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.
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.
Yoda? Cartoon characters? Pamela Anderson emerging in slo-mo from the surf, flicking her hair to the Baywatch theme? Such are the visions that come to mind when viewing the high-speed photographs of violently shaking dogs, shot by Carli Davidson for her new book, Shake. With plenty more flabby skin and saliva at their disposal, our furry friends put human jowlers utterly to shame. Davidson appears to be a bit of a badass known for her wildlife photography, and according to her bio, was "raised on a secret volcano island by cheetahs". (Her biopic is recommended viewing). She first began photographing animals while working at the Oregon Zoo. The shake project was inspired by her pet dog Norbert (a name which I choose to interpret as an Angry Beavers reference), whose drool Davidson is apparently obliged to scrub from the walls of her home with some frequency. In Shake, she shares 130 high-speed photos of 61 dogs from a range of pedigrees, including a Chinese Crested, that exquisite breed famed for its tendency to win the World's Ugliest Dog competition each year. Different textures of fur coat and jowl surface area contribute to the extremity of 'shake', floppy ears and eyelids flying in opposing directions with a majesty comparable to that of hawks swooping above the Far Northern tundra. One can only imagine the sheer volume of drool lopped onto Davidson's bystanding studio assistants, who by the end must have resembled the victims of some terrible slug fight. The resulting portraits truly inspire — buy them singly as prints, ideal for your stylish home or super tasteful office wall. If that's just not sufficient, order the book on Amazon to be reminded of just how cute and demented doggies really are. The video below, created in conjunction with Variable, is an instant mood-lifter, as all kinds of puppies rattle and roll to an appropriately sentimental soundtrack. Via Colossal.
This coming August, your daughter probably isn't getting married. In fact, you mightn't even have a daughter at all. But if you'd like to spend the month saying "you come into my house on the day my daughter is to be married" while holidaying in the very mansion featured in The Godfather, that's now a genuine possibility. Movie lovers have Airbnb to thank for this opportunity, with the accommodation service adding the chance to follow in the footsteps of the most iconic gangster movie ever made to its list of pop culture-themed one-off experiences. Just this year alone, it has listed the Bluey house, the Moulin Rouge! and the Scooby-Doo Mystery Machine for stays. If you wanted to solely plan your getaways around living life like you're in your favourite movie or television show, Airbnb has definitely here to help lately. The platform's current impressive home away from home arrives to celebrate The Godfather's 50th anniversary, and will have one lucky person and up to four of their pals whiling away an entire month in the Staten Island mansion in New York that's seen in Frances Ford Coppola's masterpiece. The film features the outside of the house, but you'll get to scope out the inside as well — all 6248 square feet of it, which was built in 1930. When you're not channelling your inner Marlon Brando, Al Pacino, James Caan or Diane Keaton, you'll have plenty to do — there's a big saltwater pool, a pub in the basement, a game room and a gym. In fact, you'll have the run of the five-bedroom, seven-bathroom abode, other than the basement closets and the attic. You do need to be keen for a lengthy trip, with just one reservation available for 30 nights from August 1–31. And, like all of Airbnb's similar offerings in the past, you're responsible for getting yourself there and back — so if you do get lucky and score the booking, travel isn't included in the price. For those making the jaunt from Down Under, that turns this stint of The Godfather worship into a more expensive option. That said, the mansion itself will cost you just US$50 per night. And, if your bank balance is up to it, a stay here will get you away from Australia and New Zealand's frosty climes and into a Staten Island summer. If you're still keen, you can apply to book at 3am AEST on Thursday, July 28 via the Airbnb website. Another caveat: this is a family home when it's not welcoming in Airbnb guests, and it's located in a quiet neighbourhood, so stays are strictly limited to you and the four folks you take with you — with no outside guests allowed. If the timing doesn't work for you, it's likely only a matter of time until Airbnb finds another pop culture-themed getaway that'll tempt your wanderlust. Here are two places on our wishlist: Buffy's house from Buffy the Vampire Slayer and Twin Peaks' Black Lodge. For more information about the The Godfather mansion listing on Airbnb, or to apply to book at 3am AEST on Thursday, July 28, head to the Airbnb website. FYI, this story includes some affiliate links. These don't influence any of our recommendations or content, but they may make us a small commission. For more info, see Concrete Playground's editorial policy. Images: Marc McAndrews.
Some pop star dreams just aren't meant to be, and The Idol's are now among them. Whether you watched some of it, the whole thing or simply read about it (because no one could avoid the latter), the HBO series has been one of the most talked-about shows of 2023 — when it started dropping sneak peeks from July 2022, too, but especially once it hit streaming in June this year. All that chatter hasn't inspired the US network to bring it back for a second season, however, and unsurprisingly. As per Variety and The Hollywood Reporter, the show has been cancelled after its first season — which ran for five episodes, and focused on singer Jocelyn (Lily-Rose Depp, Voyagers) and nightclub impresario Tedros (Abel Tesfaye, aka The Weeknd). "The Idol was one of HBO's most provocative original programs, and we're pleased by the strong audience response," said a HBO representative in a statement. "After much thought and consideration, HBO, as well as the creators and producers, have decided not to move forward with a second season. We're grateful to the creators, cast and crew for their incredible work." Set within the music industry, The Idol followed Jocelyn as she attempted to make a comeback, got caught up in controversy and met Tedros. It bears more than a passing resemblance to UK series I Hate Suzie, but with its own stacked cast — and with Sam Levinson, the mastermind behind Euphoria, creating it alongside The Weeknd. The Idol's packed list of on-screen talent also spanned Red Rocket's Suzanna Son, Boy Erased's Troye Sivan, Schitt's Creek's Dan Levy, singer-songwriter Moses Sumney, BLACKPINK's Jennie Kim, Only Murders in the Building's Da'Vine Joy Randolph, Hacks' Jane Adams, Bodies Bodies Bodies' Rachel Sennott and Inglourious Basterds' Eli Roth. Also appearing: Hank Azaria (Hello Tomorrow!), Hari Nef (Barbie), Steve Zissis (Happy Death Day 2U), Melanie Liburd (This Is Us), Tunde Adebimpe (Marriage Story), Elizabeth Berkley Lauren (Saved By the Bell) and Nico Hiraga (Booksmart), plus Anne Heche (All Rise) in what was one of her last performances. Controversy surrounded the show not just once it was releasing episodes, but beforehand. Prior to arriving on streaming — before it premiered at 2023's Cannes Film Festival, too — the Los Angeles-set series started with She Dies Tomorrow's Amy Seimetz directing every single episode. But back in April 2022, it was revealed that Seimetz had left the project and reshoots were underway as a result. Reports also surfaced about the working environment — and, neither the viewer nor the critical response was anywhere near glowing, making The Idol's cancellation far always likely. Check out the trailer for The Idol below: The Idol season one streams via Binge in Australia and Neon in New Zealand. Via Variety / The Hollywood Reporter. Images: Eddy Chen/HBO.
The Game of Streaming Services has a new, long-awaited and undeniably powerful player vying for the throne. Apple have unleashed their streaming champion, Apple Music, announced at Apple's Worldwide Developers Conference (WWDC) at San Francisco's Moscone Centre today. Apple Music is set to launch on June 30, locked in for $10 a month (or $15 for the family plan, designed for up to six people). For this monthly fee, you'll get access to the full Apple Music library, 'expert recommendations', Apple's own curated lists of new music, and unlimited skips on Apple's radio stations. Will it work? Can Apple successfully sweep Beats Music under the rug? We're keen to try it out. So where's all this music coming from? Apple Music is linked directly to iTunes, iTunes on-demand and the cloud — we're talking 30 million songs. The streaming service combines music you've bought with music you haven't bought. The new Apple Music interface will show you music videos and artist pages, as well as 'For You' recommendations (one of Spotify, Pandora, Tidal's biggest opportunities for sweet, sweet business). All playlists will be user or DJ generated; a big bird-flip from Apple over algorithm-generated playlisting. Recommendations will also come from the social network element of Apple Music, Connect. Made particularly for artists, the service allows artists to make their own pages (or their labels, managers etc.), allowing artists to share new music and users access to behind the scenes content, photos, interviews, B-sides (yep, all the extra bits Tidal is offering). There's no word yet on the royalties artists will receive (Spotify and Pandora, for example, don't have the most ethical fees around), so watch this space. Radio plays a big role in Apple Music too, with the Beats 1 service (the one BBC's Zane Lowe left his top radio host spot for this year) announced by Apple's Jimmy Iovine today. Apple is calling this the world's first truly global radio station, one which will broadcast 24 hours a day to over a hundred countries worldwide from bases in New York, London and LA. In case you're wondering whether Siri will have her say in Apple Music, you're bang on the money. You can ask Siri to play her favourite song, bring up playlists, or use the service like Shazam with questions like, "Siri, play the LL Cool J song from the end of Deep Blue Sea." Boom. Streamed. Apple Music will be available on Mac, iOS, Apple TV on June 30 and (wait for it) PC and Android later this year. Apple are offering three-month trial membership so you can test it out for yourself. Via Apple and Wired.
UPDATE, November 25, 2021: Due to the weather forecast, BrisStyle Twilight Christmas Market has been postponed from Saturday, November 27 to Friday, December 3. This article has been updated to reflect that change. You might have thought King George Square looked pretty fine during the day and maybe a tad finer at night, but it's at twilight City Hall really shows off its colours. And what better backdrop when you're shopping the evening away — especially when the King George is filled with some of Brisbane's best designers and makers, and you're looking for Christmas presents, The festive offshoot of the regular Brisbane Twilight Market, this event will show off a sizeable array of stalls — more than 80, in fact — all staffed by some pretty nifty and talented local artists. Expect an eclectic selection of items, so prepare to browse and buy. You'll be perusing everything from handmade clothing, accessories and leather goods to paper goods, homewares, art and ceramics (and more). And seasonal gifts, obviously. This market is all about sound, smell and sales — so live music will provide a soundtrack to the evening, and expect to be hit with that spring flowerbed smell that always lingers when there's a soap stall around. Food trucks are also on the agenda, with the market running from 4–9pm on Friday, December 3. So take along some cash and stock up on all things crafty. [caption id="attachment_666947" align="aligncenter" width="1920"] BrisStyle[/caption] Top image: Brisbane City Council.
