Taylor Swift has already played Australia in 2024, as the entire country knows. Billie Eilish will hit the country's stages in 2025. Arriving in-between: Olivia Rodrigo, with the former Disney talent — see: Bizaardvark and High School Musical: The Musical: The Series — bringing her huge GUTS world tour Down Under in October 2024. When we say huge, we mean it. With the addition of four Aussie dates alongside new gigs in Bangkok, Thailand, Seoul, Hong Kong, Tokyo and Singapore, the tour now spans 82 concerts around the globe. In Australia, Rodrigo has a two-night date with Melbourne and then another two with Sydney. Fans elsewhere, you'll be needing to travel. Touring in support of her second studio album that's also called GUTS, three-time Grammy-winner Rodrigo is hitting Rod Laver Arena Wednesday, October 9–Thursday, October 10 to start her Aussie visit. The next week, from Thursday, October 17–Friday, October 18, she'll play Qudos Bank Arena. In both Sydney and Melbourne, New Zealand singer-songwriter Benee will also take to the stage in support This is 'Drivers License', 'Good 4 U' and 'Vampire' singer Rodrigo's first arena tour, as well as her first tour Down Under — and she'll have her debut album SOUR to work through as well. The GUTS tour started in Palm Springs in February, saw Rodrigo do four shows at Madison Square Garden in April, and is currently making its way around the UK before heading to Europe, back to the US, then to Asia and Australia. Olivia Rodrigo GUTS World Tour 2024 Australian Dates: Wednesday, October 9–Thursday, October 10 — Rod Laver Arena, Melbourne Thursday, October 17–Friday, October 18 – Qudos Bank Arena, Sydney Olivia Rodrigo is touring Australia in October 2024. Ticket presales start at 1pm on Wednesday, May 15, and general sales at 1pm on Thursday, May 16 — head to the tour website for further details. Images: Chris Polk, Polk Imaging.
Lost Paradise is back for the fourth year in a row, after selling out its past three incarnations. Returning to Glenworth Valley from December 28 to January 1, the event will host 76 local and international artists, including local electronic goalkickers RÜFÜS, Sweden's Little Dragon, Aussie folk favourites Matt Corby and Meg Mac, Sydney lads DMAs, dynamic Melburnian duo Client Liaison and more. There'll be two new stages this year, My Mum's Disco, where, in between retro beats and '80s kitsch, you'll be playing bingo and banging out karaoke, and K-Sub Beach Club, to be run by Kraken, a collective dedicated to all things Victorian. Main stage Arcadia will host what's been designated as 'indie', while techno and dance will settle into the Lost Disco stage. Meanwhile, the Paradise Club will take care of late night shape-throwers with DJs and surprise guests. If you've blissed your way through previous New Year's Eves at Lost Paradise's Shambala Fields, you'll be glad to know they're making a return, with their cornucopia of yoga classes, dance workshops and meditations. Teachers on the schedule include Ana Forrest, Jose Calarco, Mark Whitwell, Simon Borg Olivier, Nicole Walsh and Mark Breadner. In between dancing and getting mindful, you can fuel up in Lost Village, where a herd of food trucks will be dishing out all sorts of tasty morsels. Look out for Eat Art Truck's hot smoked pulled pork buns, Agape's organic goodies, The Dosa Deli's handmade samosas, Maverick Wings' crispy chicken and kimchi coleslaw, Harvest Life as Tsuru's poke bowls and Cuba Cantina's street food from Havana. Here's what you're in for this year: LOST PARADISE 2017 LINEUP: RÜFÜS Little Dragon Matt Corby Meg Mac DMA's Client Liason Cut Copy San Cisco Tourist Stephen Bodzin Cigarettes After Sex Patrick Topping Jon Hopkins (DJ Set) Jackmaster FKJ Middle Kids Âme (Live) Skeggs Palms Trax Apparat Nadia Rose Sampa The Great Koi Child Mall Grab Dean Lewis B.Traits Roland Tings My Nu Leng Cut Snake Human Movement Billy Davis & The Good Lords CC:Disco GL Tiny Little Houses Alex The Astronaut Nyxen Sloan Peterson Mammals The Ruminators Motorik Vibe Council Robongia Krankbrother Thunderfox Gypsys of Pangea Uncle Ru Ariane Ben Nott Brohn Dibby Dibby Soundsystem DJ Gonz Elijah Something Foreigndub Inner West Reggae Disco Machine Kali and more... Lost Paradise returns to Glenworth Valley from December 28 to January 1. Tickets are on sale now from the festival website. Image: Dave Anderson and Boaz Nothham.
Here's a trend: co-stars from Baywatch, the movie not the series, making separate biopics about wrestlers. When Zac Efron (The Studio) did it, The Iron Claw was the result, and the film about Kevin Von Erich and his family was excellent. Next, it's Dwayne Johnson's (Red One) turn in The Smashing Machine, with MMA fighter Mark Kerr in the spotlight. Johnson, aka The Rock, leaping into the ring is far from a new development, of course — but the wrestler-turned-actor is now drawing upon his sporting background and talents in the other well-known side of his career. That said, even if you've watched plenty of his WWE exploits, and then his film and TV roles in everything from The Scorpion King, the Fast and Furious franchise, Ballers and Pain & Gain to San Andreas, the recent Jumanji flicks and Black Adam, you haven't seen Johnson like this before. The Smashing Machine hits cinemas in October 2025. Opposite Emily Blunt (The Fall Guy) as Dawn Staples — with the pair reuniting after 2021's Jungle Cruise, and set to team up again next for Martin Scorsese (Killers of the Flower Moon) — Johnson helps bring the story of a wrester-turned-UFC star to the screen. In the just-dropped first trailer for the flick, Kerr is determined to keep chasing the unparalleled high that comes with winning, even while he's in pain and as it's clearly taking a toll on his relationship with Staples. The term "unrecognisable" gets thrown around a lot when actors transform for a role; however, every time Johnson's face is on-screen in the first sneak peek at The Smashing Machine, that description proves true. If the name of the movie sounds familiar, that's because there's a 2002 documentary of the same moniker that's also about Kerr. As a biopic, The Smashing Machine hails from writer/director Benny Safdie, making his first solo directorial effort after spending his filmmaking career so far co-helming with his brother Josh. On their shared resume: Daddy Longlegs, Lenny Cooke, Heaven Knows What, Good Time and Uncut Gems. It's been six years since Benny was last behind the camera on a feature, but he's been popping up in acting parts elsewhere, including in Pieces of a Woman, Licorice Pizza, Stars at Noon, Obi-Wan Kenobi, Are You There God? It's Me, Margaret, Oppenheimer and The Curse — the latter of which he co-wrote and co-created with The Rehearsal's Nathan Fielder. Benny's brother Josh also has a new film out in 2025, also focusing on sports and also helmed on his lonesome. In Marty Supreme, Timothée Chalamet (A Complete Unknown) is in the lead — and ping-pong is the focus. Check out the trailer for The Smashing Machine below: The Smashing Machine releases in cinemas Down Under on Thursday, October 2, 2025.
With everyone spending more time at home — and zero time eating out at restaurants and cafes — we're betting that you've probably cranked up your oven and put your baking skills to the test in recent weeks. Unfortunately, though, we are not all destined to be Betty Crockers. Next time you want to get creative in the kitchen, you don't have to resort to a packet mix — even if you're a bit of a novice in the kitchen. A bunch of Aussie bakeries, cafes and restaurants are adapting to the current situation and one thing we're seeing more of is bake-at-home cookie dough. And it's safe to say these top-notch spots know what they're doing in the kitchen — so you don't have to. Here are some of the best you'll find in Sydney, Melbourne and Brisbane, which you can pick up or get delivered. Then, soon enough, you'll be feasting on gooey, chocolatey cookies straight from the oven. SYDNEY Home of the cookie pizza, Bennett Street Dairy is selling its handmade chocolate chip dough and offering citywide delivery within two business days. The old school-inspired joint sources its ingredients straight from the farm, with its dough containing big chunks of chocolate and no raw products. You can get 500 grams of the goods, which will make about six to eight large biscuits, for $12. You can store your roll of dough in the fridge for or up to 2 weeks or in the freezer for 3 months, so you can stock up and have cookies on-hand for a while to come. To order, head here. Firedoor has also jumped on the cookie wagon, offering pre-made dough through its new online grocer Fireshop. The online store has a bunch of 'almost-ready' dishes, pantry staples and produce, which you need to order between Thursday–Tuesday for pick up on Friday between 2–4pm. In your virtual basket, you'll want to throw in at least one 400-gram roll of native cookie dough ($20). Made with white chocolate and native Australian fruits, this cookie is for those who like the finer baked things in life. Sydney's king of desserts Andy Bowdy is slinging some top-notch dough, too. Head down to Saga between 9am–4pm any Tuesday through Sunday, and nab yourself a roll of salted chocolate chip or peanut butter — or both. Each comes in 480 grams and costs $12.50. MELBOURNE Shannon Martinez and Mo Wyse's spin-off vegan New York-style delicatessen, Smith & Deli, is selling frozen dough. So, if you're vegan — or just looking to get your hands on some high-quality cookies — look no further. The dough is frozen fresh, loaded with chocolate chunks and will make ten to 20 biscuits, depending on size. A roll costs $15 and can be ordered via Mr Yum for pick up and delivery. Earl Canteen is selling two different types of cookie dough through its online shop Earl at Home. There's a Callebaut chocolate, sea salt and walnuts one or one filled with raspberry and pistachio — both will make about 20 deliciously chewy cookies and cost $22. To order, head here. The choc chip dough comes in its Favourites Pack ($125), too. Delivery is available within 20 kilometres of the CBD and is free for order amounting to $125 or more. Contactless pick up is also available from Earl's head office at 15–17 Cubitt Street, Cremorne. BRISBANE Brisbane's go-t0 for baked goods, Jocelyn's Provisions, is now selling 'take & bake' kits, including a choc chip cookie kit ($18.50), featuring 500 grams of ready-to-bake dough, which is enough to make 24 cookies. Kits are available for pick up only — with orders taken online, and collection available from Jocelyn's Provisions' stores on Sandgate Road in Albion, James Street in New Farm and Samuel Street in Camp Hill. If you're a cookie fiend and want more, Flour & Chocolate — as the name would suggest — is also selling some choc-filled dough for $15. You can pick them up from the Morningside patisserie every Tuesday to Saturday from 6.30am–2pm. To preorder, email morningside@flourandchocolate.com or call (07) 3161 6246. If you do go outside to pick up cookies, have a look at the latest COVID-19 advice and social-distancing guidelines from the Department of Health.
Not only is Troye Sivan one of Australia's brightest pop stars, he's also a Queer icon with a strong perspective on diversity and inclusion. At Town Hall, he'll be in conversation with Lillian Ahenkan — AKA Flex Mami, the multidisciplinary Sydney-based creative — to discuss "beauty, art and fluidity" as part of Vivid Sydney's Global Storytellers series. Despite being only 26 years old, Sivan has been in the eye of the public since his teens — performing on TV and online from 2006 — and has spoken out about his discomfort around being singled out while also wanting to be a voice for the Queer community. This layered experience forms a unique standpoint, with the creative force sure to have some fascinating insights to share in this intimate event.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from May's haul of newbies. NEW SHOWS TO CHECK OUT WEEK BY WEEK OBI-WAN KENOBI More Ewan McGregor in anything is always a good thing, including in returning to a galaxy far, far away (and long ago). But before Disney+'s new Star Wars series Obi-Wan Kenobi gives the space opera franchise's fans that gift as part of the platform's third live-action spinoff from the blockbuster movie saga (following The Mandalorian and The Book of Boba Fett), it has another present to bestow. Across a few minutes in the show's "previously on" prelude prior to its opening episode, it recaps what viewers need to know about the Jedi and his time with Anakin Skywalker (Hayden Christensen, The Last Man) before now. That means that viewing the terrible prequel trilogy is no longer ever necessary, because the main point of the entire three films has been condensed down into this quick montage. Elated, you should be — and may the force be with the time you'll never waste rewatching them again. There's obviously more to Obi-Wan Kenobi than that. Set ten years after Star Wars: Episode III: Revenge of the Sith, it finds Obi-Wan (McGregor, Halston) living as Ben Kenobi on Tatooine, all to keep an eye on a young Luke (Grant Feely, Creepshow) from afar. But the Empire is after the former Jedi master, and all Jedis — with a particularly determined Inquisitor, Third Sister (Moses Ingram, Ambulance), especially vicious in her efforts to hunt him down. That's all as expected; however, the storyline involving the kidnapping of young Leia (Vivien Lyra Blair, Waco), who is growing up with the Organas (In the Heights' Jimmy Smits and 11%'s Simon Kessell) as her adoptive parents, is far more of a surprise. Also boasting everyone from Joel Edgerton (The Green Knight) and Kumail Nanjiani (Eternals) to Sung Kang (Fast and Furious 9) and Benny Safdie (Licorice Pizza) among its cast, this six-part limited series slots easily into the ongoing sci-fi franchise at its big-screen best — including both looking and feeling the part. Obi-Wan Kenobi streams via Disney+. THE STAIRCASE On December 9, 2021, novelist and aspiring politician Michael Peterson called the North Carolina police to report that his second wife Kathleen had fallen down the stairs. It was late, and he was distraught. She was unconscious but still breathing, he said, and he pleaded for medical help ASAP. While waiting for the ambulance, he rang back to say that Kathleen was no longer breathing. When the paramedics arrived, she was dead. But the scene they found was shockingly bloody, and questions about Michael's story were asked immediately. Protesting his innocence, and originally supported by all five of his biological, adopted and step children, he was arrested and charged with his wife's murder. And yes, if this all sounds familiar — and not just from news headlines two decades back — it's because it was originally chronicled by 2004 French-made true-crime documentary miniseries The Staircase. Now, HBO's eight-part dramatised version — also called The Staircase — is relaying the same story. Whether or not you already know the full tale, the result is still gripping, tensely shot and edited, and also masterfully acted. Colin Firth (Operation Mincemeat) plays Michael, albeit with a far-from-convincing American accent. Aussie actors abound, too, with Toni Collette (Nightmare Alley) as Kathleen, plus Olivia DeJonge (Better Watch Out) and Odessa Young (Shirley) as two of the family's daughters. With Juliette Binoche (How to Be a Good Wife), Michael Stuhlbarg (Call Me By Your Name), Parker Posey (Lost in Space), Sophie Turner (Game of Thrones), Dane Dehaan (Lisey's Story) and Patrick Schwarzenegger (Moxie) all also popping up — and Rosemarie DeWitt as well, playing Collette's sister again after United States of Tara — getting absorbed in this retelling comes quickly and swiftly. The Staircase streams via Binge. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW CONVERSATIONS WITH FRIENDS Peeking into intimate connections and making audiences feeling as though they've been lifted from their own lives, or from emotions they've navigated and weathered, is one of Sally Rooney's key skills as an author. It's true of both Conversations with Friends and Normal People in print, and it's a knack that the same creative team — Rooney as an executive producer, co-screenwriter Alice Birch (Lady Macbeth) and co-director Lenny Abrahamson (Room, Frank) — have brought to TV adaptations of both. In text and flickering across the screen, the two tales step into complicated romances that simmer with intensity. They confront class clashes and the difficulties that spring from them as well. And, they force contemplative women to confront what they want, who they are, how they'll grow as people and the others they might give their hearts to. In the instantly addictive Conversations with Friends, 21-year-old Frances (quietly magnetic newcomer Alison Oliver) is first poised as the other half in a couple that's not a couple, at least anymore; she went to school with and used to date the outspoken and outgoing Bobbi (Sasha Lane, American Honey), but now the two university students are best friends and spoken-word poetry partners. It's during one of their performances that successful writer Melissa (Jemima Kirke, Sex Education) spots the duo's act, compliments them afterwards and invites them over for a swim, then back to her well-appointed house for a drink. Enter Nick (Joe Alwyn, The Souvenir: Part II), Melissa's actor husband, who holds himself like he'd rather be anywhere but there but is too polite to upset the status quo. He's as reserved and introverted as Frances — and they catch each other's eyes, while Bobbi and Melissa gravitate towards each other. Conversations with Friends streams via Prime Video. 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 streams via Apple TV+. Read our full review. STRANGER THINGS Finally back for its fourth season after a three-year wait (yes, finally), Stranger Things ventures beyond its trusty small-town setting of Hawkins, Indiana, and in several directions. It keeps its nods and winks to flicks and shows gone by streaming steadily of course — but expanding is firmly on its mind. Once again overseen by series creators The Duffer Brothers, its latest batch of episodes is bigger and longer, with no instalment clocking in at less than an hour, one in the first drop running for a feature-length 98 minutes, and the final two not set to release until Friday, July 1. Its teenage stars are bigger and taller as well, ageing further and faster than their characters. The show has matured past riffing on early-80s action-adventure movies, too, such as The Goonies; now, it's onto slashers and other horror films, complete with new characters called Fred and Jason. And with that, Stranger Things also gets bloodier and eerier. That said, it's still the show that viewers have loved since 2016, when not even Netflix likely realised what it had unleashed — and no, that doesn't just include the demogorgon escaping from the Upside Down. But everything is growing, as Eleven (Millie Bobby Brown, Godzilla vs Kong), her boyfriend Mike (Finn Wolfhard, Ghostbusters: Afterlife), and their pals Will (Noah Schnapp, Waiting for Anya), Dustin (Gaten Matarazzo, The Angry Birds Movie 2), Max (Sadie Sink, Fear Street) and Lucas (Caleb McLaughlin, Concrete Cowboy) all visibly have. Eleven, Will, Jonathan (Charlie Heaton, The Souvenir Part II) and Joyce (Winona Ryder, The Plot Against America) have branched out to California, and Mike comes to visit. Back in Hawkins, Dustin, Lucas, Max, Steve (Joe Keery, Free Guy), Robin (Maya Hawke, Fear Street) and Nancy (Natalia Dyer, Things Seen & Heard) have a new evil to face. And, as for Hopper (David Harbour, Black Widow), he's stuck in a Russian gulag. The first seven episodes of Stranger Things season four are streaming via Netflix. Read our full review. EMERGENCY The 'one wild night' genre isn't solely comprised of films about high school or college parties — Martin Scorsese's ace After Hours isn't, for example — but it's still filled with them. Emergency is the latest, but it's also a movie with something to say beyond the usual life lessons about valuing your real friends and working out who you genuinely are when you're at that awkward time learning about what being an adult means. It also takes a huge cue from a fairy tale that everyone knows, and adapts it to reflect an inescapable part of America today. How does being a person of colour change your options during a supposedly carefree night of partying? How does it influence your choices when something unexpected happens to someone else and you want to help? And what would happen if Goldilocks and the Three Bears was about a drunk white high schooler who passes out inside a house shared by one Latino and two Black college seniors? These are Emergency's questions. The answers to the above queries come courtesy of filmmaker Carey Williams (R#J) and screenwriter KD Dávila (Salvation), who adapt their short film of the same name. Their focus: pals Sean (RJ Cyler, The Harder They Fall), Kunle (Donald Elise Watkins, The Underground Railroad) and Carlos (Sebastian Chacon, Penny Dreadful: City of Angels), on what's supposed to be a huge night hopping between seven different campus shindigs. Then, they find Emma (Maddie Nichols, The Outsider) passed out on their lounge room floor. The Princeton-bound Kunle wants to call 911, but Sean knows how it'll look to the authorities — even though they're trying to do the right thing, have never met the girl before and don't know how she ended up in their house. Savvier than it is funny, Emergency is an oh-so-topical satire first and foremost, and doesn't hold back for a second. Emergency streams via Prime Video. UNDONE Returning for its second season three years after its first — which was one of the best shows of 2019 — the gorgeously and thoughtfully trippy multiverse series Undone is fixated on one idea: that life's flaws can be fixed. It always has been from the moment its eight-episode initial season appeared with its vivid rotoscoped animation and entrancing leaps into surreal territory; however, in season two it doubles down. Hailing from BoJack Horseman duo Kate Purdy and Raphael Bob-Waksberg, it also remains unsurprisingly concerned with mental illness, and still sees its protagonist caught in an existential crisis. (The pair have a type, but Undone isn't BoJack Horseman 2.0). And, it deeply understands that it's spinning a "what if?" story, and also one about deep-seated unhappiness. Indeed, learning to cope with being stuck in an imperfect life, being unable to wish it away and accepting that fate beams brightly away at the heart of the show. During its debut outing, Undone introduced viewers to 28-year-old Alma Winograd-Diaz (Rosa Salazar, Alita: Battle Angel), who found everything she thought she knew pushed askew after a near-fatal car accident. Suddenly, she started experiencing time and her memories differently — including those of her father, Jacob Winograd (Bob Odenkirk, Better Call Saul), who died over 20 years earlier. In a vision, he tasked her with investigating his death, which became a quest to patch up the past to stop tragedy from striking. Undone didn't necessarily need a second season, but this repeat dive into Alma's story ponders what happens in a timeline where everything seems to glimmer with all that its protagonist has ever wanted, and yet sorrow still lingers. Once again, the end result is deeply rich and resonant, as intelligent and affecting as sci-fi and animation alike get, and dedicated to thinking and feeling big while confronting everyday truths. Undone streams via Prime Video. Read our full review. RETURNING FAVES DROPPING EAGERLY AWAITED NEW EPISODES WEEKLY BARRY Three seasons into the sitcom that bears his name, all that Barry Berkman (Bill Hader, Noelle) wants is to be an actor — and to also no longer kill people for a living. That's what he's yearned for across the bulk of this HBO gem, which has given Saturday Night Live alum Hader his best-ever role; however, segueing from being an assassin to treading the boards or standing in front of the camera is unsurprisingly complicated. One of the smartest elements of the always-fantastic Barry is how determined it is to weather all the chaos, darkness, rough edges and heart-wrenching consequences of its central figure's choices, though. That's true of his actions not only in the past, but in the show's present. Hader and series co-creator Alec Berg (Silicon Valley) know that viewers like Barry. You're meant to. But that doesn't mean ignoring that he's a hitman, or that his time murdering people — and his military career before that — has repercussions, including for those around him. One of the most layered and complex comedies currently airing, Barry's third season is as intricate, thorny, textured and hilarious as the first two. Indeed, it's ridiculously easy to see how cartoonish its premise would be in lesser hands, or how it might've leaned on a simple odd-couple setup given that Anthony Carrigan (Bill & Ted Face the Music) plays Chechen gangster Noho Hank with such delightful flair. But Barry keeps digging into what makes its namesake tick, why, and the ripples he causes. It does the same with his beloved acting teacher Gene Cousineau (Henry Winkler, The French Dispatch) as well. With visual precision on par with Breaking Bad and Better Call Saul, it's also as phenomenal at staging action scenes as it is at diving deep into its characters — and, as every smartly penned episode just keeps proving, it's downright stellar at that. Barry streams via Binge. HACKS In 2021, Hacks' first season quickly cemented itself as one of 2021's best new TV shows — one of two knockout newbies starring Jean Smart last year, thanks to Mare of Easttown as well — and it's just as ace the second time around. It's still searingly funny, nailing that often-elusive blend of insight, intelligence and hilarity. It retains its observational, wry tone, and remains devastatingly relatable even if you've never been a woman trying to make it in comedy. And it's happy to linger where it needs to to truly understand its characters, but never simply dwells in the same place as its last batch of episodes. Season two is literally about hitting the road, so covering fresh territory is baked into the story; however, Hacks' trio of key behind-the-scenes creatives — writer Jen Statsky (The Good Place), writer/director Lucia Aniello (Rough Night) and writer/director/co-star Paul W Downs (The Other Two) — aren't content to merely repeat themselves with a different backdrop. Those guiding hands started Hacks after helping to make Broad City a hit. Clearly, they all know a thing or two about moving on from the past. That's the decision both veteran comedian Deborah Vance (Smart) and her twentysomething writer-turned-assistant Ava Daniels (Hannah Einbinder, North Hollywood) had to make themselves in season one, with the show's second season now charting the fallout. So, Deborah has farewelled her residency and the dependable gags that kept pulling in crowds, opting to test out new and far-more-personal material on a cross-country tour instead. Ava has accepted her role by Deborah's side, and is willing to see it as a valid career move rather than an embarrassing stopgap. But that journey comes a few narrative bumps. Of course, Hacks has always been willing to see that actions have consequences, not only for an industry that repeatedly marginalises women, but for its imperfect leading ladies. Hacks streams via Stan. Read our full review. GIRLS5EVA When it first hit streaming in 2021 with an avalanche of quickfire jokes — as all Tina Fey-executive produced sitcoms do, such as 30 Rock, Unbreakable Kimmy Schmidt, Great News and Mr Mayor — Girls5eva introduced viewers to its eponymous band. One-hit wonders in the late 90s and early 00s, their fame had fizzled. Indeed, reclaiming their stardom wasn't even a blip on their radars — until, unexpectedly, it was. Dawn Solano (Sara Bareilles, Broadway's Waitress), Wickie Roy (Renée Elise Goldsberry, Hamilton), Summer Dutkowsky (Busy Philipps, I Feel Pretty) and Gloria McManus (Paula Pell, AP Bio) had left their days as America's answer to the Spice Girls behind, barely staying in contact since the group split and their fifth member, Ashley Gold (Ashley Park, Emily in Paris), later died in an infinity pool accident. But then rapper Lil Stinker (Jeremiah Craft, Bill & Ted Face the Music) sampled their single 'Famous 5eva', and they were asked to perform backing vocals during his Tonight Show gig. Jumping back into the spotlight reignited dreams that the surviving Girls5eva members thought they'd extinguished long ago — well, other than walking attention-magnet Wickie, who crashed and burned in her attempts to go solo, and was happy to fake it till she made it again. That's the tale the show charts again in its second season, which is back with more rapid-fire pop-culture references and digs; the same knowing, light but still sincere tone; and a new parade of delightful tunes composed by Jeff Richmond, Fey's husband and source of music across every sitcom she's produced. One of the joys of Girls5eva — one of many — is how gleefully absurd it skews, all while fleshing out its central quartet, their hopes and desires, and their experiences navigating an industry that treats them as commodities at best. The show's sophomore run finds much to satirise, of course, but also dives deeper and pushing Wickie, Dawn, Summer and Gloria to grow. Obviously, it's another gem. Girls5eva streams via Stan. Read our full review. RECENT AND CLASSIC FLICKS TO CATCH UP ON — OR REVISIT NO SUDDEN MOVE Any film by prolific director Steven Soderbergh (Unsane, Kimi) is a must-see event, even if it bypasses cinemas — as No Sudden Move sadly did. This crime thriller would've looked dazzling on a big screen, and for a plethora of reasons, but it's as excellent as ever even while watching on your TV. Soderbergh is no stranger to helming capers — he has Ocean's Eleven, Ocean's Twelve and Ocean's Thirteen on his jam-packed resume, plus both Out of Sight and Logan Lucky — and No Sudden Move is as energetic as the rest of his heist fare. Here, he also revels in period details, with this Ed Solomon (Bill & Ted Face the Music)-scripted tale unfurling in the 1950s. As he's known to do, Soderbergh both shot and edited the movie himself, too, and that exceptional craftsmanship is another of this playful neo-noir's many delights. Spinning an engaging story steeped in Detroit's crime scene, No Sudden Move has something to say as well. Don Cheadle (Space Jam: A New Legacy) in is career-best form as Curt Goynes, who gets out of prison, then gets enlisted for a job by a middleman known as Jones (Brendan Fraser, Trust). That gig? With two colleagues (The French Dispatch's Benicio Del Toro and Succession's Kieran Culkin), he's tasked with babysitting the Wertz family (Archenemy's Amy Seimetz, A Quiet Place Part II's Noah Jupe and debutant Lucy Holt), all so the Wertz patriarch (David Harbour, Stranger Things) can steal a document from his work. There's no shortage of plot — No Sudden Move keeps twisting from there — but capitalism's worst consequences also bubble prominently underneath. Soderbergh and Solomon savvily tease out the details, though, keeping their audience guessing as much as their characters. No Sudden Move is available to stream via Netflix and Binge. EVERY JAMES BOND MOVIE Break out the martinis and prepare for a shaken but not stirred couch session: Bond, James Bond, is coming to your lounge room. Just in time for wintry binge-viewing marathons, the famed espionage franchise has hit Prime Video, spanning every flick in the series from the now 60-year-old Dr No through to 2021's No Time to Die. Sean Connery smouldering his way through everything from that first-ever Bond instalment through to Diamonds Are Forever, Roger Moore stepping into 007's shoes between Live and Let Die and A View to A Kill, Timothy Dalton's two-film run in The Living Daylights and Licence To Kill — they're all included. So is Pierce Brosnan's stint as the secret agent between GoldenEye and Die Another Day, and Daniel Craig's five contributions from Casino Royale onwards, wrapping up with what might be the best Bond film yet. Aussie actor George Lazenby's one-movie appearance as Bond in On Her Majesty's Secret Service is also on the bill. That's all 25 official movies in total covered, but there is also a 26th movie, Never Say Never Again, that you might want to watch. Made in 1983, it stars Connery as the suave spy. But, because it was made by a different company from the rest of the Bond movies, it's not considered part of the franchise itself — however, it is also on Prime Video now. Exceptional Bond flicks, terrible ones, everything in-between: if 007 is involved, it's now in this one spot. For everything other than No Time to Die, this isn't the first time the franchise has all sat on one streaming platform, and we've all seen various flicks hop between different services over the years. That said, the Bond movies aren't likely to move from Prime Video moving forward given that Amazon recently purchased MGM, the nearly century-old film studio that's behind all things 007. The entire Bond franchise streams via Prime Video. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January, February, March and April 2022 — and our top new TV shows of 2021, best new television series from last year that you might've missed, top 2021 straight-to-streaming films and specials and must-stream 2022 shows so far as well.
On small screens all around the world, The Last of Us is currently showing everyone how video game-to-TV adaptations can and should be done. Can the new Dungeons & Dragons movie do the same for tabletop role-playing games? Cinemagoers are about to find out, when Honour Among Thieves rolls out its campaign on the silver screen with Chris Pine, Regé-Jean Page, Michelle Rodriguez and Hugh Grant among the cast. As seen in both Dungeons & Dragons: Honour Among Thieves initial sneak peek back in 2022 and its new just-dropped full trailer, the film focuses on a motley crew of characters rolling the dice. "We're thieves," Pine (Don't Worry Darling) explains in both, if the title wasn't already obvious enough. This crew, which spans Page (The Gray Man), Rodriguez (Fast & Furious 9), Justice Smith (Jurassic World Dominion) and Sophie Lillis (IT and IT: Chapter Two), too, "helped the wrong person steal the wrong thing". Cue the greatest evil the world has ever known, unleashed unwittingly, which this band of pilferers now endeavours to stop. In the two sneak peeks so far, dragons pop up, of course. So do dungeons, to the astonishment of no one. Other fantastical animals, fights, flaming swords, fireballs, an army of the undead and quips: they're all included as well, as are Grant (Operation Fortune: Ruse de Guerre), fellow cast members Chloe Coleman (Avatar: The Way of Water) and Daisy Head (Wrong Turn), and Led Zeppelin's 'Whole Lotta Love'. Behind the camera, Jonathan Goldstein and John Francis Daley (Game Night) are in the directors' chairs, and co-wrote the screenplay with Michael Gilio. The mood they're going for: lighthearted, comic, but also an action-adventure epic. And, like all movies these days, they're seemingly trying to start a new franchise as well. Another Dungeons & Dragons movie has long sat on the list of things that were bound to happen after the success of Stranger Things. The role-playing game has already sparked three movies, with the first dating back to 2000 — but none of them starred this bunch (or were well-received, whether they hit theatres or went straight to home entertainment). Actually, another D&D film has been in the works in some shape or form since before the world saw a bunch of kids in Hawkins, Indiana play the game. Thanks to the success of Game of Thrones, fantasy epics have become a huge Hollywood cash cow (see also: the return of The Lord of the Rings as a streaming series). And yes, films based on Hasbro properties don't have the best record — the Transformers series, the GI Joe flicks, Battleship, Power Rangers — but if you're a D&D devotee, you'll be hoping this one changes that. Check out the new Dungeons & Dragons: Honour Among Thieves trailer below: Dungeons & Dragons: Honour Among Thieves opens in cinemas Down Under on March 30.
Lengthy is the list of Australian actors who've started their careers on home soil, then boosted their fame, acclaim and fortunes by heading abroad. Some have won Oscars. Others are global household names. One plays a pigtailed comic book villain in a big film franchise, while another dons a cape and wields a hammer in a competing blockbuster saga. David Gulpilil doesn't earn any of the above descriptions, and he isn't destined to. It wouldn't interest him, anyway. His is the face of Australian cinema, though, and has been for half a century. Since first gracing the silver screen in Nicolas Roeg's Walkabout, the Yolŋu man has gifted his infectious smile and the irrepressible glint in his eye to many of the nation's most important movies. Indeed, to peruse his filmography is to revel in Aussie cinema history. On his resume, 70s classics such as Mad Dog Morgan and The Last Wave sit alongside everything from Crocodile Dundee and Rabbit-Proof Fence to Australia, Goldstone and Cargo — as well as parts in both the first 1976 film adaptation of Storm Boy and its 2019 remake. The latest film to benefit from the Indigenous talent's presence: My Name Is Gulpilil. It might just be the last do to so, however. That sad truth has been baked into the documentary ever since its subject asked director Molly Reynolds and producer Rolf de Heer — two filmmakers that Gulpilil has collaborated with before, including on Another Country, Charlie's Country, Ten Canoes and The Tracker — to make something with him after he was diagnosed with stage-four lung cancer. That was back in 2017, when he was given just six months to live. Gulpilil has been proving that diagnosis wrong ever since. This heartfelt portrait of an Australian icon like no other also benefits from his defiance, particularly in practical terms. Initially starting out as a 30-day shoot, the doco eventually extended over twice that period, with Gulpilil, Reynolds and their movie alike all given the most precious thing there is: more time. The film that results celebrates a star who'll never be matched, and reminds viewers exactly why that's the case — but My Name Is Gulpilil isn't a mere easy, glossy tribute. Anyone could've combined snippets of Gulpilil's movies with talking heads singing his praises. In the future, someone probably will. But Reynolds is interested in truly spending time with Gulpilil, hearing his tale in his own words, and painting as complete a portrait of his life, work, dreams, regrets, spirit, culture and impact as possible. Accordingly, this touching feature steps through Gulpilil's highs and lows as relayed by the man himself. It spends much of its duration enjoying simply being with dancer, painter and actor, in fact. It surveys his daily routine in Murray Bridge in South Australia, too, where he now lives with a carer so that he can get western medicine's help. It also follows him to appointments, then watches on as he weathers his treatments. In her thoughtful, contemplative, affectionate and astute approach, Reynolds lets her audience peer deeply and listen intently. Her film favours soaking, basking and ruminating over clapping and cheering, and it was always going to be all the better for it. Marking and commemorating Gulpilil's many achievements is important, and his feats should and will rightly be remembered and saluted — but even the most vivid collection of clips and most enthusiastic rundown of his awards and other successes can only convey part of his story. There's just nothing like just passing the minutes with Gulpilil, especially when he stares directly at the camera, dives into his memories and unleashes one of his many sprawling but powerful tales. There's also nothing like facing him, taking in all that he's done for Aussie cinema and Indigenous representation, and simultaneously confronting the fact that he's unlikely to brighten up our screens again. My Name Is Gulpilil is many things, including a clear-eyed picture of a man trying to navigate terminal cancer and everything that comes with it — and it doesn't shy away from that reality at any turn. Just as moving and pivotal is its commitment to showing Gulpilil's approach to the end that awaits us all. By choosing to live in Murray Bridge to undergo treatment, he chooses to live away from Country, a decision that visibly haunts him. So, he prepares for what he describes as a one-way ticket home by planning. He spins his hair into fibre, and talks through the ceremony that will farewell both his body and spirit. For Reynolds, he poses in a coffin beneath unspooled reels of film. There's playfulness in the latter image, but such a forthright approach to death never comes as a surprise. When My Name Is Gulpilil addresses Gulpilil's time in the long grass, his run-ins with the law and his addictions, mentioning them alongside his trip to Cannes, meeting with the Queen, and interactions with everyone from Muhammad Ali to Bob Marley, the film is similarly frank and unflinching. My Name Is Gulpilil does still feature glimpses of its namesake's movies, of course. Given the wealth of material at hand — spanning plenty of the aforementioned titles, plus plenty more — no ode to Gulpilil would be complete without clips here and there. Just as Reynolds ensures that her audience genuinely takes in his inimitable presence, his culture, his health, and his ups and downs, she finds poetic ways to segue from archival and film footage to present-day scenes and back, putting them all to the most meaningful use. With editor Tania Nehme's (ShoPaapaa) considerable help, this documentary proves an act of cinematic weaving, rather than unfurling. It knows when to watch Gulpilil and an emu walk the same dusty path, when quiet reflection from the man himself is in order, and when snippets of his candour and charm from his 2004 one-man autobiographical stage show are needed instead. It's also well aware that no one will ever get the chance to make this movie again, and that only a film of astounding intimacy, honesty and insight could ever do the face of Australian cinema justice. https://www.youtube.com/watch?v=vK1DLvEkvtA&feature=emb_logo
With the last film finally released, the Harry Potter juggernaut has finally ground to a halt. No more books. No more films. For many fans it marks the end of childhood and for a few people, it will thankfully mean the end of acting careers. Sure, JK Rowling has moved the empire online with Pottermore, but for many, the magic is gone. If you find life a little empty without Hogwarts perhaps you should give quidditch a try. The muggle version is a little like lacrosse or handball, but with broomsticks, and an extra person dressed in yellow playing the role of the snitch. Some Australian universities have founded teams, and there's talk of a trans-Tasman competition. All eyes will soon be on the 5th annual quidditch world cup, contested by American colleges and teams from around the world, being held in New York in November. The event has been described by Fox sports as "a cross between the superbowl and a medieval festival" and although people might dress up to go along, the competition on the field is fast-paced and hotly contested.
