down $15 bottles of ok wine at the local bottle shop; it's for top-tier wine drinkers who are willing to spend big. The joining fee is $3500 per person (being waived for a limited time!) and the current discounted yearly fee for members who sign up early is $2300 on top of that. If this is beyond your spending limits, perhaps shoot this article over to your rich sister or that well-to-do mate who always shouts the good drinks — because they might be able to bring you in as a guest. [caption id="attachment_942250" align="alignnone" width="1920"] 67 Pall Mall Singapore[/caption] So what's the deal with 67 Pall Mall? Memberships for 67 Pall Mall are highly sought after around the world. The group has sites in Singapore, London, Switzerland, France and Hong Kong. The venues are known for being some of the most incredibly designed spaces, filled with the world's greatest wines that are served and chosen by accredited master sommeliers. A huge selling point for wine connoisseurs is the fact that 67 Pall Mall offers an unmatched selection of wines by-the-glass to members — 1000 to be exact — and sells them with very minimal markup. Most of these drops are never offered by the glass so it presents a rare opportunity. What's in store for Australia's first club? The first Australian site is touted for Melbourne's Spring Street. Spread across the top three floors of the 16-story building, the private members club will let folks sip on fine wines while taking in views across the Treasury Gardens, MCG and St. Patrick's Cathedral. Floor 14 will boast a wine bar and all-day dining room with impressive 270-degree views of the surrounding area. One level up, members will get access to private rooms and semi-formal dining experiences. And the top floor will feature an extensive champagne menu, a raw bar, open air balconies, and a secluded whisky bar. This is top-end luxury stuff that's hard to come by in Australia. 67 Pall Mall's CEO Grant Ashton says, "Melbourne was chosen above all other cities as our first outpost in Australia due to its close connection to independent and outstanding wine producers, allowing us to engage with a passionate wine culture and a knowledgeable collector community." Peter Gago, chief winemaker of Penfolds, whose wines are poured in 67 Pall Mall Clubs across the globe, also commented: "From London to Singapore, 67 Pall Mall has evolved into the world's premier wine Members' Club. Now, expanding to a prime site overlooking the MCG in Melbourne, it's truly remarkable. "Melbourne, a strategic gastronomic hub, with Yarra Valley vineyards and Mornington Peninsula nearby, will soon boast 67 Pall Mall as a wine mecca. It'll attract wine enthusiasts and curious minds alike, continuing the Club's tradition." 67 Pall Mall is set to open in mid-2025 at 85 Spring Street and is currently taking applications for new members (at heavily discounted prices). For more information, head to the club's website here.
Music festivals can happen almost anywhere — or so contends the crew behind Wine Machine, Snow Machine and Dream Machine. Tunes amid the vineyards? Yes please. Dancing in alpine climes between skiing and snowboarding? That's a winter treat in both New Zealand and Japan. Hitting a scenic resort for a huge party soundtracked by big music names? That's on the agenda as well — including in 2024. Dream Machine started in 2022 at a secluded beachside resort in The Whitsundays, after initially planning to go ahead in 2021 but getting waylaid by the pandemic. Then, in 2023, it moved to Nusa Dua in Bali. That's where it's returning next year, complete with a packed roster of talent. The dates: Thursday, May 30–Monday, June 3, 2024. The lineup: it starts with Genesis Owusu, Snakehips and Hayden James leading the charge. They'll be joined by everyone from The Jungle Giants and Kimbra to Poolside and Cosmo's Midnight, plus Cub Sport, Miami Horror, Lazywax and more. So, if you've been longing to hear your favourite tunes while surrounded by your friends and also taking a trip to a beachside resort in Indonesia, this fest has you covered — again. 2024's Dream Machine will take place over a five-day, four-night once more, too, for a party-forward good time. Other activities promised, apart from the music, include a 500-person long-table lunch on the sand and a poolside conga line. If the simple activity of grooving to tunes in tropical surroundings, including by the pool and ocean, isn't enough motivation for you, festivalgoers have ten resorts to choose from among the fest's ticketing packages — at The Grand Hyatt and other spots to slumber that are connected to the main site via a beachside path, such as The Laguna, Kayumanis Villas, Mercure Nusa Dua, Novotel Nusa Dua and The Grand Bali. Keen to treat yo'self to a waterfront stay? You can add that to your itinerary. Enjoying kayaking, paddle boarding, jet skiing and waterside cocktails is usually available as well. Unsurprisingly, this isn't a cheap festival to attend, starting at $799 per person. Accommodation, transfers and festival tickets are all included in the fest packages; however, you do still need to buy flights on top. Folks feeling particularly flush can also upgrade their tickets to gain VIP access, which includes a welcome party, plus VIP areas to catch the tunes that come complete with table service and access to private toilets — and start at $299 per person on top of your ticket. DREAM MACHINE 2024 LINEUP: Argonaut Cosmo's Midnight Cub Sport Dice Genesis Owusu Hayden James Jimi the Kween The Jungle Giants Kimbra Lazywax (DJ set) Leisure Mell Hall Miami Horror (DJ set) Old Mervs Poof Doof Poolside Shouse Snakehips Y.O.G.A Dream Machine 2024 takes place from Thursday, May 30–Monday, June 3, 2024 at Nusa Dua, Bali, Indonesia, with pre-sales from 12pm AEDT on Tuesday, October 31 and general sales from 12pm AEDT on Wednesday, November 1 via the festival's website. Dream Machine images: Danny Clayton / Khan Ong. 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.