There are two highly misconstrued clauses about exhibition openings. Firstly, that you have to know a lot about art to go to them. Secondly, that you need an invitation. To set things straight, you actually need neither. Most openings are come one, come many so we've enlisted the experts to help us brave our debut into the commercial art world with A Bluffer's Guide to Art Parties. Who goes? "Exhibition openings are celebrations of art and welcome community participation through discussion," says Nicky Ginsberg, Director of NG Art Gallery in Sydney. "Openings serve to promote awareness and support in the contemporary art scene." Openings are about engaging with art, the artists, gallerists, artsy types and non-artsy types. They are exciting events where guests are in the privileged position of being able to actually meet the artist and talk to them in person about their work and practice. Don't shy away from openings because you 'don't fit the mould' – there's no such thing. Rhianna Walcott, Manager at Artereal Gallery in Sydney, is another oracle we asked. "Exhibition openings in commercial spaces attract a very diverse mix of people including the artist's friends, family and supporters. You also find a mix of the gallery's regular clients and ongoing supporters, as well as collectors and arts industry professionals," she says. What to expect And what should we expect from the evening's festivities? Well, ordinarily, guests are given ample time to browse the art on offer, chat with artists and soak up the atmosphere. Next there's normally a formal speech from either the gallery's director or a guest speaker who will declare the exhibition open. And yes. Complimentary wine and canapés are the norm. But remember not to over indulge. No one enjoys the token drunk kid in the corner who has suddenly become an expert on all things contemporary art. Needless to say you're there for the art and engagement, not the free booze. Art criticism 101 Now that we've covered the who and what, we should probably discuss the how and when. The question of how to navigate your way around an opening can be a tricky one. For first timers, Ginsberg offers the advice: "Don't be shy, on arrival survey the room; if in doubt, go clockwise. Take in the art by asking yourself: do I like it? Why don't I like it? How was it made?" "Spend the first ten minutes or so looking at all the work and reading through the available information on the exhibition – curatorial text, artist biography etcetera. If you are serious about engaging with the work in the exhibition it is best to read up on the artist via the gallery's website in advance. This gives you some context and prior knowledge, which will allow you a better appreciation of the work when you do see it in the flesh," adds Walcott. The when of exhibition openings varies. Most, however, are hosted during the week, after hours, from around 6-8pm. Talking art Before presenting our fast fact manual, we'd like to leave you with a few crucial words of departure from the experts. "If in a conversation about the art on offer, it is advised to engage your companion's opinion and relationship to the artist before slandering harsh criticism," offers Ginsberg. And from the Walcott camp: "The art world is not as uptight as it is made out to be. Never be afraid to approach people whether it is the artist or the gallerist, or just the person standing next to you. Galleries feel a responsibility to create a welcoming environment where anyone can come to experience and learn about the work." Fast facts Who: Commercial exhibition openings welcome all and it is not necessary to RSVP. What: An exhibition opening is an event hosted by an art gallery/institution to formally open an exhibition. You go to them to be educated, to celebrate and to congratulate. When: Varied, but usually on a weekday evening from 6-8pm. Where: All galleries on the commercial circuit host exhibition openings to expose artists' work to the public. How much: Usually free, with the exception of invite-only openings or ticketed launch events (usually reserved for major public art institutions). Mingle like a pro: Don't: Use fancy words you don't know the meaning of when discussing a work just to impress someone. Do: Try descriptive words like 'costly', 'historic', or 'monotonous' rather than 'rip off', 'big', or 'boring'. Don't: Overlook the art nearest the bar. Do: Use the art near the bar as a conversation starter in the likely event there is a queue. Don't: Assume you know everything about the artist just because you've read the catalogue essay. Do: Read up on the artist before the show if you want to get the most out of the opening. Don't: Forget that 'modern' and 'contemporary' are different genres in art history. Do: Be inquisitive if other guests start dropping art historical terms, mid-conversation, that you don't understand. Don't: Say 'I could do better than that'. Do: Say you've been inspired to create your own art.
Haute couture. Murder. Disco tunes and Studio 54. Throw in one of the biggest names in fashion — and a tale that's filled with both glam and grim strands, too — and that's House of Gucci. Ranking highly among the most anticipated movies set to hit the big screen across the rest of 2021, this Ridley Scott (All the Money in the World)-directed drama steps inside the Gucci family fashion dynasty, charting its successes and shocking moments over the course of three tumultuous decades. If you've read the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed, which this new film is based on, then you'll know the details. If you've seen news coverage about or can remember the events that rocked the Italian family back in 1995, you will as well. The focus: Maurizio Gucci, grandson of company founder Guccio Gucci, and the head of the fashion house throughout the 80s and early 90s — until he was assassinated by a hitman in 1995. Adam Driver steps into also Maurizio's unsurprisingly stylish shoes, in what's proving a big year for him in cinemas. He'll also grace the big screen in Scott's next film The Last Duel, which is due to release in October — a month before House of Gucci arrives in November. In the latter flick, he's joined by Lady Gaga in her first big-screen role since A Star Is Born, this time playing Maurizio's wife Patrizia. Obviously, there's quite the tale to tell — and, as the just-dropped first trailer for House of Gucci shows, Scott is going big on striking threads, 70s and 80s tunes and vibes, indulgence and luxury dripping through in every frame, and also an unavoidable air of melodrama. To help, the star-studded cast also includes Jared Leto (The Little Things) sporting plenty of prosthetics and makeup, as well as Al Pacino (The Irishman), Jeremy Irons (Love, Weddings and Other Disasters) and Salma Hayek (The Hitman's Wife's Bodyguard). As the trailer reminds us, that's a whole lot of Oscar-winning and Oscar-nominated talent in one flick. Check out the trailer below: House of Gucci will release in Australian cinemas on November 25.
Everyone should be able to fill their walls with art no matter their bank balance. That's the idea behind Affordable Art Fair, and has been since 1999. Back in the 20th century, the event initially popped up in London to share eye-catching pieces with the world at manageable prices, and then started spreading its art-for-all ethos around the world. A quarter-century later, it's now set to make a Brisbane appearance. For four days in May 2024 — from Thursday, May 9–Sunday, May 12 — the first-ever Affordable Art Fair Brisbane will debut at Brisbane Showgrounds. On offer at the Bowen Hills venue will be original artworks by the thousands, with prices starting from $100. If you are feeling flush with cash, however, costs will max out at $10,000 per piece. The fair's arrival in the River City adds to a footprint that spans 17 fairs in 16 cities, including in Melbourne and Sydney already. The 2024 run will also see both Berlin and Austin join Affordable Art Fair's ranks as host spots. Making repeat visits, the event will return to London, Brussels, Hamburg, Stockholm and Amsterdam in Europe, Singapore and Hong Kong in Asia, and New York in the US as well. Unsurprisingly, democratising art has been proving the hit as Affordable Art Fair notches up the years. Across its stops worldwide since 1999, the event has sold 568,000 artworks at a value of over AU$820 million. In Brisbane, more than 40 independent Australian galleries will have pieces up for sale, alongside Asia-Pacific institutions. Among the Aussie contingent, Studio Gallery, Revival Art & Design, The Toowoomba Gallery, Wentworth Galleries, MG and Co and JUMBLED will all be represented. Buying art isn't the only drawcard, though, with talks, tours, workshops, live tunes, bites to eat, drinks and live artist demonstrations all also on the agenda. "Affordable Art Fair focuses on the fun side of viewing and buying art and seeks to put art into every home, no matter the size or buyer's budget," explains Australian Fair Director Stephanie Kelly. "The mission of the fair is to democratise and demystify the art world and make art accessible to all. Unlike traditional art fairs, every exhibited work is from a living artist, every artwork on display lists a sale price and every artwork is looking for a new home." Affordable Art Fair Brisbane will take place from Thursday, May 9–Sunday, May 12, 2024 at the Brisbane Showgrounds Exhibition Building, 600 Gregory Terrace, Bowen Hills — head to the event's website for tickets and more details.
After a brief sneak peek featured in Disney+'s teaser trailer for its 2025 slate, The Handmaid's Tale has unveiled its first proper look at its upcoming sixth season — the dystopian thriller's final run. Since 2017, watching the series has meant wishing for one thing: the end of Gilead, the totalitarian, male-dominated society that rules the show's dystopian version of the United States. (No, not the masterplanned Sydney community of the same name.) In the award-winning series adapted from Margaret Atwood's book, that outcome is finally coming in a way, and fans will be able to see how the tale wraps up from April 2025. For June (Elisabeth Moss, The Veil) and her fellow red-wearing women, revolution is also coming. Rallying against the oppressive status quo however possible has sat at the heart of this series since day one — and in the last season, June is back in the fight. The teaser trailer for season six is narrated by its protagonist, noting the ways that the regime tried to push her and her fellow women down, including via their restrictive attire. "The dress became a uniform — and we became an army," June advises. Of course, it's highly likely that The Handmaid's Tale won't conclude with the total destruction of Gilead, because a TV version of The Testaments in the works — and is set to arrive sometime after The Handmaid's Tale finishes its run. It too is based on an Atwood novel, on her sequel to The Handmaid's Tale, which hit shelves in 2019, which means that her fictional nightmarish realm isn't going far. If you haven't read the book, The Testaments is set 15 years after the events of its predecessor, and also includes familiar characters. How that'll play into the end of The Handmaid's Tale on-screen obviously hasn't been revealed. For now, blessed be your streaming queue with The Handmaid's Tale season six this autumn — and praise be what looks like one helluva reckoning. Alongside Moss, Yvonne Strahovski (Teacup), Bradley Whitford (The Madness), Max Minghella (Maximum Truth), Ann Dowd (The Friend), O-T Fagbenle (No Good Deed), Samira Wiley (Breaking News in Yuba County), Madeline Brewer (Space Oddity), Amanda Brugel (Dark Matter), Sam Jaeger (Wolf Man) and Ever Carradine (The Neighbourhood) all return among the cast, with Josh Charles (Moss' The Veil co-star) a new addition. The sixth season of The Handmaid's Tale debuts in the US on Tuesday, April 8. Down Under, it streams via SBS On Demand and Neon. Check out the first teaser trailer for The Handmaid's Tale season six below: The Handmaid's Tale season six debuts on Tuesday, April 8 — and streams Down Under via SBS On Demand and Neon.