The Germans and Brisbane have had a long-term relationship for as long as as our short history allows. If you thought The German Club was just some fun drinking hole for post-Gabba shenanigans, then you were wrong. It wouldn't be right not to share this photo of the original Brisbane German Club from 1896. Boasting some bad-ass turrets, sadly this guy burnt down in the 40s. Immediately it becomes clear that despite the inclusion of beer halls, the German Club is now tragically sans turrets. The beauty of the club is that it is one for all ages. Membership costs $5 for five years and may be the best $5 ever spent. If you are still undecided about whether you wish to pay for membership in this worthy club, then let these words assist you: 'Brisbane's Best Pork Knuckle'. The German Club's 130+ year-old restaurant Zum Kaiser makes this claim boldly, in lights at their entrance, and there is little disputing this. If you want German pork knuckle, this is the place to go in Brisbane. At $25.90 for a slow-roasted pork hock with fried potatoes, sauerkraut and smoked beer gravy, this is why you visit. The meal is enormous, but when else can you have an entire pork roast, with a surface area that is almost 100% crackling, all to yourself? If you find navigating a knife around a giant hock too finicky, and you're too dainty (or well-mannered) to pick it up and gnaw the bone, then the pork belly — coal roasted with buttered parsley potatoes and braised sweet red cabbage ($24.90) — is a pretty solid second choice. Ja, das ist schmeckt lecker. If you are not there for the pork knuckle (though it must be to accompany someone who is) there is something for you too: schnitzel (chicken, pork or veal), sauerbraten (German style beef pot roast in a red wine vinegar marinade with potato dumplings and braised sweet red cabbage), bratwurst and knackwurst with mashed potato, sauerkraut, vegetables and mustard are all warming and filling. They have a huge selection of German beers, but consider their signatures to be the Schlösser Alt (with a dry and malty finish) and the Munich lager, Löwenbräu. Unless you are a member of the hungry and thirsty horde that descends upon the German Club, don't bother trying to get a table after a match. The place attracts a reasonable crowd on most evenings, but it practically bursts at the seams on game days with folks streaming in from the Gabba.
The laneways of Melbourne have been the unofficial training ground and creative home for Australian street art, in all its variety and forms. Over the years, as street art has changed and evolved, it has moved beyond the laneways and in with some unlikely bedfellows — galleries, governments and businesses. A recent example of this is the collaboration between one of Melbourne's most prominent and talented street artist, Drab, and product design company Buzz Products. Drab's street art has not only graced the walls of Melbourne's laneways but also been part of exhibtions and festivals in Melbourne, Sydney and New Zealand. He also worked with locals kids in Woorabinda Queensland to paint murals as part of the Indigenous Hip Hop Project. However, this recent collaboration with Buzz Products has really expanded his artistic repertoire. Literally. The exterior of the Buzz Products has been transformed from a boring blank wall into Australia's largest paste up street art. Using 56 sheets of paper, 40 litres of glue and taking two days to complete, this piece of street of art is 27 metres long by 8 metres high. It gives the urban landscape a much needed lift, and the good residents of Abbotsford in Melbourne something to gawk at on their trainride home.
Rare is the venue that can cater to all moods, whether you feel like getting cosy in dark surroundings over a lavish meal with your nearest and dearest — or you'd prefer to greet the sun, or the stars once evening hits, while enjoying drinks with the sky as your ceiling. Now open on St Paul's Terrace, Soko Rooftop covers both options, all 14 floors above Fortitude Valley. As first announced back in August 2022, but welcoming in patrons since mid-November 2022, this Brisbane newcomer also combines two other things: Peruvian and Japanese cuisine. Here, you'l find a menu that takes dishes, ingredients and techniques from each. Also on offer: a cocktail menu spanning 40-plus flavours of pisco sours, including a heavy focus sake and yuzu. Edamame, kingfish taquitos, and spicy tune with jalapeños and spring onions on a sweet-soy crisp rice cake get the starters going. SOKO Rooftop's mains are designed to share, including slow-cooked crunchy pork with salsa, criollo and charred steamed corn, Peruvian sauteed wagyu, and a wok dish with octopus, shrimp and mussels. Diners can tuck into yakitori and sushi, too, and pair their meal with vino. From Monday–Friday, there's also a must-try business lunch, with three different multi-course choices. Each one starts with miso soup and includes your choice of donburi set. From there, you can add a small plate as well, plus ice cream or sorbet for dessert. Perched on Jubilee Place's highest level — aka atop the new building above the Jubilee Hotel — Soko clearly isn't doing things by halves. It can host 500 patrons, either amid its South American-inspired interior decor or beneath striped umbrellas outside. In both spaces, greenery is a big feature. And, naturally, the outdoor area offers scenic views over the city. Latin music, Latin dancers and bongo players provide SOKO Rooftop's entertainment, which is set to be as sizeable a drawcard as the obviously impressive vistas.
It is shocking to think that there is only one holiday a year that truly cries out for a French-themed party. Why don't we have Croissant Day? Or Baguette Day? Romance and Cheese Day could easily be a thing. Still, we do have Bastille Day, and that isn't going anywhere, despite Russell Crowe proving that he absolutely cannot sing. Bastille Day is important because it celebrates the beginning of the French Revolution — that bloodthirsty struggle for freedom, equality and fraternity. When "the people" stormed the Bastille and seized the military stores, an entire decade of idealism, savagery and carnage started. So why celebrate such a heady (and often headless) period? Because it's about seizing control and brandishing baguettes and bringing about the end of feudalism. Being independent and being proud and well, being French, basically. Along with the start of a new nation, the revolution also saw the explosion of French culture — a culture that Sydney has continually adapted and played with. Compiled here is a list of Sydney's best and most fun French. Carpe diem at one of them this weekend. 1. Claude's Claude's, Woollahra's fine dining stalwart, has ditched the whole grown up thing. When it comes to the space, that is. This Oxford Street veteran has been reborn as a chic, vibrant and airy restaurant; an almost unrecognisable transformation from the proper white table-clothed eatery it once was. Downstairs you'll find a compact bar offering a finely tuned wine list and a selection of smaller dishes such as the souffle a la suissesse, hot and sour mussels and a black fungus relish sandwich. Upstairs is where the serious degustation is at. French culture bonus: Stop in at Palace Verona for the Dans la Maison (In the House), the latest darkly comic French drama from high-profile director Francois Ozon (8 Women, Swimming Pool) 2. Felix If Felix was in a Paris arrondissement rather than the Sydney CBD, no one would blink a perfectly curled eyelash. From the (sometimes) French waiters bustling around the tiled floors to the decadent crustacean bar and elaborate murals on the ceiling, Felix is the bistro the city deserved. It’s a humming, buzzing, people-watchers delight: all beautiful wooden finishes, crisp white table cloths and intricate tiling. All the classic French cues are here: the ever-changing ‘Plat du Jour’, the rotisserie section and that incredible oyster bar. Bastille Day: Felix is celebrating La Fete Nationale by offering three courses with a glass of Ruinart champagne for $100pp for lunch or dinner. They'll also host live entertainment. Bookings call (02) 9240 3000. 3. Ananas An interesting mix of old-school French cuisine and new-world glamour, this sultry restaurant will wow even the most apprehensive amongst us. Contrary to the area's out-of-date pubs populated by tourists, Ananas is a cocktail, champagne and oyster bar extravaganza with an art deco-inspired restaurant and late-night supper club. It's time to join us in indulging what's on offer here, because it's all just brilliantly joie de vivre. Bastille Day: Ananas is celebrating the Bastille Day weekend with a party on Saturday, 13 July, from 6pm until late with free entry. Held at Bar Ananas, guests can enjoy all things French, including canapes, special champagne offers, DJs and live entertainment. Then on Sunday there's a Bastille Day lunch, where a special a la carte menu created by new head chef Paul McGrath will be served. To make a reservation for either call (02) 9259 5668 or email reservations@ananas.com.au. French culture bonus: It's just a hop and a skip over The Rocks to Sydney Theatre for The Maids, the famous French play by Jean Genet about two maids (Cate Blanchett and Isabelle Huppert) dreaming of killing their mistress (Elizabeth Debicki). 4. Absinthesalon Absinthesalon has been around for a while now, and it doesn't really get old. It's still like stepping into another world. This is not only because of the absinthe itself, as we hear that this bohemian drink-of-choice doesn't quite possess the hallucinogenic qualities that it once did. Tucked away in an unassuming corner building in Surry Hills, the interior is dressed to a T as an authentic 'Parisien' cafe. In the middle of each table sits a fountain, surrounded by the various accoutrements of the spirit — silver spoons and cubes of fine French sugar. Absinthe, clearly, is more than just an aperitif, and this salon is its Utopian home. Bastille Day: The Absinthesalon is going all-out with an Off with Their Heads Bastille Day Soiree on Saturday, July 12. Bookings advisable. 5. Le Petite Creme No revolution before breakfast. The French have a reputation for being, how do you say, outrageous? Le Petit Creme fits the genre perfectly: it has a reputation and it is most certainly outrageous. If it's service you're after, this tiny cafe might not be your first pick — the waitstaff tend to be casual at best. However, if you're searching for an absurdly luxurious breakfast feast, you've found the right place. The Eggs Benedict is the star attraction — deliciously runny eggs, rich hollandaise and your choice of ham or salmon on freshly toasted brioche. 6. Le Pelican On Bourke Street sits this quaint French restaurant. A stone's throw from Taylor Square and the flurry of hipsters hanging at Lo-Fi, Johnny Wong's, or nearby Beresford, it's hard to believe that one could experience something so removed from the familiar. Le Pelican offers a unique experience marked by authentic French cuisine in only the most delightful of settings. Ditch the Hills' common haunts for a night and try the road less trodden. The Coorong Angus onglet with potato mille-feuille (layered pastry) and sauce vierge (olive oil, lemon, tomato, and basil) was almost like the stuff of our dreams. Bastille Day: Le Pelican is offering a special Bastille Day menu for lunch or dinner, for $75pp or $105 with matching wines. 7. Le Pub Le Pub is one of those confused places that's somehow just right for Bastille Day. Le Pub still has "le pokies room" and the appearance of a traditional basement pub: no windows and darkly lit. But then there's the pleasant tiled back area, with Scrabble-like words connected to the French theme, and a gastro menu. There's not a huge indicator that the theme of the bar is anything Gallic related outside of the menu, really, which may explain the simplicity of the name, as almost to say to customers, "look, it's slightly Frenchie but you can get a pint here too." Bastille Day: Le Pub is throwing a soiree on Friday, July 12, and will have meal specials all weekend long. They also promise can-can dancers and a Parisien discotheque. 8. La Banette If you just want a slice of France rather than a whole feast, stop by La Banette. The Glebe patisserie-cafe oozes with French charm right from the baked goods to the delightful 'petit miams' in the glass cabinets. Even the provincial-like striped awning out front is indicative of a boulangerie and the wooden furnishings and baskets holding baguettes add a rustic touch. But it's not the decor that you're here for. No, no. It's the flaky pastries and intense chocolate slices of opera sitting alongside the chocolate eclairs that are filled with the creamiest of custards. It's the almond croissants and pain au chocolats that have been handcrafted with passion. 9. La Croix Given that the walk down Greenknowe Avenue into Elizabeth Bay looks faintly Parisian, it's a suprise there aren't more French establishments in the area. La Croix is a goodie, though. There is a strong adherence to classical decor, with white marble Hellenic sculptures and tables, and you can pick up a croissant, an artwork, and a large clay pot for your olive tree in one fell swoop, as they're also a gift shop. Their specialty is the 'tartine', which literally means 'a slice of bread' but it is more like an open sandwich with a sweet or savoury topping. Many kinds are available, from smoked trout to roast beef. Bastille Day: A special menu awaits, as well as a free glass of champagne upon arrival. Look out for French toast and beef bourguignon and tarte tatin. 10. La Grillade Tucked away in a quiet corner of Crows Nest is a cheap alternative to a holiday in Provence. An unassuming cottage on the outside, inside La Grillade is both Gallic hominess and sober modernity. From the same people who brought you the new Vicinity Dining in Alexandria, La Grillade is the North Shore equivalent to Ananas, if less show-offy in appearance. By the Concrete Playground team.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest through to old and recent favourites, here are our picks for your streaming queue from June's haul. BRAND NEW STUFF YOU CAN WATCH IN FULL NOW I'M A VIRGO No one makes social satires like Boots Riley. Late in I'm a Virgo, when a character proclaims that "all art is propaganda", these words may as well be coming from The Coup frontman-turned-filmmaker's very own lips. In only his second screen project after the equally impassioned, intelligent, energetic, anarchic and exceptional 2018 film Sorry to Bother You, Riley doesn't have his latest struggling and striving hero utter this sentiment, however. Rather, it springs from the billionaire technology mogul also known as The Hero (Walton Goggins, George & Tammy), who's gleefully made himself the nemesis of 13-foot-tall series protagonist Cootie (Jharrel Jerome, Spider-Man: Across the Spider-Verse). Knowing that all stories make a statement isn't just the domain of activists fighting for better futures for the masses, as Riley is, and he wants to ensure that his audience knows it. Indeed, I'm a Virgo is a show with something to say, and forcefully. Its creator is angry again, too, and wants everyone giving him their time to be bothered — and he still isn't sorry for a second. With Jerome as well-cast a lead as Atlanta's Lakeith Stanfield was, I'm a Virgo also hinges upon a surreal central detail: instead of a Black telemarketer discovering the impact of his "white voice", it hones in on the oversized Cootie. When it comes to assimilation, consider this series Sorry to Bother You's flipside, because there's no way that a young Black man that's more than double the tallest average height is passing for anyone but himself. Riley knows that Black men are too often seen as threats and targets regardless of their stature anyway. He's read the research showing that white folks can perceive Black boys as older and less innocent. As Cootie wades through these experiences himself, there isn't a single aspect of I'm a Virgo that doesn't convey Riley's ire at the state of the world — that doesn't virtually scream about it, actually — with this series going big and bold over and over. I'm a Virgo streams via Prime Video. Read our full review. BLACK MIRROR When Ron Swanson discovered digital music, the tech-phobic Parks and Recreation favourite was uncharacteristically full of praise. Played by Nick Offerman (The Last of Us) at his most giddily exuberant, he badged the iPod filled with his favourite records an "excellent rectangle". In Black Mirror, the same shape is everywhere. The Netflix series' moniker even stems from the screens and gadgets that we all now filter life through daily and unthinkingly. In Charlie Brooker's (Cunk on Earth) eyes since 2011, however, those ever-present boxes and the technology behind them are far from ace. Instead, befitting a dystopian anthology show that has dripped with existential dread from episode one, and continues to do so in its long-awaited sixth season, those rectangles keep reflecting humanity at its bleakest. Black Mirror as a title has always been devastatingly astute: when we stare at a TV, smartphone, computer or tablet, we access the world yet also reveal ourselves. It might've taken four years to return after 2019's season five, but Brooker's hit still smartly and sharply focuses on the same concern. Indeed, this new must-binge batch of nightmares begins with exactly the satirical hellscape that today's times were bound to inspire. Opening chapter Joan Is Awful, with its AI- and deepfake-fuelled mining of everyday existence for content, almost feels too prescient — a charge a show that's dived into digital resurrections, social scoring systems, killer VR and constant surveillance knows well. Brooker isn't afraid to think bigger and probe deeper in season six, though; to eschew obvious targets like ChatGPT and the pandemic; and to see clearly and unflinchingly that our worst impulses aren't tied to the latest widgets. Black Mirror streams via Netflix. Read our full review. GUY RITCHIE'S THE COVENANT Announcing his cinematic arrival with a pair of slick, witty, twisty and fast-paced British heist flicks, Guy Ritchie achieved at the beginning of his career something that many filmmakers strive for their whole lives: he cemented exactly what his features are in the minds of audiences. Lock, Stock and Two Smoking Barrels and Snatch made "Guy Ritchie movie" an instantly understood term, in fact, as the writer/director has attempted to capitalise on since with differing results (see: Revolver, RocknRolla, The Gentlemen and Operation Fortune: Ruse de Guerre). Ritchie's third film, the Madonna-starring Swept Away, has also proven just as emblematic of his career, however. He loves pumping out stereotypical Guy Ritchie movies — he even adores making them Sherlock Holmes and King Arthur flicks, with mixed fortunes — but he also likes leaving his own conventions behind in The Man From UNCLE, Aladdin, Wrath of Man and now Guy Ritchie's The Covenant. Perhaps Ritchie's name is in the title of this Afghanistan-set action-thriller to remind viewers that the film does indeed boast him behind the lens, and as a cowriter; unlike with fellow 2023 release Operation Fortune: Ruse de Guerre, they wouldn't guess otherwise. Clunky moniker aside, Guy Ritchie's The Covenant is pared down, gripping and intense, and home to two excellent performances by Jake Gyllenhaal (Strange World) as Master Sergeant John Kinley and Dar Salim (Tatort) as his interpreter Ahmed. As the former leads a team that's looking for IED factories, the pair's collaboration is tentative at first. Then a raid goes wrong, Ahmed saves Kinley's life, but the recognition and support that'd be afforded an American solider in the same situation doesn't go the local's way. Where Afghan interpreters who aid US troops are left after their task is complete is a weighty subject, and treated as such in this grounded and moving film. Guy Ritchie's The Covenant streams via Prime Video. FLAMIN' HOT How? In pop culture's current true-crime and murder-mystery trends, that's a key question, with audiences keen to discover how killers are caught — or sometimes aren't. It's also the query at the heart of another on-screen obsession of late: product films. These aren't the movies that turn every favourite character and premise possible into never-ending franchises, as seen in the many various caped-crusader universes. Rather, they're origin stories behind everything from games (Tetris) to shoes (Air) and mobile phones (BlackBerry), and they just keep arriving in 2023. Marking the feature directorial debut of Desperate Housewives actor Eva Longoria, Flamin' Hot is firmly a product film, as Cheetos fans will instantly know. If you've ever wondered how the Frito-Lay-owned brand's spiciest variety came about in the 90s — and became so popular — this likeable, energetically made movie provides the answer while itself rolling out a crowd-pleasing formula. Eating the titular snack while you watch is optional, but expect the hankering to arise either way. This story belongs to Richard Montañez — and it's also an underdog tale, and an account of chasing the American dream, especially when it seems out of reach. Flamin' Hot's pivotal figure (Jesse Garcia, Ambulance) started working at Frito-Lay to support his family, after living the gang life since high school to rebel against his dad, but he wants to be more than a janitor. His attempts to work his way up the company ladder falter not through his lack of trying or willingness to learn everything there is about making junk food, but due to a stratified hierarchy that doesn't reward his efforts. But, as he takes cues about the factory's operation from engineer Clarence (Dennis Haysbert, Lucifer), who also struggles to get promoted, he realises that chilli-flavoured Cheetos would be a smash within the Latino community. His ever-supportive wife Judy (Annie Gonzalez, Vida) is committed to helping, as are his family and friends in general — but if getting Frito-Lay CEO Roger Enrico (Tony Shalhoub, The Marvelous Mrs Maisel) onboard was easy or straightforward, there wouldn't be a film. Flamin' Hot streams via Disney+. BASED ON A TRUE STORY Murder-mystery comedies: everyone's making them, and on screens big (Knives Out and its sequel, See How They Run) and small (Only Murders in the Building, The Afterparty, Dead to Me). In fact, Based on a True Story star Kaley Cuoco has been in one lately thanks to two seasons of dark comedy-slash-whodunnit thriller The Flight Attendant. But the difference with the genre's latest streaming example is befriending a serial killer, which is the choice that Cuoco's pregnant real-estate agent Ava Bartlett and her just-fired tennis-coach husband Nathan (Chris Messina, The Boogeyman) make to chase a lucrative payday. How does palling around with the Westside Ripper, who has been terrorising Los Angeles, benefit the financially struggling couple? By making a podcast with them, as Australian-born creator and writer Craig Rosenberg (The Boys) finds his own way to riff on the Serial-sparked