Share plates are all the rage these days. There’s now a cornucopia of Brisbane restaurants with menus fashioned after the communal dining concept. Though the idea of sharing multiple small plates of food is not unique to Spain – tapas have captured the heart of Brisbane dwellers, and become something of a neat catch-all term in the process. Perhaps you flinch when you see the word ‘tapas’ stamped above a list of foods ranging in cuisines from Spanish to English to Swedish to Korean. Or, you may consider it to be delightfully cosmopolitan. After all, different cultural cuisines have always drawn from each other, and is variety not the spice of life? Peasant Packed even on weeknights, Peasant is loved by many. Housed in the heritage listed Barracks, dimly lit with mural painted walls and secluded tables peppered throughout the leafy outdoor area; Peasant manages an intimate vibe despite its popularity. Tapas are best enjoyed in groups, and this is exemplified by a trip to Peasant. The food is rustic, easy to apportion, easy to eat. The piquillo peppers stuffed with vegetable paella, goats curd and green olive salsa are good to share, though their saltiness and piquancy will definitely make you want to order another drink. No 4 The Barracks, 61 Petrie Terrace, Brisbane Alegria Alegria Mediterranean Bistro and Bar is a Park Road favourite. The restaurant is small but polished and service is warm and hospitable. Being broadly Mediterranean in theme, Alegria’s tapas include not only Spanish staples like the manchego cheese croquettes. Italy gets quite a look in, with dishes like the Vitello Tonnato (rare roasted veal with tuna mayonnaise, capers and mustard greens) and veal 'Osso Bucco' with cannellini beans and white anchovy pangrattato. 11/20 Park Rd, Milton Moda An informal dining restaurant, Moda is elevated by a level of savoir-faire that never comes across as posh. Though definitely not a taperia, their menu includes entree-sized dishes that diners are encouraged to mix and match as share plates. Chef Javier Codina draws on a blend of French, Catalan and Italian influences, with entremeses like duck liver parfait with Pedro Ximenez jelly. For a tapas fuelled afternoon, head down on a Thursday or Friday for the Pica Pica Lunch - $30 will get you five different tapas followed by coffee and petit fours. 12 Edward St, Brisbane Ole Despite Brisbane’s love of tapas, the city is home to a relatively small number of full-blown taperias. Ole is one of the few restaurants to dedicate itself wholly to Spanish tapas and raciones. It has proved a winning tactic; the South Bank institution is a hot favourite any night of the week. The bustling atmosphere certainly puts you in the mood for a few plates of tapas, washed down with a jug of sangria – red of course. Shop B12, Little Stanley Street, South Bank Granada Just a few minutes’ walk from the Cultural Centre bus station, Granada Tapas and Bar accomplishes a zesty mix of Spanish and Mexican cuisine. Granada makes tapas-for-one a more viable option. Single serve tapas (as in one empanadilla on a plate) range in price from $3-$8, with larger portioned raciones are also on offer. Many of the usual suspects are here, alongside some overtly Mexican fare: Baja Taco (soft corn tortilla with whiting fillets, refried beans and tomatillo salsa) and Cerdo en Chipotle (slow roast pork shoulder in chipotle with beans and rice, corn tortillas). 154 Melbourne Street, South Brisbane Canvas If you’re heading to this tiny bar in Woolloongabba’s antiques precinct, chances are you’re after a cocktail. As many Brisbanites have discovered, Canvas’ cocktail menu is pretty inspired (not least for the lovely presentation of the physical document itself). As Canvas is first and foremost a bar, the food is a bit more ‘beer snacky’ than at some of the other places on this list. However, what are tapas without a tipple? To make the most of it, try the Tapas and Tequila Tuesday. 16b Logan Rd, Woolloongabba Brew Brew is probably best known to city goers as a handy little coffee nook, or breakfast hidey hole. One of the greatest success stories of council’s laneways project, this cafe makes excellent use of Lower Burnett Lane and it’s hard not to smile at the economical utilisation of space. Just at the base of its alleyway entrance is an express coffee counter – a very popular weekday caffeine pit stop. Venture inside to find the narrow bar and restaurant. Though a lot of the focus is on drinks, there are also some pretty tasty tapas to accompany them. Try the morcilla sausage with mozzarella, tomato and basil. Lower Burnett Lane, Brisbane City View all Brisbane Restaurants.