It's beginning to look a lot like Christmas around Brisbane, as happens each year once Halloween ends and November arrives. But from Friday, November 25, for a whole month leading up to the big day, the Brisbane CBD and South Bank will be brimming with festive cheer — whether you're keen on shopping your way through markets, peering at dazzling lights or getting comfy (and merry) with a drink in your hand. The lineup of Christmas events that'll be decking out the city's two major inner-city precincts is as stuffed as a stocking, and filled with both beloved returning highlights and new reasons to get merry. Some, like the Enchanted Garden in Roma Street, are popular favourites set to dazzle again. Others, like the 'Tinsel Tavern' and Christmas jazz lounge, are fresh additions to your seasonal itinerary. It all kicks off on Friday, November 25 with the annual lighting of King George Square's 22-metre-tall Christmas tree, as well as the Enchanted Garden's launch. But, mark most of December in your diary, as that's when the bulk of the rest of the events take place. For nabbing gifts, Brisbane Arcade's two-day Christmas markets, the BrisStyle twilight Christmas markets in King George Square and The Collective Markets' six-day Christmas edition at South Bank all return, joining the city's hefty list of places to browse and buy beyond shopping centres. In the CBD, there'll also be nightly light shows at City Hall, running from 7.30pm–12am from Friday, December 9–Saturday, December 24; daily roving performances in the mall across the same dates; and the Lord Mayor's Christmas Carols on Saturday, December 10 at the Riverstage. Or, kick back at the jazz lounge around the Queen Street Mall's stage, with performances by Scat Jazz. South Bank will concentrate its festive fun between Saturday, December 17–Thursday, December 22, including daily pantomime shows, a free Santa photo station at Flowstate, and the return of Christmas Cinema by the river — complete with free double features, with Elf, Last Christmas, Arthur Christmas, National Lampoon's Christmas Vacation, The Holiday, How the Grinch Stole Christmas and Happiest Season among the flicks on the bill. And, the Tinsel Tavern will set up on Little Stanley Street Lawn, serving tipples nightly from 4.30–10pm — and thoroughly saying cheers to the silly season.
If a great restaurant is all about the location, food and talent, then Brisbane's next big addition has hit a trifecta: it's opening on Queen Street in the CBD with prime river views, features a meat-heavy menu with a particular focus on steak, and hails from restaurateur Chris Higgins (ex-Cha Cha Char) and TV chef Adrian Richardson. That new eatery is BŌS, a 120-seater settling into Otto Ristorante's old Dexus Tower digs from Tuesday, November 15 — and that's just the first stage of its launch. BŌS takes its name from the Latin word for beef, which is indeed reflective of its menu. Here, you'll find steak tartare, eight cuts from the grill included a bacon-wrapped fillet mignon, and two giant 1.2–1.5-kilogram options to share all on offer. The pasture- and grain-fed beef and wagyu range is also complemented by a lineup of cuts in a glass dry-ageing cabinet, which guests can buy and reserve, then eat via the BŌS 'Cleaver Club' whenever they feel like it. View this post on Instagram A post shared by @bos_brisbane Clearly, if steak is your favourite meal, you'll be in heaven, with Higgins, Good Chef Bad Chef and Richo's Bar Snacks star Richardson, and lawyer Liam McMahon teaming up to give the River City its next carnivorous go-to. Diners will also find oysters three ways, chargrilled Fremantle octopus, house-smoked salmon, sand crab lasagne, crackling-wrapped pork loin and duck breast with black garlic on the menu, however, as part of BŌS embrace of different types of proteins. The culinary theme, other than meat: modern Mediterranean, as also seen in the lineup of handmade small goods like salamis, bresaola and pastrami; the southern rock lobster with hand-cut mafaldine pasta; and the hand-stretched buffalo mozzarella. Overall, Richardson is also taking cues from La Luna, his bistro in Carlton in Melbourne since 1998. "For over ten years we've been waiting for the right time to bring the soul and character of La Luna's style of cuisine to Brisbane," he explains. View this post on Instagram A post shared by @bos_brisbane BŌS' sides range covers creamy mashed potatoes, wagyu-fat roasted spuds and a selection of other vegetables, while the dessert options include vanilla bean crème brûlée, Basque cheesecake, strawberries and cream, cheeses, ricotta doughnuts and dark chocolate brownies. Espresso martinis and affogatos fall into the 'liquid dessert' category, but thanks to restaurant manager and sommelier Romain Maunier (Montrachet, La Cache a Vin), the drinks list spans far further. The vino choices favour drops from high-end producers in Australia, France and Italy, and the cocktail and spirits offerings fills seven pages. Keep an eye out for an around-the-world gin selection, Bond-style martinis, share jugs of sangria and three kinds of spritzes. Decor-wise, this Sunshine State newcomer heroes green hues and a plush fitout, with local interior design outfit Alkot Studio also favouring rounded edges, warm light, plenty of linen, and polished marble and brass. That's what you'll soak in while sitting at tables and banquettes, or in the restaurant's al fresco seating. View this post on Instagram A post shared by @bos_brisbane While all the above should tempt you in the door ASAP, plan a return trip to BŌS from January 2023, which is why its champagne and cocktail terrace bar — called The Aviary Terrace Bar — will open. Primed for summer sips, but also bound to be a must-drink spot year-round given Brisbane's usually sultry weather, it'll do full bottle service with city views. Find BŌS on level four, 480 Queen Street, Brisbane, from Tuesday, November 15 — open 11.30am–12am Tuesday–Saturday. The Aviary Bar and Terrace is set to open in January 2023, and we'll update you with further details close to its launch.
A world-first exhibition dedicated to the late Nelson Mandela has opened in Australia, in what would've been the Nobel Peace Prize laureate's 100th year. Travelling exhibition MANDELA My Life runs from September 22, 2018 to March 3, 2019, with Melbourne Museum hosting the most comprehensive collection of the human rights icon's memorabilia ever to be shown outside South Africa. Alongside a huge assortment of artefacts, including the warrants of committal for Mandela's 27-year stint in prison, the exhibition explores his life through a series of film and audio archives. In total, more than 200 pieces from The Nelson Mandela Foundation and Nelson Mandela's private collection are on display, taking up ten galleries. Highlights include an immersive film piece that places attendees in the courtroom as he delivers his 1964 Rivonia Trial speech against apartheid, a seven-metre-long projection wall that charts his journey through childhood, and a gallery filled with small cell-like rooms based on his time in prison. Visitors can also relive the events of Mandela's first day of freedom in 1990, view a selection of the colourful patterned 'Madiba shirts' he was known for wearing, and see the signed boxing glove gifted to Mandela by Muhammad Ali. In addition, MANDELA My Life includes 16 original artworks by South African artist John Meyer, each of which depicts an event from or theme of Mandela's life. An exhibition within the exhibition, it features renderings of Mandela's childhood in Qunu, his years as a dedicated lawyer in 1950s Johannesburg, his time in jail and and his post-release achievements. Victorian Minister for Tourism and Major Events John Eren said that Melbourne's hosting of the centenary exhibition was a huge win for the city. "Nelson Mandela fought every day for freedom, love and human rights — changing the world and making it a better place," Eren said. "We're proud this exhibition is making its world debut in Victoria, continuing Mandela's incredible legacy and reminding us all that it's in our hands to make a difference." MANDELA My Life is supported by the Nelson Mandela Foundation, which is the custodian of most of the revolutionary's personal photographs, documents and memorabilia. After premiering in Melbourne, the exhibition will embark on a world tour of up to 20 cities, expected to be seen by as many as 2.7 million visitors globally. MANDELA My Life is on display from September 22, 2018 to March 3, 2019 at Melbourne Museum, 11 Nicholson Street, Carlton. For tickets and more information, visit the exhibition's website. Images: 'Father of the Innocents' from the series 'Mandela, A Life's Journey' by John Meyer / Keith Bernstein / Jon Augier, Museums Victoria/
The life and times of 20th century music and cultural icon, Bob Marley, are explored through the deeply raw and poignant documentary, Marley. Kevin Macdonald directed the film in an attempt to allow audiences to get to know the man behind the myth a little better. The two and a half hour documentary features never before seen footage and photos from Marley's early life and final years; from his years as a mixed-race farm boy, Marley's time on the streets in Kingston's Trenchtown, his worldwide fame, through to his cancer diagnosis and slow subsequent demise. Marley reinforces the cultural significance of this Jamaican hero, who still resonates in music lovers' hearts all over the world almost 30 years after his death. Commentary is provided by the family members and friends who knew him best, and the film includes concert footage of four previously unseen songs. All of this is woven together in a seamless stream of revelations to sate the appetites of even the most ardent, die-hard Marley fans. Macdonald and Marley's children and grandchildren also wished to preserve Marley's legacy through the documentary and highlight his driven and ambitious work ethic, whilst quelling the notion that his marijuana smoking led him to lead a slow-paced or lazy lifestyle. The film powerfully captures the quirkiness of the Marley clan as well as providing a musical journey that outlines the development of the sub-culture of reggae and the instrumental role Marley had in this. Concrete Playground has ten double passes to giveaway to see Marley. To go in the running to win tickets, make sure you're subscribed to Concrete Playground then email your name and postal address to us at hello@concreteplayground.com.au
Australia's hot springs fiends and bathing connoisseurs have a lot to be excited about — if a trip to Victoria is in your future, or will be now. First, we learned the much-loved Peninsula Hot Springs crew was planning a new wellness and bathing precinct for East Gippsland, the Metung Hot Springs. Then, a proposal for a 900-kilometre trail linking the state's hot springs and other bathing spots was unveiled. And now, it's time to actually start planning those Gippsland-based bathing adventures, because the Metung Hot Springs has announced an initial launch date, with bookings to open in a matter of days. The first phase of the $100-million precinct's long-awaited grand opening is slated for Saturday, October 29 — and you can jump online to book a visit from Monday, September 19. Much like its Mornington Peninsula sibling, the Gippsland site is set to be one giant haven of wellness and indulgence, nestled on 25 acres surrounded by coastal bushland and located within strolling distance of the quaint lakeside village of Metung. Guests will be able to soak in cliff-top barrels overlooking Lake King, let off steam in various architecturally designed saunas (including a floating one), pamper themselves at the day spa and rejuvenate while bathing in pools filled with geothermal water. There'll be bush walks to wander, plunge pools to get your blood pumping, and all-day dining options to refuel in between dips, too. Located four hours out of Melbourne, Metung Hot Springs will also feature onsite accommodation, including safari-style glamping tents each decked out with its own private balcony and geothermal bathing barrel. As announced earlier, the bathing precinct is also joining forces with — and renovating — the nearby former Kings Cove Golf Course, soon to relaunch as the Metung Country Club. It'll have its own resort-style accommodation and facilities, and a revamped clubhouse and restaurant, with 'stay, bathe and golf' packages on offer across the two sites. [caption id="attachment_869322" align="alignnone" width="1920"] Metung Hot Springs glamping[/caption] Meanwhile, those looking to indulge in some 'me' time can immerse themselves in the offerings of the onsite day spa, centred on authentic Larn'wa Aboriginal Lore wellness rituals incorporating native botanical spa products. The hot springs project is being brought to life with the help of $1.5 million in funding courtesy of the Victorian Government's Gippsland Tourism Recovery Package, as well as an additional $1.5 million from the federal and state governments' Local Economic Recovery Program In other related news, Victoria's proposed bathing and hot springs trail is set to start taking shape over the coming summer months, with the latest map and venue updates available to scope out online. Keen on multiple trips south to hit the hot springs? Back on the Mornington Peninsula, Alba Thermal Springs and Spa is on track to open its own doors in a matter of weeks, now taking spa and bathing bookings from September 26 onwards. Metung Hot Springs will open to customers from Saturday, October 29 at 73 Storth Ryes Avenue, Metung, Victoria. Online bookings are open from Thursday, September 19.