true-crime audio obsession. Ava is a devotee of folks talking about grisly deeds; if Only Murders in the Building existed in the Based on a True Story universe, she'd be its number-one fan. And, after working out that she and Nathan know the killer, it's her idea to hustle that information into what she hopes will be the next big podcast, all by enlisting said criminal to natter on with them. Based on a True Story clearly skews more darkly satirical than the fellow streaming series it most closely resembles — well, that and The Flight Attendant and also country-club comedy Red Oaks. It's messier as well, sometimes feeling like it's throwing in everything it can, and Cuoco could've easily walked out of her last series and straight into this. Still, with its love of twists, willingness to call out how the world's murder fixation is so rarely about the victims, and a well-cast lineup of talent that also includes Tom Bateman (Death on the Nile) and Liana Liberato (Scream VI), it's quickly addictive — yes, like the podcasts it's parodying. Based on a True Story streams via Binge. NEW SHOWS TO CHECK OUT WEEK BY WEEK DEADLOCH Trust Kate McCartney and Kate McLennan, Australia's favourite Kates and funniest double act, to make a killer TV show about chasing a killer that's the perfect sum of two excellent halves. Given their individual and shared backgrounds, including creating and starring in cooking show sendup The Katering Show and morning television spoof Get Krack!n, the pair unsurprisingly add another reason to get chuckling to their resumes; however, with Deadloch, they also turn their attention to crime procedurals. The Kates already know how to make viewers laugh. They've established their talents as brilliant satirists and lovers of the absurd in the process. Now, splashing around those skills in Deadloch's exceptional eight-episode first season lead by Kate Box (Stateless) and Madeleine Sami (The Breaker Upperers), they've also crafted a dead-set stellar murder-mystery series. Taking place in a sleepy small town, commencing with a body on a beach, and following both the local cop trying to solve the case and the gung-ho blow-in from a big city leading the enquiries, Deadloch has all the crime genre basics covered from the get-go. The spot scandalised by the death is a sitcom-esque quirky community, another television staple that McCartney and McLennan nail. Parody requires deep knowledge and understanding; you can't comically rip into and riff on something if you aren't familiar with its every in and out. That said, Deadloch isn't in the business of simply mining well-worn TV setups and their myriad of conventions for giggles, although it does that expertly. With whip-smart writing, the Australian series is intelligent, hilarious, and all-round cracking as a whodunnit-style noir drama and as a comedy alike — and one of the streaming highlights of the year. Deadloch streams via Prime Video. Read our full review. HIJACK Whether Idris Elba will ever get to play James Bond is still yet to be seen, but he resourcefully endeavours to save lives and bring down nefarious folks in Hijack, and adds another prime example of why he'd be excellent as 007 to his resume. This new series is also basically Idris Elba on a Plane, sans slithering snakes — or Idris Elba Cancels the London-Bound Apocalypse. Die Hard with Idris Elba, 24: Idris Elba: they fit as well. Fresh from battling lions in Beast, the Luther star plays Sam Nelson, a seasoned negotiator on his way home to the UK from Dubai, and a man who just wants to try to patch things up with his estranged wife Marsha (Christine Adams, The Mandalorian) and spend time with his teenage son Kai (Jude Cudjoe, Halo). Then fellow Brit Stuart (Neil Maskell, Small Axe) and his gun-toting team take over the aircraft before the first of the journey's seven hours is out, forcing Sam to play hero to try to keep himself and his fellow passengers alive. Unfurling in seven episodes, Hijack gets its audience experiencing the tension, chaos and life-or-death stakes in tandem with Sam, the rest of the flight's hostages, and the people on the ground across several countries that are attempting to work out what's going on. Creators George Kay (Lupin) and Jim Field Smith (Litvinenko) prove masterful with suspense, and at keeping viewers hooked — and, pivotally, at knowing exactly the kind of series this wants to be, the conventions and cliches it's leaning into, what's soared there before, and how to do it well. It can't be underestimated how crucial Elba is, though. Cast the wrong person as Sam, and the ability to get everyone from pilots and crew to agitated flyers, wannabe saviours and air traffic control on his side would seem ludicrous — and, at times, the hijackers as well. Hijack streams via Apple TV+. SECRET INVASION "I've had it with these Marvel tales without Nick Fury as the lead" isn't something that Samuel L Jackson has publicly uttered, with or without expletives — yes, more than a few things have Snakes on a Plane vibes this month (see also: Hijack above) — but viewers might've thought it over the past 15 years. The character that masterminded the Avengers Initiative initially appeared in 2008's very-first Marvel Cinematic Universe movie. When Guardians of the Galaxy Vol. 3 reached cinemas earlier in 2023, the franchise hit 32 cinema outings to-date, many with Fury playing a part. And yet, none have had his name in their moniker. That remains the case now, and on the small screen as well, where the MCU has also been spreading its exploits. Secret Invasion is still exactly what Marvel has needed for over a decade, however: a Fury-centric story. Perhaps Disney realises that, too; as well as bringing back Talos (Ben Mendelsohn, Cyrano), and introducing MI6's Sonya Falsworth (Olivia Colman, Empire of Light), insurrectionist leader Gravik (Kingsley Ben-Adir, One Night in Miami) and fellow revolutionary G'iah (Emilia Clarke, Last Christmas), Secret Invasion's first two episodes feature laments aplenty about Fury's absence. Within the ever-sprawling MCU's interconnected narrative, he's been AWOL lately for two reasons: The Blip, aka Avengers: Infinity War's consequential finger-snapping; and a stint since working in space, which'll get more attention when The Marvels drops on the silver screen in November 2023. Extraterrestrial race the Skrulls has noticed Fury's departure keenly, after he promised to help them find their own planet in Captain Marvel but hasn't followed through so far. Cue two factions of the shapeshifting refugees in Secret Invasion: those still waiting and others now willing to fight to take earth as their own instead. Cue far more Skrulls on Marvel's main base than humans, including Fury, know about as well. Secret Invasion streams via Disney+. Read our full review. THE CROWDED ROOM Since 2016, Tom Holland has been so busy doing whatever a spider can that stints away from his Marvel Cinematic Universe web-slinging have been few and far between. And varied, including the long-delayed (and terrible) Chaos Walking and the entertaining-enough Uncharted movie adaptation, plus straight-to-streaming flicks The Devil All the Time and Cherry. The Crowded Room boasts his best performance yet in his Spider-Man era, and provides a reminder that the star of The Impossible and The Lost City of Z, plus lover of dancing to Rihanna's 'Umbrella', will be absolutely fine when he stops pondering how great power begets great responsibility. His new ten-part series doesn't always meet its hefty ambitions, but it's always thoughtful in its attempts as it heads back to the 70s, spends time with a young man being interrogated about his past, explores mental health and, like most things of late, revels in being a mystery. Holland plays Danny Sullivan, who starts the serious jittering with nerves at New York City's Rockefeller Center. He's with Ariana (Sasha Lane, Conversations with Friends), they have a gun, and opening fire is their aim — but, although Danny doesn't want to shoot, he's swiftly in police custody. Lead cop Matty (Thomas Sadoski, Devotion) thinks that the public incident might just be the latest in a series of incidents. Enter Rya (Amanda Seyfried, The Dropout), who spends lengthy sessions interrogating Danny about his past as he awaits trial. The Crowded Room always remains a crime drama but, as it pieces together its protagonist's complicated story complete with glimpses of his doting mother Candy (Emmy Rossum, Angelyne) and abusive stepfather Marlin (Will Chase, Dopesick), it has much more on its mind. The twist in the premise is teased out, hardly difficult to guess, yet gives Holland ample room to turn in a compellingly pliable performance — in a series the brings 1981 non-fiction novel The Minds of Billy Milligan to the screen, albeit using it as inspiration rather than straight-out adapting it, a task that's been attempted since the 90s. The Crowded Room streams via AppleTV+. RECENT CINEMA RELEASES YOU NEED TO CATCH UP WITH ASAP ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. All the Beauty and the Bloodshed streams via Docplay. Read our full review. BLAZE In the name of its protagonist, and the pain and fury that threatens to parch her 12-year-old existence, Del Kathryn Barton's first feature scorches and sears. It burns in its own moniker, too, and in the blistering alarm it sounds against an appalling status quo: that experiencing, witnessing and living with the aftermath of violence against women is all too common, heartbreakingly so, including in Australia where one woman a week on average is killed by her current or former partner. Blaze has a perfect title, with the two-time Archibald Prize-winning artist behind it crafting a movie that's alight with anger, that flares with sorrow, and that's so astutely and empathetically observed, styled and acted that it chars. Indeed, it's frequently hard to pick which aspect of the film singes more: the story about surviving what should be unknown horrors for a girl who isn't even yet a teen, the wondrously tactile and immersive way in which Blaze brings its namesake's inner world to the screen, or the stunning performance by young actor Julia Savage (Mr Inbetween) in its central part. There are imagined dragons in Blaze, but Game of Thrones or House of the Dragon, this isn't — although Jake (Josh Lawson, Mortal Kombat), who Blaze spots in an alleyway with Hannah (Yael Stone, Blacklight), has his lawyer (Heather Mitchell, Bosch & Rockit) claim that his accuser knows nothing. With the attack occurring mere minutes into the movie, Barton dedicates the feature's bulk to how her lead character copes, or doesn't. Being questioned about what she saw in court is just one way that the world tries to reduce her to ashes, but the embers of her hurt and determination don't and won't die. Blaze's father Luke (Simon Baker, Limbo), a single parent, understandably worries about the impact of everything blasting his daughter's way. As she retreats then acts out, cycling between both and bobbing in-between, those fears are well-founded. Blaze is a coming-age-film — a robbing-of-innocence movie as well — but it's also a firm message that there's no easy or ideal response to something as awful as its titular figure observes. Blaze streams via Stan and Binge. Read our full review. SHE SAID Questions flow freely in She Said, the powerful and methodical All the President's Men and Spotlight-style newspaper drama from director Maria Schrader (I'm Your Man) and screenwriter Rebecca Lenkiewicz (Small Axe) that tells the story behind the past decade's biggest entertainment story. On-screen, Zoe Kazan (Clickbait) and Carey Mulligan (The Dig) tend to be doing the asking, playing now Pulitzer Prize-winning New York Times journalists Jodi Kantor and Megan Twohey. They query Harvey Weinstein's actions, including his treatment of women. They gently and respectfully press actors and Miramax employees about their traumatic dealings with the Hollywood honcho, and they politely see if some — if any — will go on the record about their experiences. And, they question Weinstein and others at his studio about accusations that'll lead to this famous headline: "Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades". As the entire world read at the time, those nine words were published on October 5, 2017, along with the distressing article that detailed some — but definitely not all — of Weinstein's behaviour. Everyone has witnessed the fallout, too, with Kantor and Twohey's story helping spark the #MeToo movement, electrifying the ongoing fight against sexual assault and gender inequality in the entertainment industry, and shining a spotlight on the gross misuses of authority that have long plagued Tinseltown. The piece also brought about Weinstein's swift downfall. As well as being sentenced to 23 years in prison in New York in 2020, he's currently standing trial for further charges in Los Angeles. Watching She Said, however, more questions spring for the audience. Here's the biggest heartbreaker: how easily could Kantor and Twohey's article never have come to fruition at all, leaving Weinstein free to continue his predatory harassment? She Said streams via Netflix and Binge. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April and May this year. You can also check out our list of standout must-stream 2022 shows as well — and our best 15 new shows of last year, top 15 returning shows over the same period, 15 shows you might've missed and best 15 straight-to-streaming movies of 2022.
Another month, another round of Lune Croissanterie specials — aka the tastiest thing about flipping over your calendar. The beloved bakery celebrates all 12 parts of the year with a different lineup of treats, such as lamington cruffins among its January specials earlier this year, bolognese and bechamel-filled lasagne pastries in June, and Iced Vovo cruffins and tiramisu pastries in July. With spring now upon us, it's going pink and floral. On Lune's September menu: finger bun croissants and cherry blossom cruffins. If you like beloved desserts that have been turned into other sweet treats — or mashups, food hybrids and the Frankenstein's monsters of baked goods, all those labels fit — prepare to be in culinary heaven. They're both exactly what they sound like, which is delicious, and you can only get them between Thursday, September 1–Friday, September 30. If the finger bun croissants have your tastebuds in a tizzy, they're an old Lune favourite that's making a comeback in-store in Fitzroy and South Brisbane, and also online at the latter. They're made with traditional croissants that are brushed with strawberry syrup, then filled with a coconut milk frangipane and house-made strawberry jam. On top: a whipped coconut icing, because a finger bun isn't a finger bun without the icing. And yes, they're also dipped in desiccated coconut. Feel like celebrating spring with cherry blossom cruffins? You know how cruffins work by now — the ol' muffin-croissant mashup that they are — and these ones have been piped with whipped cherry blossom ganache and raspberry jam. That's what you'll find on the inside, which definitely counts. On the outside, expect a dusting of icing sugar and freeze-dried raspberry powder, then a cherry blossom meringue on top. And you can nab these from the same spots: in-store in Fitzroy and South Brisbane, and online at South Brisbane as well. The September specials list also boasts an everything croissant at all stores — a new product that's made from strips of herb filled pastry which are twisted into a bun, then covered with Lune's 'everything bagel'-inspired seasoning, and also piped with a chive cream cheese after they're baked. And, all stores are doing choc-chip cookies, too, which sees Lune fill its pain au chocolate with a biscuit frangipane and extra chocolate chips, then add dulcey ganache and chunks of choc chip cookies on top when they're out of the oven. Just at Fitzroy and South Brisbane (including online at the latter), there's coconut Kouign Amanns as well — and as a South Brisbane exclusive, asparagus danishes. If you're on snacks duty for September — in the office or at home — your job just got easier and tastier. Lune's September specials menu runs from Thursday, September 1–Friday, September 30, with different specials on offer at Fitzroy and the CBD in Melbourne, and South Brisbane and Burnett Lane in Brisbane. From the South Brisbane store only, you can also order them online. Images: Pete Dillon.
Between an immersive dinner experience in a historic house, performances by The Flaming Lips and Kamasi Washington and a swag of captivating theatre experiences inviting audiences into parallel worlds, this year's Melbourne International Arts Festival (MIAF) will be tough to ignore. Unveiled yesterday, the festival's 2019 program is set to deliver a diverse, vibrant celebration of dance, music, theatre, visual arts and architecture from October 2–20, with the entire city as its stage. For one of 12 Australian premieres, famous illusionist Scott Silven will host multi-sensory dinners for 24 people inside Chapter House, combining magic and storytelling (and, hopefully, some food). Another Australian premiere that'll be equally captivating is Yang Liping's contemporary dance masterpiece Rite of Spring. Tokyo-based art collective teamLab — made up of mathematicians, architects, animators and engineers — will take over Tolarno Galleries with sculptures of light and "cascades of shimmering luminescence", which will make you feel as though you're standing on a floating wave of light. If you've been lucky enough to visit Tokyo's Digital Art Museum or Shanghai's pop-up digital waterfall you'll know what to expect — they're both works by teamLab. Over at the Arts Centre, Black Mirror actor Maxine Peake will lead 15 musicians in a captivating exploration of enigmatic artist Nico and her 1968 masterpiece The Marble Index, in an Australian exclusive. [caption id="attachment_724480" align="alignnone" width="1920"] The Flaming Lips[/caption] In terms of music, there are some big names heading Down Under for the two-week festival. Psychedelic rock legends The Flaming Lips will perform their ninth, and most celebrated, record The Soft Bulletin in full to celebrate its 20th anniversary. The band's performances are never run-of-the-mill either — so, expect confetti cannons, elaborate costumes and neon unicorns. Jazz king Kamasi Washington — who has collaborated with everyone from Herbie Hancock to Kendrick Lamar and St Vincent — will be performing his latest album Heaven and Earth, as well as other top hits. Grammy Award-winning string quartet Kronos Quartet will be heading to Melbourne, too, and if the name doesn't immediately sound familiar, you'll most definitely recognise their Requiem for a Dream soundtrack. Elsewhere on the program — which, yes, continues – will see the return of Melbourne's beloved art trams, Nakkiah Lui's new show Black is the New White, a thought-provoking look at (and questioning of) 2019 Melbourne in Anthem and a world premiere of Chunky Move's new contemporary show Token Armies. This will be the last MIAF in its current format, too. Starting from 2020, MIAF will also form part of a new and bigger winter festival, in conjunction with White Night. Melbourne International Arts Festival runs from October 2-20, 2019, at venues across the city. Tickets are available here, from Monday, July 22. Images: Borderless Tokyo Digital Art Museum by Sarah Ward; Yang Liping's Rite of Spring; Kamasi Washington.
A night out at at one of Brisbane's top restaurants doesn't have to start or end with dinner. An evening at Stanley, the Cantonese go-to at Howard Smith Wharves, will soon be able to expand beyond your meal without leaving the premises, in fact. While there's no change to the eatery's operations downstairs in its heritage-listed 1930s-era former water police building by the river, the restaurant's upstairs space is relaunching as a new lounge bar called Stan's. Accordingly, of the city's best places to eat is about to become one of its must-visit places for a drink as well. Stanley announced its new addition early in September 2024, and will open the doors at Stan's on Thursday, October 3. So, when you're not tucking into a feast of dishes on the ground level — including yum cha daily for lunch — you'll want to head up a floor for beverages over snacks in a newly transformed part of the site. At Stan's, the vibe and the decor take inspiration from Hong Kong — and the idea is to mix old-world touches with modern flourishes as well. Think: jewel-hued furnishings and decor, such as rich red seating and velvet curtains in emerald tones; dark and moody lighting; antique mirrored wall panels, including the back bar; timber aplenty as accents; hand-painted mural walls across the private lounge; and aged brass cocktail tables to sit at. This is also a place to make shapes or simply enjoy DJ-spun tunes, thanks to a vintage JBL sound system. The promise for the music choices: extensive and eclectic. The bar will have folks on the decks most evenings, and also host album listening sessions in the middle of the week. Turning the space into a late-night dance floor is encouraged. Naturally, cocktails feature prominently on the beverage list — and the approach here is classic-meets-new, too. Martinis and daiquiris are highlights, with the signature martini menu letting patrons pic their gins or vodkas, bitters and extracts to taste. If you're just after spirits and you have some cash to splash, a collection of vintage tipples from around the world, some dating from as far back as the 60s, is also a drawcard. You'll find the range of rare drops on display in a custom-built cabinet. Stanley Executive Chef Louis Tikaram isn't just focusing on the main restaurant downstairs when Stan's begins trading. He's whipped up a new range of Cantonese bites just for the upper floor, designed to match the beverages. Options span steamed lobster and truffle dumplings, rolled peking duck pancakes and painted tropical crayfish, ensuring the venue's luxe vibes come through in its food offering. "My aim was to design a menu to complement the vibrant energy of Stan's, with every dish crafted to elevate your experience — bringing refined Cantonese flavours to life in a way that feels modern, approachable, and perfect for sharing alongside great music and drinks," explains Tikaram. "We've reimagined a space that captures the charm of Hong Kong's past while delivering an unforgettable bar experience where people can come together to enjoy exceptional drinks, food, music and service. It's an elevated offering while keeping the fun front and centre. We can't wait to welcome everyone to Stan's," adds Stanley and Howard Smith Wharves owner Adam Flaskas. Now start imagining how Stan's will fit into the newly announced development plans for HSW, which — if approved — include a second hotel, a new music hall, and an overwater pool. Find Stan's on level two at Stanley, Howard Smith Wharves, 5 Boundary Street, Brisbane, from Thursday, October 3, 2024 — open Monday–Thursday 3pm–1am and Friday–Sunday 12pm–1am. Head to the venue's website for more details.