Wintertime is gallery time in Melbourne, so it's no surprise the NGV took a go-big-or-go-home attitude to follow up their extended Van Gogh and the Seasons exhibition. Thankfully, they haven't disappointed with a huge display of the works of Katsushika Hokusai. Running until October 15, the Hokusai exhibition is the largest single assemblage of the artist's work ever to be seen in Australia. More than 150 of his works are on display – including his five career-defining series of woodblock prints, the complete 15 editions of handprinted manga, plus silk works and rarely exhibited paintings. To make the exhibition a reality, NGV curator of Asian art Wayne Crothers worked closely with the Japan Ukiyo-e Museum (JUM), a privately owned gallery and one of the world's largest collectors of Japanese woodblock prints. Crothers says this relationship allowed the NGV to showcase the "highest quality examples" of Hokusai's work available. On entering Hokusai, you'll get to know the artist from works from his early career before coming to his universally acclaimed Thirty-six Views of Mt Fuji series. Created during Hokusai's own circumvention of Mt Fuji and his eventual summit, this series is the best instance of Hokusai's uncanny ability to depict everyday Japanese life and the population's closeness to nature. Next up is the unmistakable centrepiece — The Great Wave off Kanagawa — while across the gallery threshold is A Tour to the Waterfalls in Various Provinces, which rests against a distinctly 'Hokusaian' Prussian blue backdrop. Here, the gallery splinters into various spaces dedicated to his many manga volumes, and other lesser-known (but equally as impressive) works. While we're fortunate enough to be able to see many of Hokusai's headline artworks for the first time in Australia, Crothers explains the artist's most famous works are only the beginning to this exhibition: "One of the things we wanted to show through this exhibition was for everyone to enjoy 'The Wave', but then move beyond it and to experience the imagination in Hokusai's other creative projects." Here, with the help of Crothers' nuanced insight, we've selected five great works (aside from The Great Wave) from the Hokusai collection that you can't possibly miss. [caption id="attachment_630150" align="alignnone" width="1920"] The Amida Falls in the far reaches of the Kisokaidō Road, courtesy of The Japan Ukiyo-e Museum, Matsumoto.[/caption] THE AMIDA WATERFALL ON THE KISO ROCK, A TOUR TO THE WATERFALLS IN VARIOUS PROVINCES, (C. 1832-1833) The Waterfalls series represents some of the most experimental and creative works Hokusai produced at any time throughout his career. A stunning design piece, The Amida Waterfall on the Kiso Road shows an overhead view of flowing water, before halfway down the work changing perspective to a right-angled illustration of a waterfall. [caption id="attachment_630153" align="alignnone" width="1920"] Hokusai install at NGV, shot by Tom Ross.[/caption] VIEW OF THE PONTOON BRIDGE AT SANO IN KOZUKE, REMARKABLE VIEWS OF BRIDGES IN VARIOUS PROVINCES (1830) One of Crothers' favourite works of the exhibition, this piece captures the beautiful Japanese winter landscapes, while the travellers trudge across the snow covered pontoon in silence. Throughout this series, Hokusai illustrates the changing of the seasons across diverse locations and depicts the lives of working class Japanese people during this period. [caption id="attachment_630155" align="alignnone" width="1920"] The ghost of Kohada Koheiji, courtesy of The Japan Ukiyo-e Museum, Matsumoto.[/caption] 100 GHOST STORIES (1831) Based upon numerous well-known Japanese supernatural tales, the Ghost Stories series is Hokusai's surreal interpretation of these stories. Taking a satirical and humorous approach, for this woodblock print series Hokusai took one small detail from each popular fable and crafted caricatures, which mocked government corruption, societal wrongs and other common issues during this era. An immaculate collection, Crothers says these prints best demonstrate Hokusai's "vivid imagination". [caption id="attachment_630159" align="alignnone" width="1920"] Hokusai installation, shot by Tom Ross.[/caption] CLIMBING THE MOUNTAIN, THIRTY-SIX VIEWS OF MT FUJI (C. 1830-1833) While you might assume Thirty-six Views of Mt Fuji has 36 accompanying prints, in fact, the series was so popular that Hokusai created an additional ten prints (although the original title was kept). Described by Crothers as the perfect 'final gesture', this 46th print depicts a group near Mt Fuji's summit, which was said to hold the key to immortality — a topic Hokusai often showed interest in. REFLECTION IN LAKE AT MISAKA IN KAI PROVINCE, THIRTY-SIX VIEWS OF MT FUJI (C. 1830-1833) Depicting a peaceful reflection of the summertime summit of Mt Fuji in its lush landscape, this woodblock print is another from the subsequent ten prints to the original series. Hokusai is known for including many subtle details and references throughout his work, and on closer inspection of this piece, you'll notice the distinctly summer time Mt Fuji shows off its wintery side in the lake's reflection. Hokusai is now showing at NGV International.