When the UNESCO's World Heritage Committee sends some attention Australia's way, it often comes bearing good news. Back in 2019, it added the stunning Budj Bim Cultural Landscape to the World Heritage List, for instance. The body has also given Kakadu National Park, K'gari, the Tasmanian wilderness, the Greater Blue Mountains area, the Sydney Opera House, and the Royal Exhibition Building and Carlton Gardens the same status, too — and, among 20 Aussie places that've earned a spot on the list, the Great Barrier Reef as well. At the moment, the organisation has turned its focus to the Great Barrier Reef again. This time, though, it's doing something other than highlighting its splendours. In a new report by the offshoot of the United Nations Educational, Scientific and Cultural Organisation, the WHC has recommended that the coral reef system off the coast of Queensland should be added to the list of world heritage sites that are in danger. Explaining its rationale, the WHC said that "the long-term outlook for the ecosystem of the property has further deteriorated from poor to very poor" since 2015, and that it has "suffered significantly from coral bleaching events in 2016, 2017 and most recently in 2020, as a result of global warming." It noted that in the past five years, "both the current condition and the long-term outlook for the property have deteriorated. Therefore, there is no possible doubt that the property is facing ascertained danger." The Australian and Queensland governments have a Great Barrier Reef policy — the Reef 2050 Plan — which outlines how they're working to protect and manage the reef until the middle of this century. But the WHC noted that so far "progress has been insufficient in meeting key targets." It also stated that the plan "requires stronger and clearer commitments, in particular towards urgently countering the effects of climate change, but also towards accelerating water quality improvement and land management measures. The widespread effects of the consecutive coral bleaching events further add to the significant concerns regarding the future of the property." [caption id="attachment_796501" align="aligncenter" width="1920"] Tourism and Events Queensland[/caption] The Guardian reports that if the recommendation to place the Great Barrier Reef on the in danger list goes ahead, Australia will be a pioneer in all the wrong ways — because it'll mark the first time that a natural world heritage site has been classed as "in danger" primarily due to climate change. UNESCO has asked Australia to work with the WHC to "address the threat posed to the property by climate change and determine a pathway for accelerated actions in other areas affecting the conservation of the property"; however, Federal Minister for the Environment Sussan Ley has said that the country will challenge the draft reef recommendation. "I agree that global climate change is the single biggest threat to the world's reefs but it is wrong, in our view, to single out the best managed reef in the world for an 'in danger' listing," the Minister said in a statement. To read the full UNESCO World Heritage Committee report head to the UNESCO website.
You've forsaken smashed avocados, saved all your cash and somehow have enough money to purchase your own property — and, naturally, you want to make the transaction count. May we suggest a 16th-century British cottage that's been dubbed the most haunted house in the UK? Anyone can buy an apartment in the suburbs, but only one person can nab a notorious spot that was once a medieval witch prison. Located in St Osyth in Essex, the property in question is known as The Cage. Back in the late 1500s, it was used to house 13 women accused of witchcraft while they were awaiting trial. Three were ultimately sentenced to death by hanging, including the infamous Ursula Kemp — a midwife and healer who came under suspicion after people in her neighbourhood, including children, became sick and died. That's not the end of The Cage's unnerving story. In the years until 1908, the house was also used to detain men, women, and children. Unsurprisingly, the spot has featured on local ghost tours and as the subject of a television docudrama, with current owner Vanessa Mitchell even co-writing a book about her spooky experiences living in the property. [caption id="attachment_726177" align="aligncenter" width="1920"] Right Move[/caption] Mitchell's time onsite was short-lived — she moved out "because of the relentless paranormal activity" according to Home Domus, who've listed the house for sale — however she has owned the spot since 2004. If you're keen to follow in her footsteps and you have £240,000 or more to spare, the two-level house features three reception rooms, a kitchen, a ground floor cloakroom, two bedrooms and a bathroom. Outside, a walled courtyard comes complete with a door to a walkway known as "Coffin Alley", where dead bodies were once transported on the way to the local cemetery. Top image: Home Domus 360.
As a country girt by sea, it's easy to take Australia's sandy waterside for granted. But just like our ever-rising temperatures, ever-lingering drought conditions and increasingly widespread bushfires, our coastline isn't immune to climate change. Nor, with oceans both warming and rising, are our beaches guaranteed to withstand it. In Stockton Beach, in Newcastle's north on the NSW coast, this grim reality has been making its presence known for decades, all due to continuing coastal erosion. Since huge storms back in 2015, which cost the beach millions of tonnes of sand, it has been a particularly prominent issue; however, in the past few weeks, the spot has completely lost its coveted patch of sand. It happened quickly, too — the Newcastle Herald reports that "a section of the beach lost 2.5 metres in sand height" in just five hours. The paper estimates that around 500,000 cubic metres of sand (50,000 truck loads) would be required to replace what's been lost so far. So instead of somewhere to sit and sunbathe, beachgoers are now met with rocks, sand cliffs and a waterline much closer than it has ever been before. At the south end of the beach, the sand in front of the nearly 112-year-old Stockton Surf Life Saving Club, the adjacent car park and Lexie's Cafe have been particularly hard hit and, unsurprisingly, the City of Newcastle has closed all access points to the beach — except for the one at the Mitchell Street breakwall — until further notice. This aerial footage from The Guardian shows pretty clearly how severely the beach has been affected. [caption id="attachment_744112" align="alignnone" width="1920"] Save Stockton Beach[/caption] As Newcastle's Lord Mayor explained at a council meeting last week, the catastrophic current situation has been caused by large swells in the recent weeks. The council is now undertaking emergency works, such as sandbagging, in the hope it can get Stockton Beach to condition that's useable for the public. The "preferred option" is to bring sand back in to the beach — an option that relies on the NSW Government's Coastal Zone Management Program. In good news, according to the ABC, the State Government has just approved $250,000 in funding for the council and has declared the beach a Significant Open Coast Location, meaning that the council can apply for emergency funding at any time. Shelley Hancock, the Minister for Local Government, says that the council's applications for funding are "currently undergoing a rapid assessment so that works can be undertaken as a matter of priority". Fast-tracking a mooted gas terminal at Kooragang Island, which could see sand dredged and relocated to Stockton, has also been floated as a solution — but it would require a statewide ban on offshore dredging to be lifted. Back in June, the council discussed offshore sand extraction, noting that it was "one of the only viable methods for large-scale beach nourishment along the open coast". At the time of writing, a GoFundMe campaign to save the beach has raised over $18,000, and a the Save Stockton Beach Facebook page is trying to raise awareness around the issue. Losing a beach is a bleak prospect, but the effects far span beyond just losing somewhere to lay out a towel. As the landscape changes, the sand shifts, threatening nearby buildings. The local daycare centre has been forced to shut due to the erosion, with the structure set to be demolished. Cabins at the nearby holiday park were also vacated last week, as a precautionary measure, although they've since been re-opened. Coastal erosion is by no means limited to Stockton Beach, of course. Due to rising temperatures and wild weather, sea levels are rising and eating into coastlines around the world, from England to Tunisia. And with similarly bleak scenarios happening across Australia — from Sydney to Melbourne to Perth to Adelaide — stories like these are sadly likely to increase in frequency. If you live near, or are travelling to, Stockton Beach, check the City of Newcastle website for updates on the beach accessibility. To help, you can get in touch with the Save Stockton Beach group — or keep striking for the government to take action on climate change to prevent this happening to more of our country's epic beaches. Images: Save Stockton Beach Facebook.
