Think about geomagnetic storms and you might think about disaster movies. If you were in a part of Australia where the Aurora Australis was visible over the weekend of Friday, May 10–Sunday, May 12, 2024, the term will now always be synonymous with a stunning sky show. Thanks to extreme planetary conditions, as per the Bureau of Meteorology, aurora sightings lit up the heavens — and widely, including not just in Tasmania, but also in Victoria, New South Wales, Western Australia and even Queensland. If there's ever been a reason to look at the night sky, this was it — and look, plenty of people did. So, whether you slept through the bursts of colour, couldn't see the Aurora Australis in your part of the country or are keen for another glimpse, there's ample photographic proof that inky black heavens gave way to psychedelic hues. View this post on Instagram A post shared by Luke Tscharke | Tasmania (@tscharke) Missed all the details, too? The Bureau first issued a warning for a G4 geomagnetic storm on Friday, May 10, noting that the event — which sees the earth's magnetic field experience fluctuations — could arrive that night. The G4 grading is the second-highest on the G-scale, with G1 considered minor and G5 extreme. The Bureau also advised that a few things can happen, such as disrupting power grids and satellite services, and also creating vivid auroras — including the latter in places normally considered dark-sky locations. View this post on Instagram A post shared by Sean O' Riordan | Ireland (@seanorphoto) Then, on Saturday, May 11, the organisation revealed that the geomagnetic storm was a G5 event — the first since 2003 — and that the conditions would continue that day. On Sunday, May 12, it advised that the storm had shifted down to G3, but aurora sightings would still be possible. Cue social-media feeds filled with spectacular snaps — some of which we've compiled above and below. View this post on Instagram A post shared by Ela / Australia (@sea.of.lights1) Aurora Australis last night at Mentone Beach, Victoria, Australia #AuroraAustralis #aurora pic.twitter.com/0Gb9zEnsEB — Findlay Ferguson (@Findlaybf) May 12, 2024 View this post on Instagram A post shared by Eliza Sum 沈韪嫦 (@elizasum) I lived in Finland for 6 years and never thought that the best Aurora in my life I'd see in Melbourne 😳#AuroraAustralis pic.twitter.com/nZ4ulfrHaF — Maria Ermakova (@mary_in_vivo) May 11, 2024 View this post on Instagram A post shared by Brent Martin (@brent_martin_photography) I lived in Finland for 6 years and never thought that the best Aurora in my life I'd see in Melbourne 😳#AuroraAustralis pic.twitter.com/nZ4ulfrHaF — Maria Ermakova (@mary_in_vivo) May 11, 2024 View this post on Instagram A post shared by Lachlan Gardiner (@lachlan_gardiner) Visible with the naked eye from the far southwest of Western Australia! ⭐️💥⭐️#AuroraAustralis pic.twitter.com/PpsJVE2gbo — Jinni Wilson (@earthseastar) May 11, 2024 View this post on Instagram A post shared by George Berg (@george_berg_photography) For more information about the geomagnetic storm and Aurora Australis, head to the Bureau of Meteorology website. Top image: patrickkavanagh via Flickr.
Thought there was room in this town for just one retro-inspired line of Melbourne beer merch? Well, think again. VB has been dropping different collections and items over the past couple of years years, including Christmas sweaters and swimwear — and, after first releasing some sweet new merchandise of its own back in 2018, too, Melbourne Bitter has just announced its latest range. Once again, it's a collaboration with fuss-free menswear label Mr Simple. And once again, it's taking its cues from history. This time around, the collection draws upon Melbourne Bitter's archive, with four different graphics on offer. Melbourne Bitter's reputation as a hipster sip of choice should give you some idea of the vibe of this latest collection — think, vintage-style tees showcasing old-school logos, plus long-sleeved shirts, bucket hats and caps. Basically, now that Melbourne's pubs and bars have reopened, it's the perfect wardrobe choice. Unlike the largely unisex offerings of VB's range, this one's marketed more towards men — as Melbourne Bitter's first collab with Mr Simple was as well. Still, we think it can rocked by all beer lovers. https://www.youtube.com/watch?v=SZfw9lZTojQ For more information about the Melbourne Bitter x Mr Simple Pt II clothing line, head to Mr Simple's website.