We don't recommend taking regularly life advice from cartoon characters, but ever since an animated crab sang about the joys of living under the sea, it's an idea that's been lodged in everyone's minds. Nearly three decades after The Little Mermaid told us "darling it's better down where it's wetter", you can now experience the underwater life for yourself. If you've ever wanted to make like Ariel and slumber surrounded by sea life, Conrad Maldives Rangali Island has made that dream a reality by building a lavish underwater hotel suite. Now open and welcoming guests, the US$15 million space is being called the world's "first undersea residence" — and while a series of submerged villas in Dubai and a room at an African hotel might beg to differ, this still looks and sounds mighty impressive. Named The Muraka, which means coral in Dhivehi, the Maldives' local language, it's a two-level apartment that comes complete with sleeping and living quarters both above and five metres below the waterline. While the top floor boasts two bedrooms and bathrooms, including one with an ocean-facing tub; a powder room, gym, living room, kitchen, bar and dining area; two separate decks facing directly towards the sunrise and sunset; an infinity pool; and even butler's and private security quarters (with staff on hand 24 hours a day), it's the lower level that's the main attraction. Let's face it — you know that's exactly where everyone will head first. Down a spiral staircase, guests will find a king size bedroom, living area and bathroom, all surrounded by 180-degree panoramic views of the Indian Ocean's marine inhabitants. In total, the suite sleeps nine, making it a luxe destination for travelling groups with plenty of cash. And we do mean plenty, with Architectural Digest reporting that a stay costs around US$50,000 per night. That's not the only underwater experience on offer at the Conrad Maldives Rangali Island — for the past 13 years, the resort has also been home to an undersea restaurant, so you can eat beneath the ocean's surface as well. Images: Justin Nicholas. 2018 Hilton.
As a 29-year-old red P-plater (don't mock me, I'm quite sensitive about it), I pose a threat to other motorists simply by spending too much time with my eyes obsessively locked on the speedometer rather than on the road. Other times I'm praying for a red light so I can check Google Maps, because I didn't hear its guiding voice give me directions (sometimes it's hard to hear anything over the amazing Ace of Base remixes pumping on my stereo). Worst of all, what the hell do I do in low visibility conditions, like midnight drag races through dense fog along winding country roads? How do I know which way the road is about to swerve, before it's too late and I soar, Thelma & Louisely, off a cliff? If only Google Glass were available to me now, I find myself sighing. Now I discover I need sigh no more, and neither need you, for augmented reality windscreens are finally here thanks to an iPhone app called HUDWAY. The nifty thing about HUDWAY is that it combines digital tech with a totally analogue, pre-existing factor for its interface: to make it work, you simply place your phone on the dashboard, and its display is reflected onto the windscreen. Presto: high-tech heads-up display, with elements like your speed and the distance to the next turn expressed in numerals, as well as a visualisation of the road ahead, showing particularly dangerous turns in red. It's definitely an advance in driver safety, and it also happens to be available for free. Once you enter your destination using an internet-supported map service, the route's loaded and ready to go, so that you needn't remain online while driving. This is great news for those times when you are doing the above-mentioned midnight drag races through internet-free mountain ranges. Check out the video below to see HUDWAY in action as a driver hurtles recklessly through rain-sodden long grasses, anticipating turns and showing nature who's boss. Via PSFK.
"I want my surfboard." If Nicolas Cage said this to you, you'd take notice. But in The Surfer, that request doesn't go as planned for the character that he's playing, with a group of local surfers just laughing and telling him that it isn't his board. That's how the first look at this Australian-made psychological thriller pans out — which isn't a trailer, but instead gives viewers a scene from the movie. It was back in 2023 that word arrived that the inimitable actor was hopping from playing himself in 2022's The Unbearable Weight of Massive Talent and then Dracula in 2023's Renfield to becoming an Australian surfer in a film called, fittingly, The Surfer. And now, here's your first glimpse at footage. [caption id="attachment_931569" align="alignnone" width="1920"] Radek Ladczuk[/caption] There's no release date for Cage's Aussie stint as yet, nor an actual trailer, but the initial clip follows a first-look image of the actor from late in 2023. Stan, which is behind the movie, will stream it in Australia; however, it will also play in cinemas Down Under first. Before that, it's premiering at the 2024 Cannes Film Festival. Slotting into Cage's resume alongside everything from crooning Elvis songs in David Lynch's Wild at Heart to having everyone see him when they slumber in Dream Scenario, The Surfer isn't the only Point Break remake that needs to be made (forget the terrible 2015 do-over). Rather, it sees Cage star as an Australian expat returning home from America, then getting in a beach battle with that local gang of wave riders. Cage's titular character makes the trip Down Under after years in the US, only to get humiliated by other surfers in front of his teenage son. Cue a turf war, plus Cage's protagonist refusing to leave the beach. Cue the stakes escalating and the movie's namesake having his sanity tested, too. The film shot in Yallingup in Western Australia, just in the single location, with director Lorcan Finnegan (Vivarium) helming and working with a script by screenwriter Thomas Martin. Featuring alongside Cage: an Aussie cast that spans Julian McMahon (FBI: Most Wanted), Nicholas Cassim (The Messenger), Miranda Tapsell (The Artful Dodger), Alexander Bertrand (Australian Gangster), Justin Rosniak (Mr Inbetween), Rahel Romahn (Here Out West), Finn Little (Yellowstone) and Charlotte Maggi (Summer Love). Check out the first clip from The Surfer below: The Surfer doesn't yet have an in-cinema or streaming release date — we'll update you when one is announced. Top image: Radek Ladczuk.
In front of the camera, Thomas M Wright's first credit came courtesy of Round the Twist. Two decades later, he has roles on everything from The Secret Life of Us, Top of the Lake and The Bridge through to Van Diemen's Land, Balibo, Everest and Sweet Country to his name. But since hopping behind the lens in 2018, the Australian actor-turned-filmmaker has proven one of the country's most fascinating new directors — first with Acute Misfortune and now with the upcoming The Stranger. That initial helming stint saw Wright take on the story of artist Adam Cullen and journalist Erik Jensen, after the latter was invited to stay with the former in 2008 to turn his life story into a biography. One of the most stunning recent Aussie filmmaking debuts, Acute Misfortune not only explored its subject in a riveting warts-and-all fashion, but also interrogated the nation's fascination with festering masculinity — and yes, it truly was something special. Premiering at the 2022 Cannes Film Festival, then set to arrive in Australian cinemas on October 6 before hitting Netflix around the globe on October 19, The Stranger also draws from reality — from the effort to apprehend the person responsible for Daniel Morcombe's abduction and murder. That said, this isn't a recreation or a dramatisation. If you didn't know about the ties to reality going in, or even before pressing play on the just-dropped new trailer, you probably wouldn't pick it — even with lines like "this is the largest missing person's case in the history of our state and is one of the largest in the history of our country". Crucially, The Stranger isn't about the crime, but focuses on the undercover operation to bring the perpetrator to justice. Joel Edgerton (Thirteen Lives) stars as Mark, who goes undercover to befriend drifter Henry (Sean Harris, Spencer) — first striking up a conversation while travelling, with Henry unaware of Mark's true identity and motives. While fictionalised, The Stranger joins Australia's growing list of unsurprisingly tense films unpacking dark chapters in the nation's past, such as Chopper, Snowtown and Nitram. Check out the trailer for The Stranger below: The Stranger will release in Australian cinemas on October 6, and stream Down Under via Netflix from October 19.
When a well-loved venue gets a sibling, the connection between the two spots usually earns a lot of chatter. You sit, you enjoy, you compare, you discuss all those times spent at the first watering hole — all while you're scoping out the new location. And, at Newstead's Stratton Bar & Kitchen, that's likely to be the case. It's the latest venture from Mrs Brown's Bar & Kitchen owners Ben and Tarryn Brown, so there's plenty to talk about. That said, this newcomer's ties to another Newstead go-to isn't the only thing that's worth noticing. Conversation topic number one: the fact that that Stratton calls two old World War II hangars home, which the Browns have converted into quite the impressive hangout. Thanks to not only the site's curved roof, but all of its exposed beams hovering above while patrons eat and drink, that history is inescapable. More than that, it's downright striking to look at. The 920-square-metre venue boasts four sections: a 150-seat dining area, which still retains the laidback vibe that's such a feature at Mrs Brown's; a central bar perched under that eye-catching curved ceiling; a 150-person function space; and a covered courtyard. That gives Brisbanites plenty of reasons to drop by, but one of the biggest comes from its address. As the name makes plain, you'll find the bar and kitchen on Stratton Street — and right next door to The Triffid to be specific. Whether you're heading in pre- or post-gig, or just because, Stratton serves up a menu that goes heavy on home-style share plates and one-handed bar snacks, with chef Andrew Toms overseeing the food. Culinary highlights include cheeseburger dumplings, chicken karaage milk buns, sweet and sour broccoli and roast duck breast with citrus sauce. Or, there's peanut butter soba noodles, cacio e pepe udon, bolognese and burrata pizza, and a choc-orange delight of a dessert dubbed 'jaffa garden' that features orange jelly, burnt orange puree, burnt orange curd and dehydrated chocolate mousse. When it comes to washing down those dishes — with a sizeable amount of gluten-free, vegan and vegetarian options also covered — the drinks list hits around 70 bottles in 250-millilitre pours, plus a hefty cocktail range. Standouts include the Kill Bill (Nikka whisky from the Barrel, Midori, Oscar.697 Rosso vermouth and pineapple), the cheeseburger bloody mary (which adds an in-house blend of herbs and spices to vodka and tomato juice to make your tastebuds think they're drinking a cheeseburger) and the Cherry Ripe (Wildflower vodka, cherry, Borghetti coffee liqueur and Tempus crème de cacao). Or, you can show some homegrown love with the Lamington (Wildflower lamington vodka and lemon) and the Aussie negroni (Four Pillars olive leaf gin, Rhubi Mistelle and Davidson plum aperitif). The non-boozy cocktail list spans four drinks, too — and, back on the hard stuff, Aussie spirits get pride of place.
Just like most of us, Jetstar enjoys marking the passing of another year spent journeying around the sun. And, also like most of us, it's fond of flight sales. Combine the two and you get the Australian airline's 20th-birthday celebrations, which bring the return of its popular 'return for free' sale — where you buy a ticket to your holiday destination, then the carrier covers the cost of you coming home. This time around, the airline is doing discounted flights across Australia and to a range of international destinations, including in Japan, Thailand, Bali, Hawaii, South Korea and New Zealand. Wherever you'd like to head, the key part of this sale is making your way back Down Under without paying for the flight, which'll also make your holiday oh-so-much cheaper. Running from 12am AEST on Wednesday, May 1–11.59pm AEST Thursday, May 2, or until sold out — with Jetstar members getting an extra 12 hours access to the sale from 12pm on Tuesday, April 30 — it really is as straightforward as it sounds. Whatever flights you opt for as part of the sale, you'll get the return fare for nothing. The caveats: you have to book an outbound fare, then you'll get the return fare for free — and the deal only applies to Starter fares, and only on selected flights. Also, checked baggage is not included, so you'll need to travel super light or pay extra to take a suitcase. Plus, you have to use the same arrival and departure ports for your flights — so you can go from Sydney to Osaka and back, for instance, but can't return via another place or to another city. On the international destinations list: Osaka, Phuket, Bangkok, Bali, Honolulu, Bali, Seoul, Singapore, Auckland and Wellington, to begin with. Prices obviously vary depending on where you're flying from and to, but some include Sydney to Osaka from $548, Melbourne to Singapore from $399, Brisbane to Seoul from $479, Adelaide to Bali from $349 and Perth to Bangkok from $309. Domestic fares span deals such as Sydney to Ballina/Byron from $86, Melbourne to Launceston from $87 and Gold Coast to Melbourne from $125. You'll be travelling within Australia from mid-January to late March next year, and from mid-June this year to late March 2025 if you're going global. Jetstar's 20th birthday 'return for free' sale runs until 12am AEST on Wednesday, May 1–11.59pm AEST Thursday, May 2 — or until sold out. Jetstar members get an extra 12 hours access to the sale from 12pm on Tuesday, April 30. 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.
A decade ago, Australia's film festival circuit caught a winter chill. Thanks to both the Sydney Film Festival and Melbourne International Film Festival, the country's cooler months were already a prime time for checking out cinema's latest and greatest from around the world, but the Scandinavian Film Festival levelled up the idea. Do you feel welcomely frostier if you're watching flicks set in and hailing from icy climes while the weather is cold? At this excuse to head to the pictures, yes, yes you do. Focusing on movies from Denmark, Finland, Iceland, Norway and Sweden, the Scandinavian Film Festival has spent the past ten years highlighting both the region's big names and its emerging talents. In 2024, cinemagoers are in for the same format; however, every film fest fan knows that no two iterations of any film fest are ever exactly the same. When it tours the nation between Wednesday, July 17–Wednesday, August 14, this year's event has everything from straight-from-Cannes newcomers to a retrospective dedicated to two of the area's biggest icons on its lineup — plus a span of genres from historical dramas and romances to detective tales and sci-fi epics. Making stops in Adelaide, Brisbane, Melbourne, Sydney, Canberra, Perth, and Byron Bay and Ballina, the festival will kick off with The Riot, which relives an IRL battle by miners in the second-largest workplace in Norway against dangerous conditions at the start of 20th century. Still on period-set tales, Stormskerry Maja is the Scandinavian Film Fest's centrepiece flick, with the Finnish movie about a peasant woman married off to a fisherman bringing the book series by Anni Blomqvist to the screen. Also making the leap from the page to cinemas is Boundless, the latest in Denmark's Department Q franchise, which is no stranger to this festival thanks to past entries The Keeper of Lost Causes, The Absent One and Conspiracy of Faith. From Everest, Adrift and Beast filmmaker Baltasar Kormákur, there's also Iceland's Touch, a romantic drama that adapts the novel of the same name, and hops across continents and decades. Elsewhere, When the Light Breaks similarly hails from Iceland — hitting Australia direct from opening Cannes' Un Certain Regard, in fact — alongside thrillers Cold and Natatorium. From Sweden, 2004's King's Game gets a sequel in Kingmaker, Hammarskjöld — Fight for Peace spins a true Cold War tale and Hunters on a White Field heads off on a weekend away in a forest. And Norway's contribution also spans closing night's Songs of Earth, a documentary about the country's wilderness that boasts Wim Wenders (Perfect Days) as an executive producer. The feast of Danish cinema includes Nordic noir Sons starring Borgen's Sidse Babett Knudsen as a prison guard, the Trine Dyrholm (Mary & George)-led Birthday Girl and the World War II-set Before It Ends with Pilou Asbæk (Aquaman and the Lost Kingdom). Or, there's also sci-fi Eternal, about a climate change scientist and a singer falling in love when a fissure splits the ocean floor — and The Promise, about a woman in her car trying to save her nephew's life. 2024's Scandinavian Film Festival's retrospective spotlight is shining on the great Liv Ullmann and Ingmar Bergman, heroing their collaborations, which means screening Autumn Sonata, Persona, the OG Scenes From a Marriage (not the recent American remake) and Cries and Whispers. The fest is also looking backwards with a 35th-anniversary session of Leningrad Cowboys Go America from Finnish auteur Aki Kaurismäki (Fallen Leaves). Scandinavian Film Festival 2024 Dates: Wednesday, July 17–Wednesday, August 7 — Palace Nova Eastend Cinemas, Adelaide Thursday, July 18–Wednesday, August 7 — Palace James St and Palace Barracks, Brisbane Friday, July 19–Wednesday, August 7 — Palace Balwyn, Palace Brighton Bay, Palace Cinema Como, Palace Westgarth, Palace Penny Lane, The Kino, Pentridge Cinema and The Astor Theatre, Melbourne Wednesday, July 24–Wednesday, August 14 — Palace Norton St, Palace Moore Park, Palace Central and Chauvel Cinema, Sydney Thursday, July 25–Wednesday, August 14 — Palace Electric, Canberra Thursday, July 25–Wednesday, August 14 — Luna Leederville, Luna on SX and Palace Raine Square, Perth Friday, July 26–Wednesday, August 14 — Palace Byron Bay and Ballina Fair Cinemas, Byron Bay and Ballina The Scandinavian Film Festival tours Australia in July and August 2024. For more information or to buy tickets, visit the festival's website.
Some venues feel like they've always been there, even if you haven't ever stepped inside. Perched in a prime location on Lutwyche Road in Brisbane's inner north, the Crown Hotel is one such spot. It's been part of Lutwyche since 1881, in fact — and if you need a reason to finally drop in, it's just had a $2.4 million makeover and reopened its doors. Brisbanites can now check out the Crown's new beer garden and heritage pavilion — which seats 140 people — as well as its revamped main sports bar. Overall, the renovations are designed to keep the pub's heritage character, while completely overhauling the interiors. So, design-wise, that means a sleek, warm and airy look and feel, especially if you're sat underneath the strung-up lighting in the beer garden or on the deck overlooking the outside space. The Crown's new colour scheme skews neutral with splashes of black, white and colour, too — as seen in the blue backdrop behind its towering outdoor mural. In the sports bar, there's screens that'll play a range of different sports, brews on tap (obviously) and a counter menu that includes karaage chicken ($14), fried haloumi ($15), chicken parmigiana ($24) and three steak choices ($29–46). You'll find most of those dishes on the bistro lineup as well; however, Executive Chef Dylan Kemp and Head Chef Jamie Blake are also serving up everything from prawn rolls ($16) and confit duck leg ($32) to half Tasmanian salmon ($28), and both beef ($16) and beetroot ($14) tartare. For something sweet, the dessert selection includes whipped baked cheesecake with strawberry and salted shortbread, vanilla bean crème brûlée, and a chocolate brownie with hokey pokey gelato and espresso caramel (all $14). And whether you're looking to drop by for a bite or a beverage, the pub is also set to host weekly bistro specials, plus themed trivia nights, drag bingo, jazz and blues, and live comedy. Images: Markus Ravik.
Brisbane, there’s a new live venue in town. Actually, it’s more than just a place for gigs; it’s a creative music hub. Behind the scenes, all things entertainment have a new place to call home, but that’s not what The Foundry’s opening night is about. Throwing an awesome launch party is the only thing on the agenda when its doors open to the public, a feat that seems to be in the bag. The buzz already surrounding the backpackers-turned-bar — complete with a 300-person live room and adjacent beer garden — is certain to do most of the work; however, it wouldn’t be a party without some blistering tunes. In the first of many nights of speaker-shattering sounds to come, The Foundry has rounded up some of their favourite acts to gets things started. Local 10-piece-plus garage groovesters Velociraptor, Sydney legend SPOD and White Lodge take the honours of being the first bands to grace the stage, while Babaganoüj and James Wright will be keeping the vibe going on the decks between sets. You know you want to be there.
Home to brews, bands and giant-sized board games since 2014, Ann Street's Woolly Mammoth Alehouse now has an in-house sibling venue: a tropical-themed watering hole called Ivory Tusk. The bar has taken over Woolly Mammoth's Mane Stage area and given it a Palm Springs-inspired revamp, complete with plenty of pastels. As well as transforming the Fortitude Valley's site's existing garden terrace into a tequila-focused party space, Ivory Tusk boasts three bar areas, all serving up cocktails on tap. Expect eight different concoctions made from fresh ingredients and botanicals — such as the Living Vanilla Loca, with rum, French vanilla syrup, citrus and spritz; and the Apricot Julep with bourbon, apricot brandy, lime, mint and sugar. Wine and craft brews are on the menu, too, plus ten types of tequila. And, you can nab either a cocktail tasting paddle or a tequila flight, each featuring four tipples. Food-wise, the venue champions Mexican cuisine, with the kitchen overseen by Executive Chef Graeme McKinnon (Covent Garden) and Head Chef Jack Thompson (The Line & Label, Port Lincoln). Think gazpacho tequila shooters, lamb barbacoa, chorizo sliders, black bean chilli and roast pork, as well as vegetarian, vegan-friendly and gluten-free options. With the site also doubling as an events space — and catering for between 20-1000 people — set menus are a feature. Visitors will also spy plenty of colour, new furnishings and a lighter, airier feel to suit the 'tropicali' vibe, thanks to renovations led by Luis Nheu of BSPN Architects. In the garden terrace, that means pendant lighting and a stencilled terrazzo floor. Back inside, Woolly Mammoth's band room has also been given a makeover. Ivory Tusk's entertainment lineup will span regular DJs, live bands and rockaoke — aka karaoke, but with a live band playing as you sing. And if you're fond of Woolly Mammoth in its current guise, its Mane Stage is still hanging around — just smaller, and on the site's upper level.