Sometimes it festers in the hearts of killers. Sometimes it's the reason that villains keep stalking heroes. Sometimes, otherworldly forces are at play. However it graces the big screen, evil is a complicated concept — but cinema also frequently handles it in a muddled and simplistic fashion. Increasingly, as seen in origin stories like Joker and Cruella, profound wickedness has a relatable, almost-excusable reason. Acknowledging that bad things can just happen and unpleasant people can just exist without explanation (so, opting for something far more sinister and also much more realistic) is becoming rare. The other frequently deployed movie rationale, especially in horror, sits at the heart of one of the biggest cash-earning current franchises there is. In The Conjuring films and their spinoffs, evil lurks because literal demons also lurk. Different tactic, same result. Starting in 2013 with The Conjuring, expanding with 2014's Annabelle, and also including The Conjuring 2, both terrible and much better sequels to Annabelle, the dismal The Nun and the formulaic The Curse of the Weeping Woman, The Conjuring Universe now spans eight evil-fighting flicks — and they're all as straightforward as it gets regarding battling the nefarious. Circling around real-life paranormal investigators Ed and Lorraine Warren, the franchise posits that the supernatural exists, darkness preys upon the innocent and its central couple usually has the tools to combat everything untoward. That template remains firmly in place in The Conjuring: The Devil Made Me Do It. That said, the third Conjuring flick within the broader Conjuring realm does attempt a few changes. Rather than getting creeped out by haunted houses, it gets spooked by a kid and then a teenager who are both possessed. True to form, bone-shakingly horrific things can't simply occur without some kind of excuse and entity at play. The Warrens (Patrick Wilson, Aquaman, and Vera Farmiga, Godzilla: King of the Monsters) are first tasked with saving eight-year-old David Glatzel (Julian Hilliard, WandaVision) from a demon after his family moves to stereotypically sleepy Brookfield, Connecticut. Their efforts seem successful, even if Ed has a heart attack mid-exorcism, but the evil force they're fighting has really just jumped ship. Arne Johnson (Ruairi O'Connor, The Spanish Princess), the boyfriend of David's sister Debbie (Sarah Catherine Hook, NOS4A2), is quickly besieged by strange occurrences. He's soon also covered in blood after stabbing his landlord to Blondie's 'Call Me'. The death penalty beckons; however, the Warrens convince Arne's lawyer to plead not guilty by reason of demonic possession — the first time that ever happened in the US — and then commit to unearthing whatever paranormal details they can to save his life. The trailer for The Devil Made Me Do It teases legal thrills, but in a bait-and-switch way — because this film is barely concerned with Arne's court case. The true tale, which was previously dramatised in a 1983 TV movie starring Kevin Bacon, merely provides an easy setup here. Sticking to the facts hardly bothers director Michael Chaves (The Curse of the Weeping Woman) and screenwriter David Leslie Johnson-McGoldrick (Aquaman). Instead, the pair focus on the usual bumps, jumps and scares that have haunted this franchise since day one. Taking their cues from James Wan, the Australian Saw and Insidious co-creator who helmed the first two Conjuring flicks, The Devil Made Me Do It has all the eerie noises and sudden frights down pat, in fact. More of them are just splashed across the screen, attempting to unnerve the movie's audience with the gusto of a well-oiled machine. As the series' creator and producer, if Wan had opted to call this one The Conjuring 3: Conjuring Harder, the title would've fit. There's a difference between nailing the technical basics and making them engaging, though. This many movies in, The Conjuring Universe should be aiming for more than the former. It definitely shouldn't be cribbing from The Exorcist as gleefully as The Devil Made Me Do It does. Chaves and Johnson-McGoldrick — and Wan, who has a story credit — also forget that if you repeat something too often, it stops being unsettling. In comedy, some gags grow the more they go on, such as The Simpsons' classic Sideshow Bob rake sequence, but the same doesn't prove true in horror when shadowy figures loiter, things keep moving that shouldn't and sounds blast suddenly. All three use the element of surprise, and yet there's no chance anyone watching will be caught unawares by the The Devil Made Me Do It's souped-up demonic antics. And, don't go expecting a meaningful examination of satanic panic, or the way that conservative sections of society need something to blame for life's ills. In this movie, it's just a given that some folks stray from faith, become evil occultists and commit dastardly deeds. As this series has done over and over, it's also a given that femininity draws the short straw. An accused witch, a Raggedy Ann doll, a nun and the ghost of a mother have all symbolised evil in The Conjuring Universe's eyes, but the franchise does look fondly at one woman: Lorraine Warren. As played by Farmiga, she's depicted as the unwavering maternal presence always by Ed's side, and almost the clairvoyant Scully to his demonologist Mulder. It's that dynamic, and the investment that Farmiga and Wilson put into their roles, that keeps prolonging the series. It gives the Conjuring films, including this one, a centre to clutch onto — no matter how much Hollywood sheen has been buffed over the real-life figures, which is plenty. The Devil Made Me Do It needs them, even emphasising their love story, but that feels as standard as everything in the movie. Nonetheless, alongside Australian actor John Noble (Fringe) as a priest, Farmiga and Wilson are the best things about this routine, happily by-the-numbers, never remotely terrifying threequel. Indeed, the fact that more flicks will undoubtably still follow is the scariest thing about the film.
Seeing the Great Barrier Reef sits on every Australian's bucket list, especially given that the thriving underwater expanse is under threat from climate change. And while most of us have been content to simply swim, snorkel or sail through it — or stay in the Whitsundays and gaze out at it from a sandy beach — visitors to Queensland's far north can now spend a night underwater. Get ready to sleep under the sea at Reefsuites, the Great Barrier Reef's very own underwater hotel. It's not the first space of its type around the world — a resort in the Maldives, submerged villas in Dubai and a room at an African hotel all boast similar experiences — but it is the first at this Aussie natural wonder, and in Australia in general. Launching on Sunday, December 1 as part of a new floating pontoon called Reefword — which is moored at Hardy Reef, around 40 nautical miles from Airlie Beach — Reefsuites features two underwater rooms that can sleep four in total. Guests can choose betweeen king double or twin single options, and each room comes with floor-to-ceiling views of the Great Barrier Reef and its marine life. Those underwater vistas are a highlight not only in the bedrooms, but in the attached private ensuites A stay onsite includes all meals, most beverages (beer and wine are part of the package, but cocktails will cost you extra), a night dining experience under the stars, a guided snorkelling tour and a semi-submarine tour, and access to the underwater observatory. Naturally, it doesn't come cheap. Enjoying all of the above will start from $799 per night per person for a double booking (two people in a room), or $1199 for a single — and that covers a stay from 4.30pm on the day of arrival until 2.30pm the next day. As for the $8 million Reefworld pontoon itself, it's a partnership between Cruise Whitsundays and the Queensland Government, and has the capacity to host 300 visitors per day. Measuring 12 metres by 45 metres, it's designed as a hub for diving and snorkelling — as well as a place to stay — and also offers guests access semi-submersible vessels. Announcing the project back in August, Queensland Tourism Industry Development Minister Kate Jones noted that Reefworld and Reefsuites will add something new and unique to the popular tourist hotspot. "This will give more people the chance to see the Great Barrier Reef and will allow tourists to experience this natural wonder in new ways." The aim, of course, is to ramp up tourism, with an extra 60,000 visitors per year expected thanks to the new attraction. For more information about Reefsuites, or to book a stay, visit the Cruise Whitsundays website. Images: Cruise Whitsundays.
Residents of Auckland, Adelaide, Wellington, Perth, Melbourne and Brisbane, rejoice — you're living in some of the world's most liveable cities. Thanks to lockdowns and other pandemic restrictions, life in both Australia and New Zealand has been far from normal over the past year and a half; however, six Down Under spots have ranked in the top ten in The Economist Intelligence Unit's Global 2021 Liveability Index. Auckland took out first place, unseating Vienna, which nabbed the top spot for three years between 2018–20. Adelaide came in third, Wellington placed equal fourth and Perth ranked sixth. Also, Melbourne tied for eighth — after coming in second in 2019, and topping the list between 2010–2017 — while Brisbane closed out the top ten. The six Australian and NZ cities were joined by Osaka, which ranked second; Tokyo, which tied for fourth with Wellington; and Switzerland's Zurich and Geneva, which came in at seventh and equal eighth respectively. The annual index ranks 140 cities on stability, healthcare, education, infrastructure, culture and environment, giving each city a rating out of 100. Auckland achieved a score of 96.0 overall — and, at the other end of the list, Damascus in Syria scored 26.5, ranking in 140th spot. It'll come as no surprise that the overall liveability score dropped seven points compared to before the pandemic — or that cities fared better if they had implemented strong border closures, been able to handle the health crisis and/or rolled out vaccines quickly in response to COVID-19. According to the EIU, Auckland soared to the top thanks to "the city's ability to contain the coronavirus pandemic faster and thus lift restrictions earlier, unlike others around the world." The dominance of Australian and NZ cities also came about because "tight border controls have allowed residents to live relatively normal lives." Just missing the top ten: Sydney, which came in 11th. It had ranked third back in 2019. That's hardly a big slide, though, with Vienna now sitting 12th — and the EIU noting that Frankfurt, Hamburg and Dusseldorf, all in Germany, have had the biggest falls among all 140 cities. To read the full Global 2021 Liveability Index, head to the Economist Intelligence Unit's website.
Enjoy being served by a human being at a cafe or restaurant and being able to ask "what are your specials for today?" whilst you can because food delivery techniques are changing fast. Scrap that, they are dropping fast. After flying drones recently emerged to deliver food to patrons at London's renowned YO! Sushi restaurant and beer to festival revellers in South Africa, a group of innovative Melburnians have decided that wasn't cool enough, so they have decided to deliver double the cool. Not only are they serving delicious jaffles in Flinders Lane, they have elected to do it by parachute. That's right, by parachute. Then they gave their service an excellent pun-moniker: Jafflechutes. COOL. Describing themselves as the world's first float-down eatery, Jafflechutes has a process that sounds simple enough. You select your delicious filling (cheese and tomato; cheese, ham and pineapple; or the all-out cheese, roast beef, dill pickles, mushroom and mustard), pay via Paypal, stand on the 'X' at 349 Flinders Lane at your nominated time and catch your snack. Just be aware, if it gets stuck in the tree, then the people at Jafflechutes cannot stress enough to not climb the tree. Wind gods permitting, delicious pockets of cheese filled dough will be raining down on Flinders Lane tonight from between 10pm and midnight, and whilst they have sold out this time around (the Jafflechuters have got 600+ likes on Facebook since starting their page on August 12), they hope to be back in the near future should everything work out fine. What could possibly go wrong? You can follow Jafflechutes on their Facebook and Twitter.
Earlier in 2021, Wildflower Gin grabbed everyone's attention in a very tasty way: by releasing a limited-edition lamington-flavoured tipple. Now, the Gold Coast distillery has launched something else that'll tempt fans of a stiff drink, opening a bar at its Varsity Lakes base. Originally, the Scottsdale Drive spot operated as a cellar door; however, now you can do more than just pick up a bottle. Since Saturday, March 13, it has been pouring cocktails to eager drinkers, who can sip its regular range and try its one-off specials while sitting on antique leather chairs. Heading the menu is Wildflower Gin's lineup of cocktails, including the 'Honeycomb' ($18) and a pink gin sour ($18) — both of which use honey from the distillery's bees. The venue's version of a negroni ($18) uses barrel-aged oaked gin, as well as dehydrated honey-soaked orange, while the lamington espresso martini ($18) heroes the aforementioned lamington vodka, alongside coffee liqueur, fresh coffee and honey. You can also build your own G&T ($10), if that's the type of cocktail you prefer. Just pick from three kinds of gin, four tonics and seven garnishes — and four different types of glass. Decor-wise, vintage collectibles including a piano, typewriters and antique phones are a feature, as is a chandelier made from the old rim of a Ford Model T. The latter has personal significance for Wildflower Gin founder James Greig, as it used to hang in the house he grew up in. Wildflower's gin-making and gin-tasting classes will continue, too. If you're feeling peckish over a drink, though, it's strictly a bring-your-own-food affair — or you can order in while you're there. Booking a table is recommended, and can also bring your pooch in with you.