Australian activewear and maternity wear brand Active Truth has just launched its new line of leggings, bike shorts and crop tops with the help of Ngarluma, Kariyarra, Nyulnyul and Yawuru designer Bobbi Lockyer. The hand-painted design featured on the limited edition Brolga line of activewear is currently available via the Active Truth website and shipping is free worldwide. Based in Port Hedland, Western Australia, Lockyer created the clothing line in order to celebrate strong women. "In our Dreaming about Brolga, she was a beautiful girl obsessed with dancing. Dancing was her only love and nothing distracted her," Lockeyer said. "I like to think of Brolga as a headstrong woman, passionate and determined, going for her dreams. This is why I chose to paint brolga feathers for this design, to symbolise women with our strengths, passions and show that we are going for our dreams." Lockyer also photographed the campaign herself, shooting some of the strong women in her life sporting the line out in the red dust and salt flats of her hometown. The activewear line is supportive of women of all shapes and sizes, available in sizes small through to 3XL. The Brolga line is also available in Active Truth's popular maternity wear range. These leggings can be worn through every trimester, as well as post-natal. Stevie Angel and Nadia Tucker, the duo behind Active Truth, have created a compression fabric that provides secure support and is especially designed to help ease some of the pains and strains experienced during pregnancy. The tights will stay in place throughout your workout, too, and the compression fit assists in reducing leg swelling and soreness to boot. All Active Truth orders come with a 30-day return policy and free express shipping and exchanges worldwide. The clothing company also offers customers the option to include their traditional First Nations place name when entering their address during the ordering process. Check out the full range of Brolga activewear and maternity wear here or you can browse the whole range of Active Truth activewear, maternity wear and swimwear online now. 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.
You've been putting in the hard yards at the office all week. It's been early starts and late nights, and you can't remember the last time you hit the gym. The days just never feel long enough. Winter is traditionally a season of hibernation, a time to say yes to staying in and hiding from the cold with a bowl of carbonara in hand. But one too many nights like this feels good for neither the body nor the mind. To get you moving and recover some of that energy, we've teamed up with M.J. Bale to put some boredom-busting activities at the top of your winter to-do list — and provided some suggestions of what to wear while you're out and about. Read on to stay active this winter and look great doing so. [caption id="attachment_721066" align="alignnone" width="2048"] Visit Melbourne.[/caption] GO FOR A BUSH WALK When the temperature dips below 18 degrees, the couch might feel like the only place to be. But trust us on this one. Hitting the trails for a day of fresh air and lush surrounds is an unbeatable way to get the blood pumping. Plus, the cooler months mean you can throw on tons of layers and still finish your hike with minimal sweat. Genius. Head to your nearest national park or scout out a lush coastal walk and enjoy some well-earned tech-free time in the great outdoors. Where: Strap on your walking shoes and try Sydney's Aboriginal Heritage Walk in Ku-ring-gai Chase National Park, Melbourne's Great Ocean Walk, Brisbane's Buhot Creek Circuit in Daisy Hill Conservation Park and Perth's Bells Rapids Walk Trail in Swan Valley. Wear: The water-resistant and breathable Flannery Gilet ($199.00) layered over natural fibres to crush the cold. [caption id="attachment_721067" align="alignnone" width="1000"] Pasta Emilia.[/caption] TAKE A COOKING CLASS Has the new season of MasterChef sparked your inner gastronomic fire? Then wave goodbye to microwave dinners and say hello to gourmet home-cooked feasts that'll blow your mates' socks off. By joining a cooking class, you can have an expert teach you elusive techniques, like how to fold the perfect ravioli or whip up a bowl of authentic baba ganoush. Plus, on top of learning the tricks of the trade, you'll meet some new faces and enjoy the fruits of your labour over a celebratory glass of vino. Now that's how all school days should end. Where: Get cooking at Pasta Emilia's hands-on pasta making workshop in Sydney, craft heart-warming Middle Eastern dishes at Free to Feed in Melbourne, master Vietnamese soups and noodles at Golden Pig in Brisbane and learn how to make Japanese bar snacks at Salt & Company in Perth. Wear: The Depp Stain Repellent Tee ($59.95), because you don't want to carry your culinary masterpieces home on your clothing. [caption id="attachment_721068" align="alignnone" width="1024"] Handsome & Co.[/caption] GET YOUR HANDS DIRTY AT A SHORT COURSE There's no better detox from sitting at a desk all day than making something with your hands. Combine that with the task of learning a new skill, and you're guaranteed to give your brain a healthy gear-shift. Maybe this is the year you finally give pottery a crack, learn how to make your own jewellery or nail the basics of welding. And you never know where your new skills could take you. Here's your chance to explore a passion project or side hustle that could one day see you ditch your nine-to-five job. Where: Let your creative juices flow at The Pottery Shed's Basic Throwing Class in Sydney, try Handsome & Co's Introduction to Furniture Making in Melbourne, learn to throw clay like a pro at The Ceramic House in Brisbane and make your own gourmet cheeses at The Cheese Maker in Perth. Wear: The Tortuga Denim Shirt ($129.95) puts you in something durable while you hone a new craft. [caption id="attachment_721114" align="alignnone" width="2048"] B. Lucky & Sons.