You might walk in the doors of Wooden Horse Restaurant & Bar simply seeking to pique your curiosity about Clayfield's newest eatery; however once you experience the buzzing atmosphere, you'll want to stay for much, much more. And if you don't believe us, maybe their Beatles-themed cocktail list will twist your arm. Yes, a Twist n' Shout (bourbon, maple, lemon, vanilla, egg white and cinnamon) or Strawberry Fields Forever (sparkling wine, Chambord and strawberries) can be yours to savour if you love the fab four. Even if you don't, the ode to Britpop's best goes down nicely with the modern Italian menu. When it comes to food, you'll feast on share plates and mains that boast all the favourite staples — cob loaf, chorizo and pork belly among them — without jumping on the trend-centric bandwagon. Our pick to kick things off is the Wooden Meat Board's delicious serving of wagyu bresaola, serrano, manchego, Sicilian olives and house grissini — aka the perfect thing to consume while sitting inside Wooden Horse's appropriately timber-heavy interior. Find Wooden Horse Restaurant & Bar at 278 Junction Road, Clayfield. For more information, visit their website or Facebook page.
Aussie Aussie Aussie! ...No? We don't do that for literary awards? Regardless, Tasmanian author Richard Flanagan won the Man Booker Prize last night in London, and we couldn't be more proud. Commended for his harrowing POW story The Narrow Road to the Deep North, Flanagan is just the third Australian to ever win the prestigious award. In related news: the first book on your summer reading list is now sorted. The Man Booker, for those not in the know, is one of the most respected awards in the industry. Established in 1968, past winners of the prize have included J.M. Coetzee, Peter Carey, Margaret Atwood, and last year's NZ-born recipient Eleanor Catton. The award (and the $88,000 in prize money) is given to the author with the best book published in English in the UK each year. Though previously reserved for those in the Commonwealth, 2014 was the first year the prize was opened up to authors of any nationality. Because of this Flanagan beat not only a few Brits, but a couple of Americans to win the top prize. Though Neel Mukherjee was tipped to win for his story of family life in Calcutta The Lives of Others, Flanagan prevailed. The Narrow Road to the Deep North is the third consecutive Man Booker winner with a historical focus. Inspired by the hardships of his father, Flanagan's story is about prisoners of war on the Burma Railway. His father died on the day he finished the book. We suggest heading to a bookstore soon, this little Tasmanian gem will be flying off the shelves. If all else fails, a free sample of the book is available via Random House. Happy reading. Via SMH and ABC.
When working nine to five isn't panning out for Raylene 'Red 'Delaney (Krew Boylan, A Place to Call Home), she does what all folks should: takes Dolly Parton's advice. Pouring yourself a cup of ambition is never simple, but when you're a Parton-obsessed Australian eager to make all things Dolly your living, it's a dream that no one should be allowed to shatter. That's the delightful idea behind Seriously Red, which pushes Parton worship to the next level — and idolising celebrities in general — while tracking Red's quest to make it, cascading blonde wigs atop her natural flame-hued tresses and all, as a Dolly impersonator. That's a wonderfully flamboyant concept, too, as brought to the screen with a surreal 'Copy World' filled with other faux superstars; enlisting Rose Byrne (Physical) as an Elvis mimic is particularly inspired. Seriously Red doesn't just get its namesake adhering to Parton's wisdom, whether sung or spoken over the icon's 55-year career. It also splashes the country music queen's adages like "find out who you are and do it on purpose" across its frames as well. They help give the film structure and assist in setting the tone, as this rhinestone-studded movie comedically but earnestly explores two universal struggles. Everyone wants to be true to themselves, and to work out what that means. We all yearn to spend our days chasing our heart's real desires, too. As penned by Boylan in her debut script, and directed by fellow feature first-timer Gracie Otto (after documentaries The Last Impresario and Under the Volcano, plus episodes of The Other Guy, Bump, Heartbreak High and more), Seriously Red spots a big question lurking in these missions for Red, however — because what does it mean when being yourself and scoring your dream gig means being someone else? When the film begins, Red isn't loving or even liking her lot in life, and definitely doesn't want to keep the status quo on purpose. Tension lingers in her real-estate valuer job and at home, where she's turned her mum Viv's (Jean Kittson, Fat Pizza: Back in Business) garage into a flat — and the daily tumble out of bed and stumble to the kitchen, then to work, is a grind. Even worse, she's tricked into showing up to the company party in her Dolly regalia to be the butt of the office's jokes, although it does get her an in with an impersonator talent agent. Teeth (Celeste Barber, The Letdown) sees an opportunity, Red is willing to take it, and employment and a whole new world follows. Still, Viv can't see how going full Dolly can pay the bills, withholding her support. Also at home, Red's friendship with her best mate Francis (Thomas Campbell, Love and Monsters) feels the strain. Just like its protagonist, embracing this trip down the impersonator rabbit hole — using a Parton-shaped key and plenty of pluck — is easy for Seriously Red. It revels in the look and feel of all things Dolly from outfits to paraphernalia; if something is adorned in a Parton-esque way, this film will likely always love it, short of the flick becoming a movie version of Dollywood. Plunging into the Copy World happens with just as much spirit and affection, and with gags like Dannii Minogue as a Dannii Minogue impersonator. Trevor Ashley's Barbra Streisand tribute gets a whirl, and everyone from Elton John and Freddie Mercury to Madonna and George Michael scores a doppelgänger. If The Adventures of Priscilla, Queen of the Desert and Muriel's Wedding spring to mind — because movies about taking to the stage in big, camp theatrical displays based around music legends has long been in Aussie cinema's DNA — there's a tangible link to the former courtesy of Oscar-winning costume designer Tim Chappel. It should come as no surprise, too, that Boylan's script has Red team up with a Kenny Rogers impersonator (Daniel Webber, Billy the Kid), including to do more than croon 'Islands in the Stream'. In the business, as she flits around the country and even the world busting out her best Dolly, there's no shortage of people who respect the gig — Bobby Cannavale (The Watcher) plays Wilson, an ex-Neil Diamond impersonator-turned-agency owner, as another example — but Seriously Red's Kenny is something else. He lives like his hero 24/7, right down to the attire, locks and facial hair. He's also made 'The Gambler' singer's moniker legally his. And, he's the impetus for Red making a similarly hearty commitment, then also evaluating whether Dolly or Red should actually come first. Glimmering with the same fantastical vibe that gleefully silly recent new instant comedy classic Barb and Star Go to Vista Del Mar also boasted — cinematographer Toby Oliver lenses both, roving over jewel tones here instead of pastels — there's more verve and attitude than poise to Seriously Red. That always feels fitting. There's a scrappiness to being even the best impersonator, as Red's Parton shows; over and over, she sums up the bulk of the movie. While the film can fall on the awkward side of comic, and its dramatic beats aren't quite in tune (see: Red's conflicts with her family and friends), that can-do attitude keeps shining. Of course a feature about taking a big swing does that itself again and again. Of course a picture about adoring and taking life advice from a legend that has never let anyone else define her, and has proven the epitome of kindness-fuelled resilience over her time in the spotlight, dances to its own song as well. Parton's music isn't always as bright as her smile, though, a truth that Seriously Red also works with. This Dolly-approved flick — with her likeness so prominent and her music instrumental, including sung by both Boylan and the artist herself, it couldn't have happened without Parton's seal of approval — grapples with Red's lows as well as highs. It shows the impact that her self-centred behaviour has on others, too, and the way the world often beams anything but sunshine her way. As an actor, Boylan weathers those ebbs and flows with adaptability and commitment. As a performer playing an aspiring performer whose whole routine is based on another performer, she ensures that Red's raw edges are never buffed away. As a writer, Boylan noticeably leans on tropes, but Seriously Red doesn't need to beg its viewers to have an entertaining time.
Carraway Pier, a cult fish and chip favourite. Oh, it had been a while - years in fact. But a trip down memory lane – to QUT Kelvin Grove – called for a stop by Carraway Pier. And it is safe to say (unlike many nostalgic childhood memories I’ve ruined by recreating) it lived up to the good name. Student favourite, the establishment dishes up fresh fish and chips, salads and burgers to the masses. It's student prices for everyone here - a fillet of barramundi is just $9.90, while a cod, three calamari, two prawn cutlets and chips will only set you back $12. Fortunately low prices doesn't equal poor quality or small portions. The decor is simple with cafe tables and blue plastic chairs, but you can eat in and dine on white ceramic plates using real cutlery and service with a smile. We went with the salt and pepper calamari, chips and salad. The calamari was tender and stacked high, the chips were crispy and the salad, fresh. Be sure to order a tub or tartare or aioli to dip. If fish and chips ain’t your gravy, Carraway’s hearty home-style burgers come in at $7.50, and fruit smoothies are just $5.50. The store just celebrated its eighth birthday and we hope the legendary store sticks around for at least another eight. At nearly half the price of my local fish shop and with no compromise on quality, I might have to go back to uni or move to the other side of the city.
When you have a favourite bar, brewery or eatery, or a beloved joint that offers a great combination of the three, scoring a second place to enjoy its beverages or bites is always welcome news. Slipstream Brewing Company has delivered just that. A beer-pouring — and -making — go-to on Brisbane's southside for the past seven years, it has now opened another location. Meet Slipstream Brewing Social House. Brisbanites will need to head out of town for a sip here, so add checking out the brewery's latest venture to your next trip to the Sunshine Coast. Since Wednesday, October 16, 2024, you'll find Slipstream Brewing Social House in Birtinya, in the local Stockland Shopping Centre, sprawling across a 300-person greenery-filled space with 40 taps, plus both steak and seafood on the food menu — and featuring indoor and outdoor seating, combining al fresco dining with cosy booths. If the word that comes to mind is "hangout", that's by design on co-owners Deale and Elisa Stanley-Hunt's parts. Brisbane's Slipstream Brewing brewpub in Yeerongpilly, which has been open on Wilkie Street since 2017, has the same vibe. The two sibling venues both take cues from America's west coast across their food menus, as Slipstream's beers do as well. On the brews front, the brand has also created a new North Coast pilsner that you can knock back exclusively at Social House. For something other than beer, cocktails, independent spirits, boutique wines and non-boozy choices — coffee among them — are on offer. The culinary options under Head Chef Jarick Quesada include new dishes and highlights from Yeerongpilly across a range of plates to share, grilled eats, burgers, salads, sandwiches and desserts. Think: southern fried chicken tenders with pickled vegetables, popcorn cauliflower, salmon tostadas, crumbed mushroom burgers, rib fillet steak sandwiches, 450-gram pork tomahawks with wagyu fat potatoes, fish tacos made with beer-battered barramundi and chocolate stout brownies. Unsurprisingly, Mooloolaba prawn are also on the menu — served barbecued with 'njuda butter, white wine, napoli sauce, parsley, preserved lemon and toasted ciabatta. Entertainment-wise, Social House is also set to host live music, Oktoberfest shindigs, pinball competitions, weekly trivia nights and more.
2022 was a glorious year for Taika Waititi, and for the writer/director/actor/comedian's fans. He was the subject of the Archibald's Packing Room Prize-winner, with his likeness becoming an award-worthy piece of art. He had that little Marvel movie Thor: Love and Thunder hit cinemas. Another season of Reservation Dogs, which he produces, arrived. Oh, and he went and co-starred in one of the best new TV shows of the year, Our Flag Means Death. Also, that swashbuckling comedy was renewed for a second run. 2023 is looking mighty fine for Waititi as well, and also beginning of 2024. Reservation Dogs is back for its final season. Big-screen soccer comedy Next Goal Wins, which he directed and pops up in, is on its way. And, so is that second sailing for Our Flag Means Death — complete with a just-dropped trailer. No, Taika's stint playing a pirate isn't over yet, in supremely welcome news for everyone who cruised through Our Flag Means Death's first season. His latest collaboration with fellow New Zealand comedian Rhys Darby (after also working together on Flight of the Conchords, What We Do in the Shadows, Wellington Paranormal and Hunt for the Wilderpeople), it satirises the buccaneering times of the 18th century. As its first season unfurled, Our Flag Means Death also proved to be a sweet and warmhearted romance, as well as essential viewing. HBO clearly agreed, greenlighting the show's second season for its streaming service Max. Now, that next run has a first sneak peek, and a Thursday, October 5 release date in the US. Fingers crossed that Binge in Australia and in Neon in New Zealand drop new episodes at the same time. Spanning eight episodes, season two will pick up where its predecessor left off. If you haven't hopped aboard already, Our Flag Means Death stars Darby stars as Stede Bonnet, a self-styled 'gentleman pirate', a great approximation of Flight of the Conchords' Murray if he'd existed centuries earlier, and a man determined to bring a bit of kindness and elegancy to the whole swashbuckling game. He's based on an IRL figure, who abandoned his cosy life for a seafaring existence. The show is a loose adaptation of Bonnet's tale, though. As for Waititi, he dons leather, dark hues aplenty, an air of bloodthirsty melancholy and a head of greying hair as Edward Teach — the marauder better known to the world as Blackbeard. While the famed pirate seems like Stede's exact opposite, disproving that is a big part of the show's narrative. After sparks flew, then season one came to a memorable end, season two will follow what happens for Stede and Edward next. Also featuring among Our Flag Means Death's cast: Samson Kayo (Bloods), Vico Ortiz (The Sex Lives of College Girls), Ewen Bremner (Creation Stories), Joel Fry (Bank of Dave), Matthew Maher (Hello Tomorrow!), Kristian Nairn (Game of Thrones), Con O'Neill (The Batman), David Fane (The Messenger), Samba Schutte (Forspoken), Nat Faxon (Loot) and Leslie Jones (BMF), all returning from season one. This time around, they'll be joined by a heap of new recurring guest stars in Ruibo Qian (Servant), Madeleine Sami (Deadloch), Anapela Polataivao (The Justice of Bunny King) and Erroll Shand (The Clearing), plus Minnie Driver (Chevalier) and Bronson Pinchot (The Mysterious Benedict Society) as guest stars. Check out the teaser trailer for Our Flag Means Death season two below: Our Flag Means Death will return for season two in the US on Thursday, October 5 — we'll update you with Australian (via Binge) and New Zealand (via Neon) dates when they're announced. Read our review of season one. Images: Nicola Dove/ HBO Max.
When Tasmania's Museum of Old and New Art's (MONA) hosts an arts and music festival, it doesn't just compile a standard lineup of shows and events. It curates talents that will hit other bills in other cities, of course, but it also hunts down the kind of gigs and experiences that you generally won't see elsewhere. Take 2023's just-dropped Mona Foma program as a prime example. It was already packed with Pavement, Bon Iver, Bikini Kill, Angel Olsen and Peaches (and Perturbator, The Chills and Kae Tempest), as announced back in October, but now it includes a tunnel of light, 'Complaints Choir' and punk bunker — because of course it does. MONA's summer fest — aka its sunny alternative to its sinister winter arts and culture festival Dark Mofo — will return in February 2023 in a big way. How big? With 370 artists across two weekends. The dates to get excited about: Friday, February 17–Sunday, February 19, 2023 in Launceston, and Friday, February 24–Sunday, February 26, 2023 in Hobart. Now, here's what you'll be seeing. [caption id="attachment_875442" align="alignnone" width="1920"] Debi Del Grande[/caption] Launceston's weekend-long Mona Foma stint will feature a free three-day party at a new hub in the city's decommissioned old TAFE called the reUNIÓN district, which is where those unusual vocals — singing local Launceston grievances — will echo. It's also where there'll be queer woodchopping in the quad, Soccer Mommy taking to the stage and that punk bunker featuring, yes, punk tunes played loud a bunker. Also on the list in Launceston, where Mona Foma has been hitting up since 2019: underwater electronica by Leon Vynehall in the Basin Pool; dance work Body Body Commodity from Jenni Large; James Webb's Prayer, where you will indeed need to kneel while listening to recordings of prayer, song and vocal worship; and Van Diemen's Band and Ensemble Kaboul teaming up for Afghanistan-meets-baroque music. [caption id="attachment_880157" align="alignnone" width="1920"] Prayer, 2012, James Webb. Photo credit: Anthea Pokroy. Image courtesy of the artist and Mona Foma.[/caption] Plus, there's a Fantastic Futures exhibition, a late-night book club overseen by 'sonic librarians', Kenneth Tam's Breakfast in Bed theatre experiment — featuring seven guys he found on Craigslist — and the delightfully named Anthem Anthem Revolution, where you're asked to beat a robot at a game of table tennis. A certain highlight is Hyperbolic Psychedelic Mind Melting Tunnel of Light, with Robin Fox letting attendees take over the light, sound and motion controls one person at a time. Also set to stun is CHANT, with Tasmanian women's sporting clubs performing historic and contemporary feminist protest chants; Lost in Place, a pairing of electro-ambient psychedelic jazz with live dance; Arnhem Land documentary Christmas Birrimbirr; and Martina Hoogland Ivanow's film Interbeing, which only used thermal cameras to shoot human interactions and capture the heat behind them. [caption id="attachment_880156" align="alignnone" width="1920"] Christmas Birrimbirr, (Christmas Spirit), (video still), 2011, Miyarrka Media. Image courtesy of the artist and Mona Foma.[/caption] MONA's summer event was initially held in Hobart, as seasoned fans will remember, and the fest hasn't forgotten its OG home. If that's where you're getting your Mona Foma fix in 2023, you have a stacked lineup in store as well. Many of the fest's big-name acts are playing there — Bon Iver, Bikini Kill, Peaches and Pavement all included — and the MONA lawns will also host a show featuring songwriters from the Pilbara town of Roebourne singing for freedom on the 40th-anniversary year of John Pat's passing in custody, as guided by Ngarluma and Yinjibarndi Elders. Also, Amber McCartney and Tasdance's dance performance Baby Girl will enjoy its world premiere, Nico Muhly takes over the fest as an artist in residence, and the Theatre Royal's program includes IHOS Amsterdam's time travel-inspired PRIMORDIAL For Piano and Diverse Media and film noir opera A Deep Black Sleep. [caption id="attachment_880154" align="alignnone" width="1920"] Climate Notes, Anna McMichael and Louise Devenish. Photo credit: Lucian Fuhler. Image courtesy of the artist and Mona Foma.[/caption] Or, see Climate Notes in Rosny Park, playing five new works for violin and percussion that all take inspiration from scientists' handwritten letters about global warming — and explore Tomas' Garden by Cici (Xiyue) Zhang, where monsters and spirits will feature in an immersive magical landscape. The list goes on, complete with Morning Meditations in both cities — and Chloe Kim doing 100 hours of public drumming over ten days. [caption id="attachment_784488" align="alignnone" width="1920"] Robin Fox laser installation at the Albert Hall, Launceston, Mona Foma 2019. Photo Credit: MONA/Jesse Hunniford. Image courtesy of the artist and MONA Museum of Old and New Art, Hobart, Tasmania, Australia.[/caption] Already keen to get booking? Fancy a Tasmania trip in the interim? Our Concrete Playground Trips Hobart getaway might also be of interest. Mona Foma will take place from Friday, February 17–Sunday, February 19, 2023 in Launceston, and from Friday, February 24–Sunday, February 26, 2023 in Hobart. Tickets go on sale at 11am on Tuesday, November 29 — head to the festival website for further details. Top image: Regurgitator & Seja & Mindy Meng Wang on guzheng perform The Velvet Underground & Nico. Photo Credit: Mona/Rémi Chauvin. Image Courtesy Mona, Museum of Old and New Art, Hobart, Tasmania, Australia. 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.