Since arriving in town a few years back, Salt Meats Cheese has been giving Brisbanites a pizza-filled treat. And, as part of its lineup of Italian eats, it's been known to give the city's residents plenty of specials in its time — including its $29 all-you-can-eat pizza nights every Monday at its Newstead store. "Does this look like someone who's had all they can eat?" isn't something you'll be saying when you devour as many slices as your stomach can handle in 90 minutes, so calm your inner Homer Simpson. The main catch is that you'll have to buy a drink as well, but you can choose from both boozy and non-alcoholic options. Available from 5pm, this hefty feast serves up multiple options, too. You can stick with the $29 pizza-focused option, or add any pasta from the menu to your all-you-can-eat dinner for an extra $5. And if you're vegan or eat a gluten free diet, those can also be catered for for another $6. You do need to finish each serving of pizza or pasta before ordering your next — and everyone at your table must be taking part — but they're hardly tough rules. On the menu: margherita, meat lovers and prosciutto pizzas, plus salami and olives, truffle, prawns, a ham and mushroom calzone, and more.
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Sydney, Melbourne and Brisbane. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. THE FORGIVEN Patience is somewhat of a virtue with The Forgiven. It would be in it, too, if any of its wealthy white characters hedonistically holidaying in Morocco were willing to display the trait for even a second. Another addition to the getaways-gone-wrong genre, this thorny satirical drama gleefully savages the well-to-do, proving as eager to eat the rich as can be, and also lays bare the despicable coveting of exoticism that the moneyed think is an acceptable way to splash plentiful wads of cash. There's patently plenty going on in this latest release from writer/director John Michael McDonagh, as there typically is in features by the filmmaker behind The Guard, Calvary and War on Everyone. Here, he adapts Lawrence Osborne's 2012 novel, but the movie that results takes time to build and cohere, and even then seems only partially interested in both. Still, that patience is rewarded by The Forgiven's stellar lead performance by Ralph Fiennes, playing one of his most entitled and repugnant characters yet. Sympathies aren't meant to flow David Henninger's (Fiennes, The King's Man) way, or towards his wife Jo (Jessica Chastain, The Eyes of Tammy Faye). Together, the spiky Londoners abroad bicker like it's a sport — and the only thing fuelling their marriage. Cruelty taints their words: "why am I thinking harpy?", "why am I thinking shrill?" are among his, while she counters "why am I thinking high-functioning alcoholic?". He's a drunken surgeon, she's a bored children's author, and they're venturing past the Atlas Mountains to frolic in debauchery at the village their decadent pal Richard (Matt Smith, Morbius) and his own barbed American spouse Dally (Caleb Landry Jones, Nitram) have turned into a holiday home. Sympathy isn't designed to head that pair's way, either; "we couldn't have done it without our little Moroccan friends," Richard announces to kick off their weekend-long housewarming party. But when the Hennigers arrive late after tragically hitting a local boy, Driss (Omar Ghazaoui, American Odyssey), en route, the mood shifts — but also doesn't. The wicked turns of phrase that David slings at Jo have nothing on his disdain for the place and people around him, and he doesn't care who hears it. His assessment of the desert vista: "it's very picturesque, I suppose, in a banal sort of way". He drips with the prejudice of privilege, whether offensively spouting Islamophobic remarks or making homophobic comments about his hosts — and he doesn't, nay won't, rein himself in when Richard calls the police, reports the boy's death, pays the appropriate bribes and proclaims that their bacchanal won't otherwise be disturbed. The arrival of Driss' father Abdellah (Ismael Kanater, Queen of the Desert), and his request that David accompanies him home to bury his son, complicates matters, however. While David begrudgingly agrees, insultingly contending that it's a shakedown, Jo helps keep the party going, enjoying time alone to flirt with hedge fund manager Tom (Christopher Abbott, Possessor). John Michael McDonagh hasn't ever co-helmed a feature with his filmmaker brother Martin, but actors have jumped between the duo's respective works, with Fiennes — who starred in Martin's memorable In Bruges — among the latest. The siblings share something else, too, and not just a knack for assembling impressive casts; they're equally ace at fleshing out the characters inhabited by their dazzling on-screen cohorts via witty and telling dialogue. The Forgiven plays like it's in autopilot, though, but having Fiennes, Chastain, Smith and Jones (who appeared in Martin's Three Billboards Outside Ebbing, Missouri) utter its lines is a gift. Indeed, here it's the attitudes captured while they're speaking, and the behaviours and mannerisms made plain in how they're speaking, that add layer upon layer to this murky affair. That'd ring true even if Driss, Abdellah and the tense journey with the latter to inter the former weren't even in the narrative. Read our full review. FULL TIME Perhaps the greatest trick the devil ever pulled — the devil that is time, the fact that we all have to get out of bed each and every morning, and the sleep-killing noise signalling that a new day is here — was to create alarm clocks in a variety of sounds. Some are quiet, soft, calming and even welcoming, rather than emitting a juddering screech, but the effect always remains the same. Whatever echoes from which device, if your daily routine is a treadmill of relentless havoc, that din isn't going to herald smiles or spark a spring in anyone's step. The alarm that kickstarts each morning in Full Time isn't unusual or soothing. It isn't overly obnoxious or horrifying either. But the look on Laure Calamy's face each time that it goes off, in the split second when her character is remembering everything that her day will bring, is one of pure exhaustion and exasperation — and it'd love to murder that unwanted wake-up siren. That expression couldn't be more relatable, as much in Full Time is, even if you've never been a single mother living on the outskirts of Paris, navigating a train strike, endeavouring to trade up one job for another for a better future, and juggling kids, bills, and just getting to and from work. At the 2021 Venice International Film Festival, Antoinette in the Cévennes and Call My Agent! star Calamy won the Best Actress award in the event's Horizons strand for her efforts here — and while the accolade didn't come her way for a single gaze, albeit repeated throughout the movie, it easily could've. Mere minutes into Full Time, it's plain to see why she earned herself such a prize beyond that withering gape, however. Calamy is that phenomenal in this portrait of a weary market researcher-turned-hotel chambermaid's hectic life, playing the part like she's living it. In our own ways, most of us are. The first time the alarm sounds, Julie Roy (Calamy) is already lethargic and frustrated; indeed, writer/director Eric Gravel (Crash Test Aglaé), who won the Venice Horizons Best Director gong himself, charts the ups and downs of his protagonist's professional and personal situation like he's making an unflagging thriller. In fact, he is. Julie is stretched to breaking point from the get-go, and every moment of every day seems to bring a new source of stress. For starters, her job overseeing the cleaning at a five-star hotel in the city is both chaotic and constantly throwing up challenges, and the hints dropped by her boss (Anne Suarez, Black Spot) about the punishment for not living up to her demands — aka being fired — don't help. Julie has put all her hopes on returning to market research anyway, but getting time off for the interview is easier said than done, especially when the French capital is in the middle of a transport strike that makes commuting in and out from the countryside close to impossible. Also adding to Julie's troubles is well, everything. The childcare arrangement she has in place with a neighbour (Geneviève Mnich, Change of Heart) is also precarious, thanks to threats of quitting and calling social services. Having any energy to spend meaningful time with her children at the end of her busy days is nothing but a fantasy, too. Trying to get financial support out of her absent ex is a constant battle, especially given he won't answer the phone — and the bank won't stop calling about her overdue mortgage payments. It's also her son Nolan's (J'ai tué mon mari) birthday, so there are gifts to buy, plus a party to organise and throw. Julie is so frazzled that having a drink with her best friend is a luxury she doesn't have time for, because some other task always beckons. And when a father from her village, the kindly Vincent (Cyril Gueï, The Perfect Mother), helps her out not once but twice, she's so starved of affection that she instantly misreads his intentions. Read our full review. MURDER PARTY With apologies to William Shakespeare, all the world isn't just a stage in French farce Murder Party. Instead, it's a game, then another one, then yet another after that. This candy-coloured murder-mystery takes perhaps the ultimate high-concept setup and hones in on a crucial fact: that audiences love whodunnits, whether they're watching them on the screen or reading them on the page, because charting the unravelling details entails sleuthing along. In other words, when we're wondering who killed who in which room and why (and with what weapon), we're playing. The board game Cluedo also nailed this truth, as have murder-mystery parties, plus the increasing array of other interactive shows and events that thrust paying participants into the middle of such puzzle-laden predicaments. And while Murder Party acknowledges this idea in a variety of manners, here's the first and simplest: it's set among a family famed for making best-selling board games themselves. First-time feature writer/director Nicolas Pleskof and his co-scribe Elsa Marpeau (Prof T) kickstart the film with a killer setup: that eccentric crew of relatives, their brightly hued home on a sprawling country estate, an usual task given to a newcomer and, naturally, a sudden passing. Architect Jeanne Chardon-Spitzer (Alice Pol, Labor Day) is asked to pitch a big renovation project to the Daguerre family, transforming their impressive abode so that living there always feels like playing a game (or several). Patriarch César (Eddy Mitchell, The Middleman) already encourages his brood to enjoy their daily existence with that in mind anyway, including dedicating entire days to letting loose and walking, talking and breathing gameplay. But he's looking for a particularly bold next step. He's unimpressed by Jeanne's routine proposal, in fact. Then he drops dead, the property's doors slam shut and a voice over the intercom tells the architect, plus everyone else onsite, to undertake a series of challenges to ascertain the culprit among them — or be murdered themselves. Also thrust into the high-stakes game, which'll dispense with anyone who refuses to take part or guesses incorrectly: César's son Théo (Pablo Pauly, The French Dispatch), daughter Léna (Sarah Stern, Into the World) and nudgingly named youngest boy Hercule (Adrien Guionnet, Le Bazar de la Charité). Yes, sibling rivalry complicates the hypothesising, as well as the attempts to stay alive. Théo is particularly friendly towards workaholic Jeanne, adding another complexity to the already-chaotic situation. Similarly at hand is the dead man's younger wife Salomé (Pascale Arbillot, Haute Couture) — a mystery writer herself — and his no-nonsense offsider sister Joséphine (Miou-Miou, The Last Mercenary). And, because a home this immense was always going to have some help hovering around, butler Armand (Gustave