[/caption] PLAN SOME FRIENDLY COMPETITION AMONG FRIENDS A night of booze, banter and tasty nosh is how most of us choose to catch up with our mates. But, who doesn't love some healthy competition? Shake up your social routine and test your skills with an evening of group-friendly novelty games. Plenty of venues across the country host mini golf, arcade games and everything in between. All you need to do is gather your mates, pick your arena and get playing. Where: Bring the crew together at Maniax Axe Throwing in Sydney, try your hand at mini golf and karaoke at Holey Moley in Melbourne, revisit classic arcade games at B. Lucky & Sons in Brisbane and race a mate in your own go-kart Grand Prix at Kart World in Perth. Wear: Keep things casual and warm in the Buchanan Merino V-Neck Knit ($149.95). [caption id="attachment_721113" align="alignnone" width="2016"] SportUp.[/caption] JOIN A SPORTS TEAM No, this won't be anything like your memories of high school gym classes. Signing up to a sports club as an adult means social matches and light-hearted fitness with celebratory drinks at the pub afterwards. Grab a few mates or co-workers, and join as a team or go it solo for a chance to expand your network. The best bit? Regular matches mean you'll be held accountable for turning up to that 6am training session (yes, even when it's dark and pouring outside). But at least you'll have the rest of your team suffering alongside in solidarity. Where: Find your fitness tribe with dodgeball at Urban Rec Sydney, shoot hoops at Social Sport in Melbourne, give indoor netball a crack at Sport Up in Brisbane and go for a spot of social badminton with Badminton Buddies in Perth. Wear: The Sports Bag ($99.95) gives you both handle and shoulder strap options. Discover more action-ready wear for winter on the M.J. Bale website.
No one can know for certain what tomorrow will bring; however, the tales told on screens big and small, and through games and comics as well, have delivered plenty of visions of what might come. Will androids dream of electric sheep? Will a Keanu Reeves (John Wick: Chapter 4)-voiced rock star and terrorist make their presence known? Will Afrofuturist technologies transform life as we know it? These are some of the future possibilities conjured up by beloved pop-culture titles — and they're all part of the Australian Centre for the Moving Image's just-announced world-premiere exhibition The Future & Other Fictions as well. Displaying at the Melbourne screen museum across Thursday, November 28, 2024–Sunday, April 27, 2025, taking pride of place as its big summer showcase, The Future & Other Fictions is a love letter to and deep dive into futuristic storytelling. More than 180 works will be on display, including from Blade Runner 2049, Black Panther: Wakanda Forever, Cyberpunk 2077 and The Creator. Saltsea Chronicles, comic series NEOMAD and Björk's music video 'The Gate': they're all also featured. Before he was just Ken, Ryan Gosling (The Fall Guy) starred in the 35-years-later sequel to Blade Runner — and before he brought Dune and Dune: Part Two to the screen, Denis Villeneuve directed Blade Runner 2049. The Future & Other Fictions lets attendees follow in their footsteps via miniature sets, which are one of the exhibition's definite must-sees. Black Panther: Wakanda Forever gets the nod thanks to Academy Award-winning costumes by Ruth E Carter, while sketches from NEOMAD also feature — as do concept art from The Creator, Cyberpunk 2077 and Saltsea Chronicles. This showcase isn't just about well-known renderings of the future, though, thanks to work by Olalekan Jeyifous, Osheen Siva and Tāgata Moana art collective Pacific Sisters. Plus, via new commissions, DJ Hannah Brontë has her own take, and so does Liam Young and Natasha Wanganeen (Limbo). [caption id="attachment_974744" align="alignnone" width="1920"] Andrew Thomas Huang[/caption] As it celebrates how screens imagine the years ahead via its array of artwork, sets, props and scripts — alongside clips, costumes and original design materials, too — The Future & Other Fictions also features a film season focusing on Björk, complete with Björk: Biophilia Live on the lineup. "This exhibition reminds us that the way we imagine the future is shaped by popular film, TV shows and videogames. Many alternative visions of the future can and do exist," explains ACMI Director and CEO Seb Chan. "From two-time Academy Award-winning costume designer Ruth E Carter to Italian fashion designer Alessandro Michele; New Zealand's renowned special effects studio Wētā Workshop to the Pilbara's own Love Punks. We hope that visitors leave optimistic about what might be possible — and find hope in designing the futures we need." [caption id="attachment_877485" align="alignnone" width="1920"] Marvel Studios. © 2022 MARVEL.[/caption] [caption id="attachment_974749" align="alignnone" width="1920"] Mahia Te Kore[/caption] [caption id="attachment_920309" align="alignnone" width="1920"] 20th Century Studios. © 2023 20th Century Studios. All Rights Reserved.[/caption] [caption id="attachment_974745" align="alignnone" width="1920"] Andrew Thomas Huang[/caption] [caption id="attachment_974750" align="alignnone" width="1920"] Mahia Te Kore[/caption] The Future & Other Fictions will display at ACMI, Federation Square, Melbourne, from Thursday, November 28, 2024–Sunday, April 27, 2025. Head to the venue's website for more details.