Perched next door to Milton craft beer hangout The Scratch Bar, Pita Pit opened its doors last Tuesday. Pita Pit is a franchise with a difference and it has finally found its way to Australia by way of Canada and New Zealand, Bro. There is some debate as to the pronunciation of the word 'pita' but once you take your first bite all will become irrelevant. Perhaps the best thing about Pita Pit is the quality of its ingredients. Rather than having snap locked veges, and processed meat, everything is fresh and the meat is cooked on the grill. My personal favorite is the Chicken Caesar Pita (Small $8.90, Large $10.90), which includes chicken breast, bacon, and your choice of extras. Pita Pit offers all the standard fillings as well as a shipload that you would normally only get at home, including beetroot, pineapple, sprouts, feta cheese, and hummus. If you want a quick, healthy, working lunch, or a post workout feed that won’t have your trainer up in arms then Pita Pit is the answer.
Come October, the $20 notes you'll be stuffing in your wallet will look a little different — a new design for the lobster has just been release, and it's hitting tills around the country in just eight months. Australia's banknotes have been getting a makeover since September 2016, when a different $5 note started doing the rounds. It was followed by a revamped $10 in 2017, then $50 in 2018 — and now a sparkling fresh $20, which will hit the streets in October 2019. The upgraded design will celebrate Mary Reibey, an Australian convict-turned-merchant, shipowner and philanthropist, as well as John Flynn, the founder of what is now known as the Royal Flying Doctor Service. They're both recognised in several ways on the new notes, with not only their portraits displayed prominently, but with images one of Reibey's Port Jackson schooners and Flynn's aircraft leaving a Broken Hill homestead, as well as microprint featuring an excerpt from Flynn's book The Bushman's Companion. As well as changed artwork (albeit keeping the same colour scheme and same celebrated Australians as old notes), the new $20 boasts the same improved security features as the new $5, $10 and $50 notes, which are largely aimed to stop counterfeiting. A clear window running from top to bottom is the most obvious, and contains a number of features such as a reversing number and flying kookaburra. And, in great news for the vision-impaired, the new series of legal tender has a tactile feature to help distinguish between different denominations. As happened with the other denominations, the rollout will happen gradually, as will the withdrawal of old $20s — which you can obviously still keep using. And as for the final Aussie banknote yet to receive a revamp, the new $100 is due to be released in 2020.
If you're starting to feel like a new season hasn't truly started until Finders Keepers has come to town, you're not alone. The ever-expanding art and design market has been bringing us face-to-face with some of the country's most quirky and creative designers for over a decade now — and it's set to do it all over again when it returns from Friday, October 15–Sunday, October 17. The focus remains, as ever, on helping you discover and connect with the next wave of independent and emerging artisans. Expect to find everything from jewellery, fashion and ceramics to leather goods, body products and items for your pets. Many of the market's seasoned vendors will also return — so, if you've been kicking yourself since last round that you didn't pick something up, you're in luck. And, you're covered when the inevitable shopping-induced hunger strikes, with food trucks and coffee spots on offer. Tickets are $5, which you'll need to buy online this year in advance — whether you're planning to head along on Friday from 5–9.30pm, or on Saturday or Sunday from 10am–5pm. Keen to start creating your shopping list now? You can head to the Finders Keepers market lineup to see the full scope of vendors.
A weekend at the Meredith Supernatural Amphitheatre is the ultimate way to start the summer. One stage, two nights, three days: that's the setup when the regional Victorian town that gives both the venue and Meredith Music Festival its name welcomes the warm weather. For more than three decades now, this event has become a tradition — and it'll be back in 2024 to do it all again. When Meredith returns across Friday, December 6–Sunday, December 8, it'll celebrate its 32nd festival. Who'll be helping, aka the lineup, hasn't yet been revealed. But something just as important is on the cards already: the ticket ballot opening as at Wednesday, July 17. Book that long weekend now, pop your name in the running, then cross your fingers that you'll be spending three days at The Sup. Meredith has long stopped being the kind of festival where attendance is dictated by whoever is taking to the stage. Whatever the bill holds, it's a must-attend event anyway. So, now's your chance to attempt to nab your ticket. To obtain a pass to the beloved three-day BYO camping festival, you've got until 10.32pm AEST on Monday, August 12 to enter the ballot. And as for the lineup, anything could happen. 2023's festival featured Kraftwerk, as well as Caroline Polachek, Alvvays, Alex G, Eris Drew & Octo Octa, Flowdan, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Sneaky Sound System, No Fixed Address and Souls of Mischief — and more. In 2022, Meredith's first festival since 2019 due to the pandemic, Caribou, Yothu Yindi and Courtney Barnett led the roster. The full lineup is usually announced in mid-August. We'll update you when details drop. Meredith Music Festival will return to Meredith from Friday, December 6–Sunday, December 8, 2024. To put your name in the ballot to get your hands on tickets, head to the festival's website before 10.32pm AEST on Monday, August 12. Images: Chip Mooney, Ben Fletcher, Chelsea King and Steve Benn.
If your ideal kind of getaway is one that's both comfy and minimalist — and doesn't skimp on majestic views — then Tiny Away's latest addition is destined to impress. The accommodation crew has once again expanded its stable of eco-friendly tiny house stays, this time unveiling a 155-square-foot studio nestled amongst the vine-covered hills of Toolleen near Victoria's Bendigo. The newly launched Vineyard Retreat has made its home on the lush grounds of winery and distillery Domaine Asmara, set on a secluded pocket of the property yet still easily accessed. Not only does it boast dreamy views of Mount Camel, plus nearby olive groves and farmland, but it's located right on the doorstep of much-loved regional spots like the O'Keefe Rail Trail, Axedale Tavern, the award-winning Gaffney's Bakery, Palling Bros Brewery and Peregrine Ridge winery. The tiny house itself is primed for switching off and unplugging from the daily grind of city life, without giving up any of those creature comforts. It's kitted out with a queen-size loft bed, fully stocked kitchenette with fridge and stove, additional convertible couch, and split-system air-con and heating. The private balcony is perfect both for stargazing sessions and sunset sips overlooking the vineyard. There's even a proper little ensuite complete with a gas-heated shower and a waterless composting toilet. And of course, if you're after a vino or two during your stay, Domaine Asmara's cellar door is only a quick stroll from your front door, offering spirit and wine tastings daily. You can even take one of the free distillery tours. Tiny Away's other Victorian escapes include an idyllic stay located in a Gippsland olive grove, while the company's first two Tasmanian houses launched in the middle of last year. Find Tiny Away's Vineyard Retreat at Domaine Asmara, 61 Gibb Road, Toolleen. Bookings are now open online, with rates starting from $179 per night. 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.
Writing a prescient tale is the science-fiction holy grail, and a feat that Philip K Dick firmly achieved. Making a movie that becomes the prevailing vision of what the future might look like in the entire world's minds? That's a stunning filmmaking feat, and one that Ridley Scott notched up as well. The reason for both? On the page, 1968's Do Androids Dream of Electric Sheep?. In cinemas, 1982's Blade Runner. And if you need reminding of how stunning a story that the iconic sci-fi author penned, or how spectacular a film that the legendary director then turned it into, look no further than Blade Runner's return to the big screen — with a live score. When Dick pondered the difference between humans and artificial intelligence more than half a century back, he peered forward with revelatory foresight. When Scott followed fresh from Alien, he did the same. Now, in 2023, with the clash between the organic and the digital a daily part of our lives in this ChatGPT-heavy reality, of course it's time for Blade Runner to flicker again. Film lovers, get ready for another dream movie-and-music pairing. Get ready for synths, too. Vangelis' stunning score will echo as Scott's feature screens at Melbourne's Hamer Hall, in the only Australian stop announced so far for Blade Runner Live — an event that premiered in London in 2019, made its way around the UK, then hit Japan earlier in 2023. The Victorian capital will host two sessions, on Saturday, November 4–Sunday, November 5, and show the Final Cut version of the movie. Wondering how it differs from the OG release, and also the House of Gucci, The Last Duel and Napoleon filmmaker's Director's Cut? First unveiled in 2007 for the feature's 25th anniversary, it's the only version that Scott truly had full artistic control over. Blade Runner's narrative, if you're new to the franchise — which also includes exceptional 2017 sequel Blade Runner 2049 and recent animated series Blade Runner: Black Lotus, with a new Blade Runner TV series also on the way — focuses on the one and only Harrison Ford (Indiana Jones and the Dial of Destiny) as cop Rick Deckard. His task: finding replicants, aka androids, which turns into quite the existential journey. It's almost impossible to name a movie or TV series in sci-fi that's popped up over the four decades since Blade Runner first arrived that hasn't owed Scott's film a massive debt — and any synthesiser-fuelled score that hasn't done the same with Vangelis. And yes, add Blade Runner to the list of favourites getting another silver-screen run that celebrates their tunes heartily, alongside everything from Star Wars: Into the Spider-Verse to The Lion King to Star Wars and Harry Potter, plus The Princess Bride, Home Alone and Toy Story. Check out the trailer for Blade Runner below: Blade Runner Live will play Melbourne's Hamer Hall, Arts Centre Melbourne, on Saturday, November 4–Sunday, November 5. Head to the event website for further details, and tickets from 10am AEST on Friday, August 11.
There's so much more to experience in Europe than what Tripadvisor will have you believe. If you're planning a multi-country, multi-city trip, don't break your spirit negotiating flights, sleeper trains, wild taxis and hellish overnight buses — cruise from stop to stop and set out to do things a bit differently. Experience an unfamiliar side of these countries at your own pace with the freedom of a river cruise, which includes food, a bed and most importantly, a unique waterside view of Europe's cities. And while you're in the planning stages, be sure to jot one or two of these ideas in your itinerary to make your Euro trip worthwhile. EXPLORE PARIS BY ROOFTOP Sure, The Catacombs of Paris are pretty mind-blowing, but once you've had a squiz at your 30th underground skull, we suggest you set your sights up. The Paris skyline is one of the most inspiring in the world; it's a city filled with rich and wonderful buildings, iconic slate and zinc rooftops, windows and façades of unrivalled grandeur, plus the Eiffel Tower, of course. Take your time sightseeing from Paris's rooftops. Join a Parisian Rooftop tour on the Seine cruise or choose to wander and show yourself around town. Start the morning doing the touristy thing at Notre Dame (if you get there at about 9.30am you shouldn't have to wait too long to get up top), head up to Canal Saint Martin for a weekend brunch or weekday evening charcuterie planche on the rooftop at the water-side Point Éphémère, and round off your day with drinks at Le Perchoir, overlooking the 19th and 18th arrondissements with Sacré Coeur in the distance. CLIMB SOME ROCKS IN SWISS FRANCONIA If you've sunk a few too many of Bamberg's famous smoked beers during your cruise through Deutschland, here's your opportunity to sweat it all out. This area of Bavaria, known as Swiss Franconia, is one of the most popular climbing regions in the world boasting over 6500 different routes. Test your strength and Spidey skills traversing crags, chimneys, boulders and overhangs, and you will be rewarded with some pretty spectacular views. If you're a climbing pro, you may want to give the Action Directe route a try, which has long been considered one of the most difficult free-climbing routes in the world. But novices needn't worry as there are plenty of guided tours, too. DINE IN AUSTRIA'S OLDEST WINERY After a day of strolling through Dürnstein's cobblestone lanes and castle ruins, head to the Nikolaihof winery. Steeped in over 2000 years of history and tradition, the estate is something to behold: the stone walls, which are left over from the site's time as a monastery chapel, are covered in creeping vines; the cellar is set in an ancient Roman crypt; and the courtyard is dominated by an enchanting 100-year-old linden tree. The Saahs family have been running the winery since the late-19th century and are seen as pioneers of organic winemaking; no herbicides or artificial fertilisers are used on the vines and grapes are harvested by hand. Settle in for a few top-notch drops and a home-cooked Austrian feast prepared with organic produce, before you continue on your way down the Danube. LISTEN TO CLASSICAL MUSIC IN VIENNA You don't need to know your Schubert from your Strauss to appreciate the musical nightlife of Vienna. While cruising the Danube, put aside a night to do nothing but sit back, relax and enjoy a schnitzel and bier at Vienna's famous concert cafes. Most of these cafes have an in-house pianist with others offering small bands and a rotating program of live music. Concert café Schmid Hansl is one of the city's most famous — during the war it still hosted jazz sessions. It's open late every night but closed Saturdays. The Cafe Museum is another worthy of a visit. Gustav Klimt, Peter Altenberg and Adolf Loos were all regulars of this little joint and we can't blame them; it's a great place to relax during the day and a magnificent option for a night of music. TASTE AUTHENTIC DUTCH CHEESE IN AMSTERDAM Between all the bike-riding and club-hopping, you're likely to expend quite a bit of energy in the 'dam during the Rhine cruise. So, what better way to refuel than with an afternoon of traditional Dutch cheese? Over the course of an hour, you'll learn all the ins and outs of Dutch cheese: how it's made, how to identify the characteristics between different varieties and how to pair them with wine like a pro. All with plenty of samples, of course. Your course will take place in the tasting room of the famous Golden Age Cheese shop, based in the heart of Amsterdam. It's a real gouda time. Next Euro trip, opt to explore the continent via their rivers. Find out more here.
Winter is not traditionally ice cream weather. However, when that ice cream is being served up by Gelato Messina — voted best gelato in Australia, officially by Good Food Guide and unofficially by our taste buds — seasons no longer matter, only taste and the chance to devour as much as you can. With sadly no Messinas opened (yet) in Brisbane, that chance just became a whole lot easier thanks to Uber. The on-demand private driver service has teamed up with the Sydney-founded cult gelato giant for Friday, July 18 only to deliver their deliciousness directly to your door. From 11am, Uber ice cream trucks will be transporting specially prepared packs of Messina around Brisbane (and to cities in over 130 countries), all lucky spots who are in for a very good Friday. And you can enjoy this service with the simple flick of a finger. To order, download the Uber app, then just open it, move the slider to the 'Ice Cream' option and request a delivery to your door in minutes — $20 will get you a 500ml tub ($15 for a cheeky extra one) and some Uber merch. It's easier than serving your own ice cream at home, and definitely more delicious (no offence to your sub-par, store-bought ice cream, but this is pretty much the best there is). If you're a first time user, the tub is free. FREE. Just use the promo code ICECREAMBNE when you sign up for Uber and you'll nab $25 off your Messina purchase (covers the tub and some). You can keep up to date with all of the action on Twitter and Instagram at #UBERICECREAM and @Uber_Brisbane whilst devouring your mouthwatering treat but remember, this is for tomorrow Friday, July 18, only (or Ice-Cream Christmas if you will), so take advantage of this offer whilst you can. Maximum of two tubs per customer, so maybe steer clear of your friends afterwards if you're precious with your iced confections. Get ready Brisbane. We're talking delivered Messina here.
Attention all wannabe heroes: something big is coming. This March, much-loved comic company Marvel will bring its world-class Avengers S.T.A.T.I.O.N. exhibition to Melbourne. The immersive exhibition, held at Federation Square, will give would-be caped crusaders the chance to delve into the history, engineering, genetics and technology behind Captain America, Hulk, Thor, Iron Man and the rest of their superhero team. Visitors will also undergo training, as if they were learning to become agents of S.H.I.E.L.D., and can explore bespoke equipment and costumes including the Hulkbuster suit, Captain America's uniform and shield, Iron Man's MK armor and Thor's hammer, Mjölnir. Avengers S.T.A.T.I.O.N. combines complex science and technology, developed by Marvel to help bring the successful film franchise to life. Space agency NASA have also contributed to the interactive experience, helping to enhance its scientific authenticity. After successful stints in cities including New York, Seoul and Paris, the exhibition will now head down under for the very first time. Organisers hope it will be an epic fan experience as well as a way to pique visitor interest in real-world science and technology. Earlier this year Marvel broke records when it brought its Creating the Cinematic Universe exhibition to Brisbane, drawing in close to 270,000 fans. Avengers S.T.A.T.I.O.N. is expected to be even bigger. Marvel's Avengers S.T.A.T.I.O.N. will open at Federation Square in March 2018. More information on ticketing will roll out in the coming months – you can sign up for updates here.
With its latest movie-fuelled event, Underground Cinema is hoping that you've never felt like this before — and that you love Patrick Swayze and Jennifer Grey dancing up a storm in a much-loved 1987 romantic drama. As part of the outfit's new Immersive Cinema spin-off, it's promising to plunge cinephiles into the world of Dirty Dancing. And give you the time of your life, presumably. Hitting outdoor venues for three nights in each Sydney and Melbourne in March 2019, Dirty Dancing: The Immersive Cinema Experience won't just screen one of Swayze's biggest film roles, but will recreate the world of the popular film. That means that attendees will travel back to 1963 in spirit, check into Kellerman's Mountain House in the Catskills, and enjoy a day of painting classes, volleyball, croquet and — of course — dance lessons. You can probably also expect a stint of carrying watermelons, as well as a talent show. It all ends with a sunset screening of Dirty Dancing on the big screen. You'd be just a fool to believe that's all that's on the agenda. Actors and dancers will roam around like the wind, and, food and drink-wise, Americana-style eats and several pop-up bars slinging summery cocktails are on offer for those with hungry eyes (and stomachs). You'll also be able to wander through recreations of Kellerman's famous fictional spaces, from the staff quarters where Francis 'Baby' Houseman gets her first taste of dirty dancing, to the studios where she learns all the steps from and starts swooning over Johnny Castle, to the restaurant where nobody puts Baby in a corner. Like the film version of Kellerman's, the event is also an all-ages affair — Underground Cinema's first that'll welcome families and kids along. And everyone is encouraged to dress up like it's the 60s, although appropriate footwear for dancing is a must. Tickets are available in two tiers, with the $89.90 'Kellerman's Guest Experience' giving you access to all of the above, and the $129.90 'Time of My Life Package' (naturally) also letting you sashay in via express entry, nab a premium elevated viewing spot, explore secret spaces and take a group dance class with one of Kellerman's dance instructors. Dirty Dancing: The Immersive Cinema Experience will take over The Domain in Sydney on March 15–17, and Flemington Race Course in Melbourne on March 22–24, 2019. Tickets for members go on sale at midday on Thursday, November 15, with general public tickets available from 10am on Monday, November 19.