Kervern, Love Song for Tough Guys) gets drawn in, too. If Amelie and Knives Out combined, the end result would look like Murder Party. If Wes Anderson and Agatha Christie joined forces, the outcome would be the same. It's highly unlikely that Pleskof was ever going to call his feature Murder in the Game-Filled Mansion or Death While Rolling the Dice, but that's the overwhelming vibe. There's an escape room element, too — thankfully, though, nodding towards the Escape Room franchise isn't on the agenda. Murder Party's characters get stuck in intricately designed locked spaces and forced to piece together clues to secure their freedom, and are only permitted to remain breathing by keeping their wits about them, but no one's in a horror movie here. Read our full review. THE REEF: STALKED In the crowded waters of cinema's shark-attack genre, which first took a hefty bite out of the box office with mega hit Jaws and then spawned plenty of imitators since, a low-budget Australian effort held its own back in 2010. The second movie from writer/director Andrew Traucki after his crocodile-attack flick Black Water, The Reef wasn't ever going to rake in enough takings to threaten the larger fish, but the stripped-back survival-thriller was grippingly effective. As Black Water did with 2020's Black Water: Abyss, the creature-feature helmer's shark film has now be given a sequel — and like Traucki's other franchise, this followup is a routine splash. The filmmaker keeps most of the basics the same, casting out a remakequel, aka a movie about basically the same scenario but with different faces. No, Traucki isn't seeking a bigger boat, or even to rock the one he has. The Reef: Stalked does make one curious new choice, however, stemming from its nine-months-earlier prologue. The film's opening sequences set up quite the harrowing source of trauma for protagonist Nic (Teressa Liane, The Vampire Diaries), and also clumsily equate domestic violence with the ocean's predators in the process. The aim is to show how Nic and her youngest sister Annie (debutant Saskia Archer) refuse to become victims after their other sibling Cathy (Bridget Burt, Camp-Off) is stalked and savaged in a different way, devastatingly and fatally so, at the hands of her partner Greg (Tim Ross, Dive Club). Drawing attention to assaults against women and femicide is a worthy mission, but it lacks bite here. Traucki's metaphor is as clear as the sky on a cloud-free day, and yet the domestic abuse plot point primarily plays as a way to complicate Nic as a character — PTSD flashes and all — rather than make a meaningful statement about violence within intimate relationships. After finding Cathy herself, Nic is so understandably distressed that she heads as far away as she can, but returns from overseas for a big diving and kayaking trip that was important to her sister. With friends Jodie (Ann Truong, Cowboy Bebop) and Lisa (Kate Lister, Clickbait), as well as Annie — who isn't known for enjoying the water, let alone for handling herself on it — they embark on a multi-day paddle. It isn't long until a different sinister force terrorises their getaway, though; even if you don't already know what "the man in the grey suit" refers to in surfer slang, this is a shark-attack sequel, after all. Aside from the haunting shots taking Nic back to Cathy's last moments, everything about The Reef: Stalked plays out as expected from the moment the quartet set off from north Queensland. Cue the obligatory waves of jump scares, many efficiently staged but their impact lessening as they just keep coming in increasingly predictable ways (when shark flicks are happy to swim by the numbers, if you've seen one movie like The Reef, 47 Metres Down, The Shallows, Bait, The Meg and the like, it feels like you've seen them all). Cue the tension that springs from the film's characters rarely being close enough to the shore to escape — but, when it's convenient, being close enough for kids playing on the beach to become potential fodder. Cue a score by Mark Smythe (Love You Like That) that tells viewers exactly how to react at every moment, too, and dampens the thrills and frights as a result. Still, Traucki has cast The Reef: Stalked well, enough that buying Nic and company's life-or-death stress comes easily. Trusting them, rather than clunkily overcomplicating the setup — no matter how well-intentioned — might've resulted in a better return to The Reef. If you're wondering what else is currently screening in Australian cinemas — or has been lately — check out our rundown of new films released in Australia on April 7, April 14, April 21 and April 28; and May 5, May 12, May 19 and May 26; June 2, June 9, June 16, June 23 and June 30; and July 7, July 14 and July 21. You can also read our full reviews of a heap of recent movies, such as Fantastic Beasts and the Secrets of Dumbledore, Ambulance, Memoria, The Lost City, Everything Everywhere All At Once, Happening, The Good Boss, The Unbearable Weight of Massive Talent, The Northman, Ithaka, After Yang, Downton Abbey: A New Era, Wheel of Fortune and Fantasy, Petite Maman, The Drover's Wife The Legend of Molly Johnson, Doctor Strange in the Multiverse of Madness, Firestarter, Operation Mincemeat, To Chiara, This Much I Know to Be True, The Innocents, Top Gun: Maverick, The Bob's Burgers Movie, Ablaze, Hatching, Mothering Sunday, Jurassic World Dominion, A Hero, Benediction, Lightyear, Men, Elvis, Lost Illusions, Nude Tuesday, Ali & Ava, Thor: Love and Thunder, Compartment No. 6, Sundown, The Gray Man, The Phantom of the Open, The Black Phone, Where the Crawdads Sing and Official Competition.
With gigs and shows popping back onto calendars again over the last six months, bands and concert promoters have been forced to get creative to abide by COVID-19 restrictions. Local favourites have thrown seated gigs in small regional towns, performed to a sea of cars at drive-in concerts and are even set to take to revolving stages as part of NSW's first major music festival of 2021. Although gathering restrictions have begun to roll back and normalcy is beginning to return to the live music scene across the country, these unique opportunities to catch bands in unexpected locations don't seem to be going anywhere. Take Live At Last, for instance. It's the new live music series that will see fan-favourite Australian musicians perform at intimate venues across the country. In Sydney, it'll feature Hockey Dad, the band behind the aforementioned drive-in gigs, who'll perform in beloved bar Frankie's Pizza on Thursday, April 29. The show will be a unique chance enjoy Frankie's new Dan Pepperell-crafted pizza menu while catching the Wollongong surf-rock duo up close, with the CBD bar having a much smaller capacity than the 3000-person Big Top Luna Park the band recently sold out. A venue the size of Frankie's playing host a band of Hockey Dad's popularity could result in chaos, so you'll have to win tickets in order to get access to the gig. To go into the ballot to head along, you just need to hit up the Secret Sounds website and enter your details. Announced after the Hockey Dad show — but happening the day before — is Live At Last's Brisbane stopover. Last Dinosaurs and Dear Seattle will hit the stage at The Triffid on Wednesday, April 28. To head along, you'll also need to try to win tickets via the Secret Sounds website. Then, the series of gigs is set to move to other parts of the country. If you're wondering where else Live At Last will head, that's yet to be revealed. [caption id="attachment_772790" align="alignnone" width="1920"] Hockey Dad by Ian Laidlaw[/caption] Live At Last is set to kick off on Wednesday, April 28 with Last Dinosaurs and Dear Seattle at The Triffid in Brisbane — and then head to Frankie's Pizza on Thursday, April 29 with Hockey Dad. To win tickets and to keep an eye out for future events, head to the event's website. Top image: Frankie's Pizza by Katje Ford Updated April 16.
Back in 1999 and 2000, Baz Luhrmann's beloved movie musical Moulin Rouge! was filmed in Australia. Since 2021, the Tony-winning stage version of that hit feature has been doing the rounds of the country, too. And, in spectacular (spectacular) news, it's finally heading to Brisbane from Tuesday, May 16, 2023. This time, Brisbane's QPAC will stand in for the Montmartre Quarter of Paris — the backdrop for a heady romance between lovestruck young bohemian Christian and performer Satine, star of the legendary titular cabaret. The first-ever Aussie-produced production to win the Tony for Best Musical, Moulin Rouge! The Musical will spin that story in the Lyric Theatre. Yes, the show must go on. As Luhrmann's award-winning, Nicole Kidman and Ewan McGregor-starring movie did before it, the stage musical is heavy not just on star-crossed romance, but with a loaded soundtrack that celebrates iconic tunes from across the past five decades. Indeed, Moulin Rouge! The Musical backs up those favourites with even more hit songs that have been released in the two decades since the movie premiered. Directed by Alex Timbers, the Australian production stars Alinta Chidzey as Satine, Des Flanagan as Christian, Simon Burke as club impresario Harold Zidler and Andrew Cook as The Duke — plus Tim Omaji as Toulouse-Lautrec and Ryan Gonzalez as Santiago, Montmartre's resident artistes; and Samantha Dodemaide as Nini, Olivia Vásquez as Arabia, Ruva Ngwenya as La Chocolat, and Christopher J Scalzo as Babydoll, aka the 'Lady M's'. Pre-sale tickets for the Brisbane season will be available from Monday, November 14, with general sales kicking off on Thursday, November 17. Moulin Rouge! The Musical will take over the Lyric Theatre after Hamilton, meaning that the latter definitely has to finish by May — so don't throw away your shot to see that, either. Images: Michelle Grace Hunder.
Add another huge festival to your calendar, and thank Norwegian DJ Kygo in the process. Not only is the 'Stole the Show', 'Here for You', 'Stay' and 'It Ain't Me' talent one of the headliners at Palm Tree Music Festival when it makes its Australian debut in 2023 — the former bedroom producer is also behind the whole shindig, creating it with his manager Myles Shear. Until now, the fest has played The Hamptons, New York, Cabo, Mexico and Croatia, and proven a hit in the process. Next year, it'll add a trip Down Under to its itinerary for the first time ever, rolling into Sydney, Brisbane and Melbourne in mid-March. While Kygo brings the fest some sizeable star power, he's not its only high-profile DJ doing the honours for the event's maiden Aussie run. Also hitting the decks is Tiësto, aka one of the biggest names in electronic music in the world for the past couple of decades. From initially getting mainstream attention back in 2000 with his remix of Delerium's 'Silence' through to his 2020 hit 'The Business' and 2022's Charlie XCX collaboration 'Hot In It' — and plenty in-between — the Dutch DJ will have quite the back catalogue of tracks to mix into his set. With its holiday-friendly name, it should come as no surprise that Palm Tree Music Festival takes inspiration from Kygo's stints touring the world. Expect a cruisy vibe set to EDM's greatest and latest, too. Also joining the bill so far, heading to Showgrounds Dome in Sydney, Brisbane's Riverstage and Melbourne Showgrounds: Lost Frequencies, Sam Feldt and Frank Walker. A lineup of local talent will be announced at a later date. View this post on Instagram A post shared by Palm Tree Music Festival (@palmtreefestival) PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN LINEUP: Tiësto Kygo Lost Frequencies Sam Feldt Frank Walker PALM TREE MUSIC FESTIVAL 2023 AUSTRALIAN DATES: Friday, March 10 — Showgrounds Dome, Sydney Saturday, March 11 — Riverstage, Brisbane Sunday, March 12 — Melbourne Showgrounds Palm Tree Music Festival heads to Australia in March 2023. Tickets presales start at 11am AEDT on Friday, October 14, with general sales from 10am AEDT on Thursday, October 20. For more information, head to the festival promoter's website. Top image: Ss279 via Wikimedia Commons.