If you've ever watched a David Attenborough documentary about the planet and wished it was sillier and stupider, to the point of being entertainingly ridiculous and ridiculously entertaining alike, then Netflix comes bearing wonderful news. Actually, the BBC got there first, airing history-of-the-world mockumentary Cunk on Earth back in September 2022. Glorious things come to waiting viewers Down Under now, however — and this gleefully, delightfully absurd take on human civilisation from its earliest days till now, spanning cave paintings, Roman empires, Star Wars' empire, 1989 Belgian techno anthem 'Pump Up the Jam' and more, is one of the best shows to join Netflix in Australia and New Zealand in 2023 so far. This sometimes Technotronic-soundtracked five-part series' beat? Surveying how humanity came to its present state, stretching back through species' origins and evolution, and pondering everything from whether the Egyptian pyramids were built from the top down to the Cold War bringing about the "Soviet onion". The audience's guide across this condensed and comic history is the tweed-wearing Philomena Cunk, who has the steady voice of seasoned doco presenter down pat, plus the solemn gaze, but is firmly a fictional — and satirical — character. Comedian Diane Morgan first started playing the misinformed interviewer in 2013, in Charlie Brooker's Weekly Wipe, with Black Mirror creator Brooker behind Cunk on Earth as well. Over the past decade, Cunk has brought her odd questions to 2016's one-off Cunk on Shakespeare and Cunk on Christmas, and 2018's also five-instalment Cunk on Britain. Then, in Brooker's Death to 2020 and Death to 2021, two annual looks back at life during the pandemic, Morgan played Cunk-like everywoman Gemma Nerrick — aka the spoof specials' average person among its comic experts. That's Cunk's remit as well. She poses enquiries and makes observations that academics on various branches of history, plus archaeologists, biologists, engineers and others, wouldn't expect to be asked by their peers or serious interviewers. In fact, they wouldn't anticipate being asked Cunk's questions by anyone, really, except perhaps very young children. "If you want to talk about Russian Soviet vegetables, we can," is one response that Cunk's incorrect queries garner, this one after accusations of mansplaining when she's told she likely means the Soviet Union. When she isn't uttering outlandish questions, she's often simply demanding OTT statements that'll help the show go viral, such as an exchange with another boffin where she requests a pithy soundbite stating that Jesus Christ was "the first celebrity victim of cancel culture". Or, in classic history doco style, Cunk is walking and talking, her eyes trained on the camera and scenic and/or important locales stretching out behind her — and, elsewhere, narrating while remaining unseen over the same type of images. Much of Cunk on Earth's hilarity comes from its take on the past, and on humanity, as well as the series' love of the ludicrous — as delivered with Cunk's dry, droll and unflappable demeanour (unless she's learning that Laika, the first dog in space, didn't make it home). She posits with the straightest of faces that the human brain is made of pipes, and that Beethoven's 'Symphony No 5' has lyrics that just repeat the word "dumb" over and over. She has thoughts on the worst Romans, in ancient times and now; connects hieroglyphics to emojis and likens mummification to Gwyneth Paltrow's spa treatments; and asks "was early man made out of the same sort of meat as us?" while then wondering if human flesh ever had a pork- or beef-like moniker. Morgan's performance is a marvel, and a perceptive portrait of couldn't-care-less arrogance, ignorance and certainty that plays as an easy-but-still-smart caricature of a growing attitude prevalent online today. With one character, she's as much of a canny and cutting comedic force as Sacha Baron Cohen has proven with Ali G, Borat, Bruno and the various figures in 2018 mockumentary series Who Is America?. Cunk, in all of her on-screen appearances, adopts the same basic format as Baron Cohen's alter egos — proposing the absurd to both parody and interrogate. Her throwaway comment about the pyramids being designed the way they are to "stop homeless people from sleeping on them" says plenty about society's treatment of folks doing it tough, and she skewers the overuse and misattribution of quotes by stating that Aristotle said "dance like no one is watching". As brilliant as Morgan's deadpan turn is, and as committed as the Inside No 9, Motherland and Mandy actor is, Cunk on Earth is equally reliant upon its interviewees. They each take their task seriously — the real-life experts aren't here to court laughs — but they're also willing to use Cunk's silly queries and comments as a jumping-off point. The question about the brain's pipes inspires a considered and accessible explanation of two different schools of philosophical thought, for instance. Often, Cunk's naive musings spark tidbits and corrections that do exactly what an Attenborough-style show like this sincerely and earnestly would: inform. Of course, for every enlightening answer offered — whether recounting something that's common knowledge anyway or diving deeper — Cunk on Earth has Cunk being Cunk. She asks about ancient Greeks before declaring she couldn't give a shit, segues off on tangents about her ex-boyfriend Paul to counter her panel of experts, and pronounces words incorrectly to humorous effect (even if nothing beats her butchering of Camelot in Cunk on Britain, which begets questions about King Arthur's semen production). A series like this is a masterclass in juggling, with everything from a Black Mirror-leaning skit about Beethoven resurrected inside a smart speaker to a recreation of a Dark Ages fray purely through sound also thrown in. Here, this very series is flat-out masterful — and tremendously funny. Check out the trailer for Cunk on Earth below: Cunk on Earth streams via Netflix. Images: Jonathan Browning.