Winter has come to Scotland — and with it, the perfect place for Game of Thrones fans to have a pint or two. Here, pretending that you're wetting your whistle in a boozy establishment in the Seven Kingdoms is easy as heading to Edinburgh's latest popup. Taking inspiration from the pages of George R.R. Martin's epic 'A Song of Ice and Fire' as well as the accompanying TV adaptation that no one can stop watching, Blood & Wine is the latest venture from events team The Pop Up Geeks. Every Wednesday and Thursday evening throughout January and February, they'll serve up GoT-inspired wines, ales, spirits and infusions. When you're sipping on Myrish fire wine and eating Frey pies (yep, they went there), you'll forget that new episodes of everyone's must-watch program aren't slated to return until June. https://www.instagram.com/p/BPKpLalDCok/?taken-by=thepopupgeeks Drinks wise, you'll also find the likes of Dornish Sour Red, The Imp's Delight and The Old Bear's Hot Spiced Wine on the menu, as well as a flight of seven tipples that lets you sample everything that Westeros and its fellow realms has to offer. Or, if you still have a Lannister-like thirst, opt for a Goslings Hot Mead or a glass of Icelandic Mountain Vodka. If the picture on the back of the bottle doesn't tip you off, the latter is made by a company co-owned by Hafþór Júlíus "Thor" Björnsson, the actor who plays Ser Gregor "The Mountain" Clegane on the show. To add the requisite finishing touches, the whole candlelit space is decked out with the appropriate bits and pieces; think shields, swords, posters, props and medieval-like flourishes. If that's not enough to send you scurrying over land and sea like a lost Stark child, then keep an eye on The Pop Up Geeks next venture, Perilous Potions, where they'll delve into the wizarding world of — yep, you guessed it — Harry Potter. Via Uproxx. Image: The Pop Up Geeks.
Cringe-worthy talent shows really have ruined it for everyone. Not only do they give false hope to wannabes looking to break into the industry, but their successful contestants usually end up fading into obscurity anyway (not to mention their dated format has been wearing thin since Shannon Knoll whined What About Me?) I hate to get all parental on you but it takes hard work and dedication to make it big in the music business. But don’t listen to me, listen to Amandah Wilkinson of Operator Please, Adele Pickvance of The Go-Betweens, Susie Patten of I Heart Hiroshima and Katie Noonan, all of whom are ready to share their wisdom with you at Q Music’s Women in Music. Originally created by a female focus group aiming to engage young women in the local music industry, Women in Music is a one-day forum designed to inspire, educate and engage women passionate about music. There to host the day’s panel discussions, workshops and interactive breakout sessions will be a slew of successful artists as well as women who have found success behind the scenes such as Angus and Julia Stone’s Manager Cathy Oast and triple j Magazine's Music Editor Samantha Clode.
Which movie features multiple terrible sex scenes, a ridiculous plot and way too many spoons? Oh hi The Room. When the enigmatic Tommy Wiseau decided to write, direct, produce, fund and act in his own Hollywood breakthrough flick 14 years ago, he couldn't possibly have predicted the cult fame, plastic cutlery and branded underwear that would follow — although, if you asked him today, he'd probably claim otherwise. After all, he spends one of The Room's DVD extras explaining that yes, you really can play football with your friends while wearing a tuxedo and standing three metres apart. Trust him. If it sounds like Wiseau lives in his own absurd world, he'd likely be happy with that. In fact, he once told his pal and co-star Greg Sestero that he'd like to have his own planet. Based on Sestero's behind-the-scenes book about The Room's mind-boggling production, The Disaster Artist is the movie that brings Wiseau back down to earth. Directed by and starring a pitch-perfect James Franco, with supporting performances from his brother Dave as well as Seth Rogen, Jacki Weaver, Zac Efron and Alison Brie, it's a sidesplittingly funny and thoroughly heart-warming look at the man who unwittingly started a phenomenon. A wild true story about obsessively chasing a dream, finding a friend and yearning to belong, this Ed Wood-style effort will make you want to hurl spoons at the screen with sheer joy. With limp black tresses and a vaguely European (or is it New Orleanian?) accent, Franco plays Wiseau not as a joke, but as an eager, aspiring talent who'll climb the walls if he has to. When we first see him channelling his inner Brando in a San Francisco acting class, that's literally what he does. Self-conscious and wide-eyed, 19-year-old Sestero (Dave Franco) is drawn to Wiseau's confidence — enough to ignore the concerns of his mother and move to Los Angeles with his clearly middle-aged new buddy. But the film industry doesn't exactly welcome them with open arms, so Wiseau takes their fate into his own hands. Voila, The Room is born. Much of The Disaster Artist is concerned with revealing how The Room came to be. The now-iconic lines, the stilted performances, the odd non-sequiturs: they're all there, often recreated with shot-for-shot accuracy that'll tear both fans and newcomers apart with laughter. But Franco and writers Scott Neustadter and Michael H. Weber (500 Days of Summer) are interested in more than just making in-jokes and poking fun at everyone's favourite bad movie. A relatable, genuinely moving and hilarious love letter rather than a lampoon, The Disaster Artist celebrates Wiseau's eccentricity and passion, even when he's sabotaging his own efforts. As such, while there's plenty of comedy, he's never the subject of mockery. When Franco adopts his distinctive mannerisms, it's with sincerity and affection. It helps that, in a different universe, Franco could've very well lived Wiseau's life. Driven by comparable levels of enthusiasm and determination, the Oscar-nominated actor might be one of Hollywood's biggest stars, but he's had more than his share of missteps along the way – including multiple movies that he's directed and starred in that barely saw the light of day. Whether he's yelling Wiseau's unforgettable dialogue or fixing a crooked stare on his co-stars, Franco's turn as Tommy is his best to date, with authenticity as well as earnestness shining through at every moment. His decision to cast his similarly-excellent sibling as Sestero likewise proves a smart one. Together, the Francos evoke an easy familiarity in a movie that is, at its core, about the bonds of brotherhood. With The Disaster Artist, Franco has crafted a riotous film about art imitating life, one that should amuse and inspire regardless of whether you're a fan of The Room or have never heard of Wiseau at all. Not only that, but as award season arrives, it might pull in a few shiny statues too. The older Franco has already won a Gotham Award for his performance, and if he collects a few more trophies, don't be surprised to see Wiseau grace the stage with him insisting he knew it'd turn out this way all along. Whatever happens, The Disaster Artist is one of the year's best movies – and features one of the best on-screen uses of '90s dance track 'Rhythm of the Night' as well. https://www.youtube.com/watch?v=3DT41LF22ZA
More than most video games, Until Dawn always felt destined for the big screen from the moment that it first had players pressing buttons. The premise of the 2015 hit is straight out of a horror movie, with a group of eight friends attempting to make it through a trip to Blackwood Mountain — the place where one character's two sisters disappeared a year prior, and where everyone is now looking for answers — alive. The cast boasted star power, including a pre-Oscar Rami Malek (The Amateur), plus Hayden Panettiere (Scream VI) and Peter Stormare (So Long, Marianne). Visually, there's also its pivotal third-person perspective. Something that Until Dawn featured as a game, however, that was unlikely to make the leap to cinemas: the choose-your-adventure approach to play. Interactive films exist, but the two best-known recent examples are each streaming releases: Black Mirror: Bandersnatch and Unbreakable Kimmy Schmidt: Kimmy vs the Reverend, both on Netflix. In adapting Until Dawn into a movie destined for the silver screen, so lurked the dilemma — aka how to nod to the butterfly effect-style element, where player decisions dictate the storyline. The answer came by still focusing on choice, and also nodding to the fact hundreds of endings are possible in the game, making selecting an option a move that requires careful consideration about where any path might lead. Enter the mechanism that's fuelled everything from Groundhog Day and the Happy Death Day films to Edge of Tomorrow and so much more: time loops. In the movie directed by David F Sandberg (Shazam! and Shazam! Fury of the Gods), and penned by Gary Dauberman (Salem's Lot) and Blair Butler (The Invitation), there's still a group of friends, a missing sibling and a remote setting. That said, neither its helmer nor one of its writers, both of whom first collaborated on Annabelle: Creation, set out to make a direct adaptation of the game, Sandberg and Dauberman tell Concrete Playground. "It's more like a new chapter of Until Dawn," advises Sandberg, who first made the leap to full-length flicks in horror courtesy of the short-to-feature Lights Out. "The game is so cinematic, we just didn't want to try to replicate that experience," notes Dauberman, a mainstay behind the scenes on The Conjuring Universe films, including Annabelle and its sequels — he directed as well as penned Annabelle Comes Home — and The Nun, alongside scripting IT and IT: Chapter Two. [caption id="attachment_1000992" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Here, then, the characters are different, and the absent sister as well. The cast fighting to survive has changed, too. As a film, Until Dawn steps into a new scenario also, although Stormare remains the link among the actors to its gaming beginnings. This time, it's Clover (Ella Rubin, Anora) who is in search of Melanie (Maia Mitchell, The Artful Dodger) a year since she was last seen. The rest of her travelling group — Max (Michael Cimino, Never Have I Ever), Megan (Ji-young Yoo, Expats), Abe (Belmont Cameli, The Alto Knights) and Nina (Odessa A'zion, Am I OK?) — have helping Clover as their main aim rather than finding Melanie, though. She's determined to look for her sister. They're eager to assist her with facing her trauma and moving on. Of course, no one expects that following Melanie's path to an abandoned visitor centre in a secluded valley will lead them to being stuck battling an array of killers in a time loop, and dreading an hourglass flipping again and again. When they all die, Until Dawn's latest figures just find themselves in the same place, yet caught in another scenario. Sometimes that plunges the movie into slasher-film territory. Sometimes it skews more supernatural. Sometimes, Clover and her friends are caught in a creature feature — and the list goes on. The only way for them to be free of the nightmare, and from an experience that hops between horror subgenres, is right there in the feature's title. Make it until dawn and the hellish ordeal ends. What excited Sandberg and Dauberman, other than being gamers themselves, about taking on the task of bringing Until Dawn to cinemas? That's where our chat with the pair started. From there, we dug into selecting the different subgenres, basically making multiple horror flicks in one, Stormare's return, and how you enlist a cast when their gig is to get murdered over and over — plus interrogating choice via time loops, calling out other films using temporal repeats, the current wave of successful video game-to-screen adaptations (think: The Last of Us, Fallout, The Super Mario Bros Movie and A Minecraft Movie) and more. On What Excited Sandberg and Dauberman About Adapting Until Dawn Into a Movie Gary: "I think the thing that excited us the most — I'll speak for me — but was really being able to do a couple different subgenres of horror within one movie. The game is really this cinematic experience that's a true love letter to the genre. We wanted to make sure that was captured in the movie, and do that ourselves with the movie. And so that was really exciting. So then it just became about, 'well, how are we going to do that?'. Because it's not going to be a direct adaptation of the game — because, as I said, the game is so cinematic, we just didn't want to try to replicate that experience. So it was really about, 'okay, how can we stay true to the game, the world and all that, but also be able to do our own thing as well within the genre?'." David: "And what excited me was that Gary and Blair, they didn't try to just recreate the game — which was already so much like a movie and already cinematic. It's more like a new chapter of Until Dawn. And the fact that we have all these different horror genres in one movie. So I got to try out all these different things, including genres I'd never done before — like slasher or found footage. It was just a dream come true." On Deciding Which Horror Subgenres to Jump Between in the Film Gary: "It's interesting — Blair and I always had slasher first, and I think a large part of that's just because, I mean I know that's because of the game itself and the psycho mask and all that. And then I think it was just what could be different from slasher? We leaned into supernatural because that felt so different and a stark contrast to just the visceral kills of the slasher. So you just try to think of what's going to give that sharp contrast to whatever came before. Then you go supernatural, then you go right into body horror — which is super real and gross, whereas supernatural generally isn't that. That's the thought behind how it's laid out in sequential order, I guess." On Feeling Like This Movie Meant Making Not Just One Horror Film, But Multiple Horror Films David: "For sure, because it also, like schedule-wise and time wise, felt like we were trying to do six or seven movies in one. It was a challenge. It's a very ambitious movie for the time we had, so we had to do a lot of planning — and sometimes adapting on the day, where it's like 'okay, we're not going to have time to do all of these things, so we'll focus on what's most important to get'. So it was a challenge, but it was also the reason why I signed up for the movie — to get to do all of this. So I happily did it." On Making Dr Hill (and Peter Stormare in the Role) One of the Key Connections Between the Game and the Movie Gary: "Dr Hill, to me, was always the character I was most curious about in the game, and felt like he could be a great link, connective tissue, between the game and the movie. And he could really be the steward of the franchise, of these stories. He always felt like he's got more going on. And I think talking with the game developers and what they had intended with Dr Hill as well, it was a constant dialogue and conversation, so he just made the most sense organically to what they had in mind and what we had in mind to use. And plus, it's Peter Stormare. If you've got Peter Stormare, you want to use him every chance you get. So that was also a part of the decision. But from a storytelling aspect, I saw him as a great face of the franchise." On How You Build a Cast When the Gig Is to Get Killed Over and Over Again David: "We did a lot of auditions to try to find the right people. Michael, who plays Max, came recommended — he's worked with Gary before. But otherwise, it's just doing a lot of auditions and finding the right people who are not just good actors, but who are willing to go there, to these places. Because I had to warn the cast that this is going to be a challenging movie, like physically challenging and mentally challenging, because you're going to have to be wet and bloody and dirty and crawl through mud, and all of these things. And work nights and work in uncomfortable locations and all these things. But they were really up for it. And once we'd done all this extensive casting, they just worked as a team right away, just became instant friends and were just a pleasure to work with. And I know they really appreciated getting to do — like Maia was saying that in most movies and TV shows, she has to look pretty and perfect, and all these things. In this movie, you don't need to look perfect. You need to look like you've gone through hell. And you get to scream and let it all out. So they were more than up for it." On Calling Out How Popular Time-Loop Flicks Are in the Film — and Knowing How This Addition to the Genre Needed to Stand Out Gary: "We knew we didn't want to do the Groundhog Day-esque time loop. Happy Death Day does that so, so well and effectively. If we were going to do it, we needed to own it for us and make it different. So in a way, the knowledge of those made us just work against that — like going 'okay, we know that's out there, so we've got to do something different'. So that's kind of how we went. And then in terms of the subgenres themselves, it really was about the tropes within the subgenres that we were using as elements to each sequence — but not any specific movie per se." David: "Yeah, you don't want to shy away from some of these tropes, because you want people to feel like 'okay, now we're in this kind of film'." Gary: "Yeah, exactly." David: "But you try to subvert it so you don't know exactly what's coming, but you just need to feel familiar enough." Gary: "That's right." On Still Interrogating Choice, Even If the Film Can't Mirror the Game's Player-Shaped Storylines and Hundreds of Endings, in a Movie That's Also About Trauma Gary: "It was a really important element from the character standpoint of like, 'okay, the terror is new, but we're still here, we're still a part of this group'. And as the group starts to fracture a bit because they have different ways of how they want to go about solving this puzzle of how they're going to survive until dawn, I think it's about, one of the things is sticking together and surviving through trauma and leaning on each other to get through something — as opposed to just being off in a corner by yourself, because that's not going to get you through it, much like Clover was at the start of the movie. For Clover, for instance, she's someone who had to die over and over again in order to know how to live again. So that's kind of how we saw the character choices affecting the character arcs in the movie." David: "Yeah. And I thought it was so brilliant to have this restarting in the movie, because it does make it feel so much like the game — where you can play it several times and make different choices and see different deaths and different kills and stuff. And this was a way to get that in movie form." On the Film's Commitment to Practical, In-Camera Effects as Much as Possible David: "It's something I've always wanted to do. Since I was a little kid watching horror movies, reading all these books about effects done with latex and silicone — and makeup effects and all these things, something I've wanted to do forever, and this was a chance to do that. And I like when horror movies, in particular, do that. I'm not opposed to visual effects in any way, and there's visual effects in this movie, too, but we wanted to try to take practical as far as we could — and have things there for our actors to see and feel and react to, because it just makes it more fun for us. But I think the audience can feel that coming through as well." On How Sandberg and Dauberman's Working Relationship Has Evolved in the Eight Years Since Annabelle: Creation David: "Gary produced this movie as well. It all started with him, the project. So I guess you were more involved now. I mean, you were involved in all of Annabelle: Creation as well. So it's very similar." Gary: "I think it was similar, but I think we just got more comfortable with each other." David: "Yeah." Gary: "So I think it's evolved from that standpoint. But I think I just have a confidence in him that I don't have in a lot of people, so he's like a safe place for me. I just know that he's going to elevate whatever material I hand over to him. And so, yeah, I think it's just the familiarity and the comfortability that you oftentimes don't get in this business, because it's so transactional and it's new faces every time you go somewhere. So it's nice to have somebody who's consistent and constant." On Why Adaptations of Video Games Are Such a Focus at the Moment — and Striking Such a Chord with Audiences David: "I think it's because people who grew up with video games are now in positions to make to make and write these types of movies. And I think that really helps — because I think back in the 80s, making that Super Mario Bros movie, I don't think those people were gamers. Maybe they were, I don't know. So I think it's just like, for this generation or for us now, it's like 'well, of course video games are just as important as comic books or other movies or whatever'. So it's gotten to the respect that it deserves." [caption id="attachment_1000993" align="alignnone" width="1920"] Stewart Cook/Sony Pictures via Getty Images[/caption] Gary: "Yeah, and I think from a business standpoint, it's such an IP-driven business that comic books feels a little probably picked over. And so it feels like now the attention has turned to video games — and that IP, it's just been kind of sitting there. But as gamers, we've always known it's been — it's right there. You go do this stuff, give it the money and the time it deserves, and the talent. So I'm happy and excited to see that that's coming to fruition." David: "And games, of course, have become more and more cinematic, closer to movies as well." Gary: "Yeah, yeah, which becomes part of a challenge." Until Dawn released in cinemas Down Under on Thursday, April 24, 2025.
Over the past decade, Disney has made a hefty commitment to remaking its animated classics as live-action movies, as seen via the two Alice in Wonderland films, Cinderella, Beauty and the Beast, Dumbo and Aladdin, to name a few. The next to get the same treatment is 101 Dalmatians, and the Mouse House is going with the same approach it used with the Maleficent flicks. Yes, there'll be spotted dogs in Cruella, but this Emma Stone-starring spinoff is all about its villainous namesake. Set to release in May — and currently slated for cinemas, rather than making the move to Disney+ like Mulan did last year — Cruella focuses on Estella de Vil before she becomes the puppy-kidnapping figure that everyone already knows. It's the 70s, she's in London, and she's an outcast and a grifter. Estella is also desperate to become a fashion designer, and draws the attention of industry veteran Baroness von Hellman (Emma Thompson, Last Christmas). Obviously, Estella's relationship with the Baroness isn't going to end well. Even if you only have the faintest memories of 101 Dalmatians, Estella clearly has to morph into that tale's antagonist. And, based on the just-dropped first trailer for Cruella, she's going to do so in a movie that seems to have seen what Joker did — including the fact that it won Joaquin Phoenix an Oscar — and decided that's a good model to run with. As well as Stone, her two-tone hair and striking outfits — and Thompson, too — Cruella features Richard Jewell's Paul Walter Hauser, Outside the Wire's Emily Beacham, Yesterday's Joel Fry, The Good Place's Kirby Howell Baptiste and 1917's Mark Strong. The film marks a reunion between Hauser and director Craig Gillespie, after they worked together on I, Tonya, while the script is co-written by Isn't It Romantic's Dana Fox and The Great's Tony McNamara. If a live-action version of Cruella de Vil sounds familiar, that's because Disney has done it before. Back in 1996, Glenn Close took on the role in 101 Dalmatians, and then sported a heap of black and white again in 2000 sequel 102 Dalmatians. So, never one to leave its past works alone for too long, the Mouse House is following in its own footsteps in multiple ways with Cruella. Check out the trailer below: https://www.youtube.com/watch?v=gmRKv7n2If8 Cruella releases in Australian and New Zealand cinemas on May 27.