The rise of White Lotus-esque luxury wellness escapes is in full swing this year, fuelled by the same energy driving members-only health clubs, At these retreats, the itinerary is slower, holiday-goers are excited to be rejuvenated by nature and eco-friendliness is a priority. The 2025 Spa & Wellness Awards have landed just in time for the holidays, spotlighting the best spa destinations and wellness centres around Australia and New Zealand. In the Travel section, sustainability takes centre stage — and Elements of Byron has just been crowned the Best Resort or Hotel Focused on Wellness, beating out other world-class stays such as Qualia and Kokomo Private Island. Anchored by the award-winning Osprey Spa, Elements of Byron stretches across 50 acres of rainforest, eucalypt, wetland and dune landscapes at the doorstep of Belongil Beach. The treatments foster have a deep connection to the natural world — the spa hosts rainforest walks led by its resident naturalist, in partnership with Vanessa Megan Skincare (who took Best Haircare at the awards). Guests can wander through banksia, Davidson plum, tea tree and lemon myrtle, all native botanicals found in Vanessa Megan concoctions that grow right on the property — it's the spa version of farm-to-table. Besides cultivating a love for land, the resort's green ethos includes solar-powered infrastructure, waste-minimising practices, culinary philosophies and partnering with local businesses. Spa Manager Amy Back says, "This award celebrates the passion and integrity behind everything we do, from sustainable operations to the way we source ingredients, train staff, and care for our guests and our environment." Wellness at Elements of Byron go beyond the Osprey Spa. Guests start their morning with yoga classes overlooking the ocean, ride through the forest on horseback (there's even a charming fairy trail for the kids) or unwind with self-guided meditation rituals. Or grab a cheeky spritz at the swim-up bar in the adults-only pool— because self-care comes in all forms. Find out more about the 2025 Spa & Wellness Awards. Images: Supplied
When Winnie-the-Pooh moseyed into a slasher movie in Winnie-the-Pooh: Blood and Honey, the film endeavoured to prove that there's room in the pop-culture honeypot for multiple takes on AA Milne's beloved bear. More horror flicks are coming, because of course they are. But, embracing the usually cuddly figure's sweet and innocent side, so is a supremely nostalgic, family-friendly stage musical from Disney. Winnie the Pooh: The New Stage Adaptation debuted back in 2021 Off-Broadway, then took the Hundred Acre Wood and its famous felt residents to Chicago, back to New York, on a tour of the US and to London. The next stop on the Mouse House-created show's itinerary: Australia, starting this winter, and playing capital cities and regional towns alike. Hailing from American Australian producer, writer and director Jonathan Rockefeller, Winnie the Pooh: The New Stage Adaptation brings Pooh, Piglet, Eeyore, Kanga, Roo, Rabbit, Owl and Tigger to life with puppets — life-sized versions, which look as cuddly and fuzzy as anthropomorphic stuffed toys should. Also joining them is Christopher Robin, in a production that brings together a heap of songs from past Winnie-the-Pooh movies. "The music, the spectacular life-size puppets and the charming performances are the perfect way to introduce (or re-introduce) audiences to live theatre, and this is a must-see show for Winnie-the-Pooh fans," said Rockefeller, announcing the show's Australian run. "We are excited to bring the Hundred Acre Wood to Australia so that audiences of all ages can join us for this heartwarming production." Winnie the Pooh: The New Stage Adaptation will play Brisbane, Sydney, Melbourne, Perth, Adelaide, Canberra and Hobart, and also has dates booked in everywhere from Dandenong and Bunbury to Launceston and Geelong. Again, this is a firmly all-ages affair, so expect plenty of young Winnie-the-Pooh devotees in attendance. For those keen to see a childhood favourite in a new format, Australia's stages have been delivering blasts from the pasts with frequency over the past few years, spanning Frozen the Musical, Shrek the Musical, Cinderella, Mary Poppins and the upcoming Beauty and the Beast musical in Sydney, just to name a few. WINNIE THE POOH: THE NEW STAGE ADAPTATION AUSTRALIAN TOUR 2023 DATES: July 7 — Drum Theatre, Dandenong July 12–16 — Brisbane Powerhouse, Brisbane July 20-23 — Sydney Opera House, Sydney July 26–27 — Princess Theatre, Launceston August 3–6 — Theatre Royal, Hobart August 9–10 — Hopgood Theatre, Noarlunga August 16–20 — Dunstan Playhouse, Adelaide Festival Centre, Adelaide August 23–24 — Mandurah Performing Arts Centre, Mandurah August 25–26 — Bunbury Regional Entertainment Centre, Bunbury August 29–September 3 — Regal Theatre, Perth September 7–9 — Canberra Theatre, Canberra September 14–17 — Riverside Theatre Parramatta, Parramatta September 21–25 — Comedy Theatre, Melbourne September 27–28 — Geelong Arts Centre, Geelong September 30–October 1 — Albury Entertainment Centre, Albury Winnie the Pooh: The New Stage Adaptation tours Australia from July — for more information, and for tickets from Thursday, June 15, head to the production's website.
From chewy Neapolitan pizzas to giant five-cheese topped slices, decent gluten-free bases and inventive vegan toppings, Brisbane's pizza stores cover all the variations. Here are five places that keep us coming back for stretchy buffalo mozzarella, pillowy bases and perfect toppings.
It has been four years since Brisbane Powerhouse added a new festival to their events calendar, giving the Brisbane Queer Film Festival a multi-arts sibling celebrating all things LGBTIQ+ beyond the screen. And while BQFF and MELT no longer coincide, they're both still going strong — with the latter back for another round of diverse theatre, comedy, dance, art, circus, music, burlesque and more from May 17 to 27. Taking place a little later in the year compared to previous fests, 2018's MELT actually kicks off on IDAHOT, the International Day Against Homophobia, Transphobia and Biphobia. To mark the occasion, it'll unleash 11 days filled with more than 20 different events, making Brissie an even more vibrant place than it already is. Prepare for pop, drag, parties, pride and plenty of fun —and our top eight picks of the event, too.
For many designers, their work is developed through experimentation with new materials, while for others their entire body of work is dedicated to exploring the potential of only one. Jan Gunneweg falls into that latter category, and his material of choice is wood. Gunneweg's workshop in the Netherlands is filled with beautifully crafted traditional wooden objects, such as benches, desks and tables. However, it is also filled with some fairly non-traditional ones, including sunglasses, which he creates by hand. His wooden bicycles, though, have garnered Gunneweg the most attention of late. Gunneweg's bikes are both technically and aesthetically beautiful, as well as practical, and are made out of solid walnut or birchwood. And while Genneweg's has plans to produce bikes which are far easier (and cheaper) to make, assemble and ship overseas, at present he is only making to order. Understandably too, as each takes between 160 and 200 man hours to create. Quite an impressive labour of love, and a rather nice way to get around town this summer - especially if you can afford the matching sunglasses.
Mondays tend to be a day of rest for most restaurants in the Los Angeles area. But for friends Aliza Miner, Savita Ostendorf and Marjory Garrison it's the busiest night of the week. A few months ago the three girls combined their skills as a chef, graphic designer and PR activist for non-profits, respectively, to create Closed on Mondays, a business that hosts fundraiser dinners for charity at empty restaurants on Monday nights. They offer a fixed price menu at $35, hire waitstaff from the host restaurant and serve customers on a first come, first serve basis from 5 to 9p.m. The profits go directly to local food initiatives or community projects. They don't force-feed their guests with information about the charities, they just want people to come and eat. Better yet, the dishes offered will leave your taste-buds begging for more, with choices like Yucatan pulled pork, wild Mexican shrimp with pumpkin seed sauce and stuffed poblanos, kabocha squash and chihuahua cheese in romesco (each served with homemade tortillas). Yum. The first three dinners were hosted at L.A's Canele, which raised $7000 for the Micheltorena School Garden community project in Silver Lake. Although the girls realize that they still have a long way to go to build up the non-profit, other chefs in the area have already approached them about bringing Closed on Mondays to their restaurants. Mondays are soon to be the biggest night out of the week for good food and a good cause.
Fans of Trainspotting will probably want to check out Filth, the new film adaptation of the 1998 Irvine Welsh novel. Jon S. Baird directs James McAvoy as Bruce Robertson, a bipolar, misanthropic junkie detective (role of a lifetime) who, when he's not awash in drugs, alcohol and sex games, spends his time plotting the downfall of his fellow colleagues. In his quest to trump them and secure a coveted promotion, he stops at nothing — stealing their wives, exposing their darkest secrets. Oh, and there's a murder to be solved, too. Things escalate to the point of madness, with plenty of manipulation, hallucination and downright insanity. McAvoy won critical praise for his performance upon the film's UK release and is supported by some stellar UK actors including Jim Broadbent, Jamie Bell and Eddie Marsan (who was so good in Mike Leigh's Happy-Go-Lucky and Paddy Considine's Tyrannosaur). The film will no doubt give a typically Welsh-ian insight into the grim, violent underbelly of Edinburgh — with a few laughs. Filth is in cinemas on November 21, and thanks to Icon Films, we have ten double in-season passes to give away. To be in the running, subscribe to the Concrete Playground newsletter (if you haven't already), then email us with your name and address. Sydney: win.sydney@concreteplayground.com.au Melbourne: win.melbourne@concreteplayground.com.au Brisbane: win.brisbane@concreteplayground.com.au