Since 2016, Sydneysiders keen on a decadent French fine-dining experience have had an easy go-to: Restaurant Hubert. Taking its cues from post-war Paris, the hatted venue goes big on ruby hues, wood panelling and ruffled curtains; seats couples at candlelit tables for two; serves up French brasserie dishes and hefty drinks list; and features daily live jazz. It's one of the Harbour City's absolute best, in fact — and for one night only, it's coming to Brisbane. Keen to experience one of Sydney's top eateries but don't have a trip south in your future? All hail the latest restaurant pop-up, which is bringing Hubert's dining experience Brissie's way. Australia is a hotbed for such residencies and one-offs at the moment, including Britain's acclaimed L'Enclume and France's Mirazur heading to Sydney. Hubert mightn't be travelling as far, but its Brisbane stint is just as exciting. [caption id="attachment_673758" align="alignnone" width="1920"] Cole Bennetts[/caption] On Thursday, March 30, across sittings at 6pm and 8.30pm, Hubert's Head Chef Alexis Besseau will take over Woolloongabba's C'est Bon with a 'French on French' menu featuring four snacks and four courses. Costing $185 per person, consider it the meeting of two standout Gallic restaurants over one impressive evening. Expect tickets to sell out quickly, too, when they go on sale on Friday, February 24. Besseau leads Hubert after quite the culinary history, including enrolling in culinary school at the age of 13, working at l'Arpege in Paris four years later, and getting further kitchen experience in London, Switzerland and Brazil. His time in Australia has seen him work under chef Peter Doyle, become Head Chef at Bathers Pavilion, then move to Franca in Potts Point before settling in at Restaurant Hubert. During Besseau's Brisbane visit, C'est Bon diners can look forward to a French menu heroing Queensland produce; think pâté en croûte made with Brisbane Valley quail, for instance, plus duck a l'orange. C'est Bon's Andy Ashby will be joining in, which is why patrons will also tuck into sweetcorn brulee with scampi and French caviar with buckwheat and saltbush. And, to wash down all of the above, C'est Bon's sommelier Sebastian Langkamer will be picking vino in big-bottle formats from the Stanley Street spot's cellar. [caption id="attachment_837435" align="alignnone" width="1920"] Mitch Lowe[/caption] The Hubert x C'est Bon Dinner takes place at 6pm and 8.30pm on Thursday, March 30 at C'est Bon, 609/611 Stanley Street, Woolloongabba — costing $185 per person. For more information and to buy tickets from Friday, February 24, head to the C'est Bon website. Top image: Daniel Boud.
If life's got you feeling a little stressed of late, your good mates at KFC are here to help you out — albeit in a pretty unexpected way. You can turf your mindfulness phone apps and ditch that meditation class, because the global fried chicken chain has created a new online offering, where you can unwind to the soothing sounds of chicken frying. Launched to coincide with Mindfulness Day on September 12, KFChill is the fried chicken empire's new website offering its own cheeky spin on mindfulness practices, with a series of 'pink noises' that take the listener on a journey through a KFC kitchen. Click through the trio of hour-long sound files to unwind to the noise of chicken frying, gravy simmering or bacon sizzling away in a pan. No word on how effective this actually is for your relaxation levels, though we can guarantee some mad cravings for fried chicken once you're done.
If the Venice Film Festival can dedicate an entire island to virtual reality, and Brisbane can host its own VR festival, then Melbourne's year-round cinema hub can make the interactive technology a permanent part of its collection. As well as launching a new limited-offering VR commission, the Australian Centre for the Moving Image is adding a VR Lounge to its screen-filled spaces. Come September 23, ACMI will not only say hello to Prehistoric VR, a free two-week step back in time, but will also ask visitors to get comfy in their newest addition. The former, called the first 360-degree VR puppetry experience of its kind, comes from performing arts company Erth Visual & Physical Inc and award-winning visual artist and filmmaker Samantha Lang, while the latter will showcase a rotating array of VR works. The third ACMI commission that has asked established performing artists to turn a live stage work into realistic 360-degree virtual reality, where Prehistoric VR is headed isn't a surprise — when it comes to interacting with creatures that no longer roam the earth, life finds a way. Until October 8, the immersive experience dives onto the ocean floor, and back 200 million years, to encounter the aquatic critters from the Ediacaran to the Cretaceous periods. On the permanent front, ACMI's new ongoing VR Lounge will form part of its free Screen Worlds exhibition, kicking off with mystical fairy tale The Turning Forest. Created by Melbourne-based VR company VRTOV, who also have space at ACMI's co-working space ACMI X, it premiered to rave reviews at the 2016 Tribeca Film Festival, even earning comparisons to The NeverEnding Story. ACMI's commitment to virtual reality isn't new, with the centre premiering the spooky Ghost, Toast and the Things Unsaid and immersive dance experience Stuck in the Middle With You in 2016. As ACMI Director and CEO, Katrina Sedgwick explains, "as the national museum for film, TV, games digital culture and art, ACMI is fascinated by the rapid evolution of VR and the new ways practitioners are engaging audiences through this platform." Image: Renee Stamatis Photography.
If you're the type of person that loves getting into heated pop-culture debates with friends, then you'll definitely want to get on board with this Kickstarter project. Part card game, part ridiculous debate, the Metagame asks players to consider questions like 'Which feels like first love: Pride and Prejudice or Hungry Hungry Hippos?' and 'Which should be required in schools: Dungeons and Dragons or the Bible?' The game comes with two decks of cards: one set of discussion cards with questions like 'Which will save the world?' or 'Which best represents America?', and one set of culture cards, which feature various works of art and pop culture, like Helvetica, the Rubik's Cube and 'Single Ladies (Put a Ring On It)'. There isn't really a set way of playing, but the makers include a few game suggestions and encourage players to invent their own. Most of the suggested games involve players choosing culture cards that best answer the question and debating their choices. The Metagame was created by Local No. 12, a game design collective made up of Eric Zimmerman, Colleen Macklin and John Sharp. While the original Metagame focused on video games, the trio decided to release 'Metagame: The Culture Edition' following numerous requests for music and film versions. The game is still in prototype form, but it's already attracting praise from Filmmaker Magazine and Attract Mode, and the original Metagame was also an official selection of the 2013 IndieCade International Festival of Independent Games. The project has raised over $50,000 on Kickstarter — nearly double their original target of $25,000. Potential backers have the option of donating anything from $1 (which gets you early access to a print-and-play PDF version) to $500 or more (which gets you your own version of the Metagame, where you pick the rules).
The cultural renaissance in Canberra continues its unfurling across the dining and arts scenes, bringing more interest from interstate — and international — visitors than ever before. The standard of options for places to stay has also leapt vertically in the past five years, and among the list is the East Hotel. The family-owned boutique hotel is located in the increasingly happening suburb of Kingston. It's stand-out characteristics are warm accommodating service, handsomely-appointed contemporary rooms with all the important details considered (the fluffy white guest robes well and truly pass the comfort test), and the onsite options for drinking and dining. East Hotel's lobby bar, Joe's Bar, has an eclectic, jewel toned fit-out and a generous lineup of creative cocktails (if you have a yen for a good martini try the Tokyo Martini or the signature Joe's Martini). There's also a decent selection of Italian and Australian wines and a showcase of local Canberran beers on tap, bottled and by the tin. Soak up some of those martinis with Italian-inspired bar snacks or pizzas. Calamari fritte and a particularly excellent focaccia served hot and fresh from the enormous clay pizza oven. The clientele of Joe's Bar is a mix of East Hotel guests having a pre-dinner drink but but it's also highly populated with the after-work crowd of Canberra locals, particularly on Thursday and Friday evenings once 5pm has rolled past. The other dining option is Agostini's. It's a relaxed and super-buzzy Italian diner that's focused on creating the atmosphere and dining experience of an authentic Italian family restaurant. As such, you'll find a multi-generational crowd here, from white collar long lunchers to holidaying family tables. The pasta is very good and made fresh daily. The real hero here is the pizza though. The 'Salsiccia' layered with Italian sausage, 'nduja and Fior di Latte mozzarella on a fluffy wood-fired dough with just the right hint of char is excellent. Or if you're feeling a little less traditional, give the 'Granchio' of crab meat, rocket and cherry tomato a whirl. Finish things off with the house tiramisu and an amaro, or sample the negroni selection. Just bring an appetite and a loud voice to cut through the rowdy buzz of an extremely well-attended restaurant.
Feeling a little chilly, Brisbanites? That's understandable — the sky is grey, rain keeps drizzling down and the cooler weather isn't expected to lift until tomorrow. But it's not just a cold spell in summer that's making the city shiver, but the fact that Brisbane just experienced its coldest February day since 1961. Yesterday, the mercury didn't pass 22 degrees. And if you can't remember the last time it was this cool at this time of year, that's because it has been 15 years since anything came close. Back in 2003, Brisbane hit a top of just 22.1 degrees one February day, but we're usually sweltering through 30.2-degree average temperatures. In fact, some parts of south-east Queensland recorded their lowest-ever maximum February temperatures yesterday, Brisbane Times reports, including Oakey, Gatton, Warwick, Toowoomba, Kingaroy, Gayndah, Stanthorpe, Applethorpe, Gympie, Archerfield and Coolangatta. To put the dip in context, 21.4 degrees is the month's average minimum temperature — but yesterday's top temp only exceeded it by 0.6 degrees. And, the drop comes after a warm and dry January, with the Bureau of Meteorology stating that "daytime temperatures were much warmer than average overall," over the past month. Indeed, Brisbane experienced 30-degrees-plus temperatures at the beginning of this week, but is expected to hit the same low maximum of 22 degrees today. Showers are expected to hang around all week, but temps will start creeping up again from Sunday, though exceeding 30 degrees isn't forecast until Friday. Via Brisbane Times / 7 News / Weatherzone / Bureau of Meteorology.
Every tattoo tells a story, whether it's the sole piece of ink adorning a person's skin or one of many on someone whose body is a walking art gallery. That tale can span many things, including the design's meaning and significance, and also everything around making and creating it. Get a tatt while standing 268 metres above Sydney, however, and you'll have one helluva anecdote to tell. For one morning only, Sydney Tower Eye's SKYWALK is offering something more than stunning views high above the Harbour City: tattoos. Teaming up with reality TV favourites Bondi Ink, it's hosting the world's highest tattoo studio over a quarter of a kilometre above the ground, at a pop-up announced to mark World Tattoo Day. That occasion — because there's one for everything — falls on Tuesday, March 21 in 2023. But the sky-high inking will occur from 9–10.30am on Wednesday, April 5. And, to truly commemorate a pop-up tattoo parlour setting up shop at such lofty heights, the folks getting everlasting mementos will actually receive Sydney skyline-inspired tattoos. Given that Bondi Ink is only whipping out its machines for 90 minutes, only two people will be inked — and if you're keen, you'll need to hope that you're one of the lucky winners. To enter, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27, and explain both which part of your body you'd like your new tatt to decorate and why you're so eager. [caption id="attachment_782364" align="alignnone" width="1920"] Sander Dalhuisen[/caption] "I've tattooed for some interesting events in my time but being invited to create a design for 'The World's Highest Tattoo Studio' on the Sydney Tower Eye is pretty unique; I'm looking forward to it," said Chris Molt, a Bondi Ink artist known for his airbrush, fine line and script skills. "We're already spoilt with our view at Bondi Ink, but the crew loved seeing the whole city from up high on the SKYWALK. No better view to feed into our Sydney skyline tattoo-designing," shared his colleague and visual artist Cristina Martinez, who has a penchant for fine line, traditional and colour tatts. Whoever Chris and Cristina end up inking, they'll get a semi-realistic design representing the Sydney vista, and then take a victory stride on the SKYWALK afterwards. Sydney locals, this might be the ultimate way to show your love for your home town. Interstate visitors, this is quite the souvenir. And new ink with a view — and of a view — isn't in your future, you can nab a ticket to head up to the Sydney Tower Eye Observation Deck on the day from 9am to watch. Bondi Ink's 'World's Highest Tattoo Studio' will pop up on Sydney Tower Eye's SKYWALK from 9–10.30am on Wednesday, April 5. To enter the competition to get inked, hit up the Sydney Tower Eye website before 11.59pm AEDT on Monday, March 27. For tickets to watch, head to the same place.
You've watched the original movie to death, surely had some of that sweet 80s merch, and probably watched the all-female reboot flick when it hit cinemas in 2016. Now, you can take your Ghostbusters obsession to the next level, as a spooky new escape room inspired by the cult film lands in Sydney, Brisbane and Melbourne just in time for Halloween. Dubbed GhostMaze, the immersive pop-up will take over a secret location in each city, where you can live out your wildest ghostbusting fantasies and soak up some old-school gaming nostalgia. Details are scarce, but we do know that this movie-inspired adventure will take the form of a full-sized maze, with dark corners to navigate, prizes to hunt down and ghosts to avoid... unless you fancy being slimed. GhostMaze will be held across various sessions, with each one will featuring DJ tunes, a pop-up bar pouring Ghostbusters-themed cocktails and, of course, more prizes for the punters with the best costumes. Better start rounding out some mates to join in the fun — who you gonna call? In the meantime, you can rewatch the trailer for outfit inspiration: https://www.youtube.com/watch?v=vntAEVjPBzQ To find out more details as they drop and to register for pre-release GhostMaze tickets, sign up now at the website.
You would think that for a country girt by sea, comprising a shitload of bewilderingly great beaches and a population who love a good bevvy, we'd have more opportunities to drink by the ocean (you know, outside of a sneaky goon sack stroll down the shore on NYE). But we haven't, legally, until now. Fremantle's Bathers Beach House has been granted Australia's first liquor license for alfresco beach dining (and drinking). The WA establishment is currently the only place in Australia where you can (legally) drink on the beach. Of course, they've arranged sun lounges in their newly licensed sand and will be serving a range of food and drinks from their beachside menu, delivered straight to your sunbathing face. General erosion, gradual ecosystem destruction and environmental impact aside, generally speaking, it could be the impetus the rest of Australia needs to start amending the laws that forbid the pairing of our nation's two strongest assets: a hot beach and cold beers. The Gold Coast toyed with the idea in 2015 but to no avail. Come on local Australian councils, legalise beach beers. Think of the boom in sales of those fold-out chairs with in-built drink holders. We can't afford not to follow suit on this one. Via Hospitality Magazine.
Prepare to see some very fashionable pups strolling the streets of Australia, because instantly recognisable fashion label Gorman has launched its latest line of limited-edition dog coats. What's more — as part of a collaboration with PetRescue — those new threads will have their wearers looking good for a very good cause. All profits will go towards providing extra support and boost awareness for the life-changing organisation, which advocates for change around Australia's dysfunctional pound system and helps find forever hopes for lots of pups. The quilted dog jackets are available in three different exclusive Gorman prints — named Neighbours Garden, Walk It and Green Fingers — and four sizes, ensuring pups big and small can look the goods. Each features a polyester shell and lining and adjustable velcro straps for the perfect fit. [caption id="attachment_718376" align="alignnone" width="1920"] Harvey in Green Fingers.[/caption] Just imagine how many looks your fluffball will get down at the dog park. If you do want to snag one, however, we recommend you head in-store or online ASAP — these babies are known to sell out quickly. Gorman's PetRescue range of coats is now available online and at Gorman stores nationwide. Prices start at $39. Top image: Floyd in Green Fingers.
If you're craving to know what the world's best supper tastes like, you’d best book yourself a flight to Denmark. Restaurant magazine has announced the World’s Best 50 Restaurants for the year and Copenhagen’s Noma has reclaimed the Number One position. Having topped the list in 2010, 2011 and 2012, it fell to second in 2013. Meanwhile, second place went to El Celler de Can Roca in Girona, Spain and third to Osteria Francescana in Modena, Italy. So, how did we fare? The only Australian restaurant to have made the Top 50 is Melbourne’s Attica, which fell from 21 but still came in at 32; also named the Best Restaurant in Australia for the second year in a row. The judges laud head chef Ben Shewry’s "earthly flavours and foraged ingredients", describing the Attica dining experience as "simultaneously sophisticated and deeply grounded". They’re also impressed with Shewry’s commitment to "his principles of sustainability, to his family and to the cooking craft". Meanwhile, Sydney’s Quay, headed by chef Peter Gilmore, slipped from 48 to 60. (Despite the awards being titled ‘World’s Best 50’, the top 100 are named as well). Even though just two of our homegrown restaurants made the list, Aussies chefing abroad have been making an impact. Newcastle’s Brett Graham, who heads The Ledbury, London was pleased to secure tenth place. “It’s a huge surprise,” he said. “We’ve got a great young team, actually half-full of bloody Australians as well, from all over the country.” At the same time, David Thompson’s Bangkok-based Nahm ranked 13th. He expressed that it’s not easy for Aussie restaurants. "One of the difficult things for Australian restaurants is that it’s so distant – or so far away from the circuit of judges," he said. "It’s a matter of luck in the awards ceremony; it really is." Finally, Sydney chef Tetsuya Wakuda came in at 50th with his Singapore-based restaurant Waku Ghin, improving on last year's 68th ranking. Image credit: Ben Hutchison