A move across town brings with it all kinds of suburban dilemmas. Where will I buy my morning coffee? Where is the nearest chemist? Where am I going to go to get Thai food? Given that most Brisbane neighbourhoods contain more than one restaurant that specialises in this particular cuisine, you try them all once, pick your favourite and stick with it. The convenience and ubiquity of Thai is such that so long as a certain threshold of quality is met, you're satisfied. If you happen to leave the area, rarely does loyalty to the local Thai place transcend suburban borders. Of the many Thai restaurants in Brisbane, there are few for which people will travel. My Thai is of this minority. The highly popular, fully licensed (BYO wine only) establishment has graced Auchenflower for over 20 years. Dining in is a pleasure — the interior is lush, colours are deep, the lighting rich. Though there are some familiar final touches: each plate is topped with a folded paper serviette crown. Offering more than the usual go-tos of green curry and tom yum goong (though fret not, they do feature), the menu's diversity encourages diners to embrace variety. Handmade entrees include the hor tong: a golden parcel of crispy wonton pastry filled with water chestnuts, ground chicken and fresh herbs and spices served with a tangy sauce ($9.90). The Tofu My Thai (steamed tofu with chilli paste, tamarind, fried shallots, coriander and peanuts, $21.90) is an enticing flavour combination. A page of their menu is dedicated to 'Special Dishes' and from this list it is hard to resist the festive Big Pineapple, a pineapple 'boat' stuffed with a fried rice of pineapple pieces, peas, sliced chicken breast, tiger prawns, egg and sultanas topped with cashew nuts and coriander leaves ($29.90). If you're not full by this time, some tapioca pudding or black sticky rice will finish you off.
What do The Simpsons, Star Wars and Shrek have in common? They've all graced the big screen, they clearly share a love for the letter S and they're each huge hits. Oh, and they've all inspired their own firmly adults-only stage parodies, as pop-culture favourites starting with the 19th letter of the alphabet happen to do in Australia, it seems. Somebody once told us that Shreklesque is the burlesque and drag take pop culture's favourite green ogre that you didn't know you needed — and we're telling you that now. (And no, nobody informed you two decades ago that the animated hit would turn out like this, because no one could've predicted it.) On the bill at the aptly named show: the kind of irreverent and raunchy take on all things Shrek that The Bad Collective will be serving up with its upcoming The Stripsons, too — and, while Shreklesque has been around for a couple of years now, earning awards and acclaim in the process, the Aussie production is hitting the road for a national and New Zealand tour in 2022. That means that it's time to make a date with a production that might share a general storyline and a fondness for the colour green with the much less satirical — and actually family-friendly — Broadway hit Shrek the Musical, which came our way a year or so back, but couldn't be more different in a heap of ways. If you're wondering who had the brainwave to turn Shrek into a burlesque show, that'd be Trigger Happy as Shreklesque's creator and director. For this tour, the show's cast includes Bebe Gunn, Rainbow, Tugboat Tiffy, Baron Von Envy, Henny Spaghetti, Barbie Banks, Selin Tian, Rosaline DeRussi, Indea Sekula and De La Vinx. When Shreklesque hits The Tivoli from Wednesday, June 15–Saturday, June 18, wearing green is obviously recommended — although you'll be seeing plenty of it on-stage anyway. And if this is exactly your sense of humour when it comes to beloved pop-culture commodities, all that glitters is gold, naturally. Image: SomeFX.
Update Wednesday, August 23: Voyages Indigenous Tourism Australia has added a third nightly sound and light show so that more people can experience Wintjiri Wiru. You can learn about Wintjiri Wiru Twighlight via the Voyages website. A luminous three-dimensional cultural storytelling experience featuring one of the world's largest daily drone shows has been unveiled at Uluru. Across two shows each night, with Uluru setting a showstopping backdrop, Wintjiri Wiru tells the local Aṉangu community's Mala story through the use of verbal storytelling (both in English and the Aṉangu people's local Pitjantjatjara language), light displays, lasers, sound and a massive fleet of more than 1000 drones. Folks heading to the Northern Territory for Wintjiri Wiru's sunset dinner will kick off the experience with canapes curated by Mark Olive showcasing native Australian ingredients. Also on the agenda: taking in the immense beauty of Uluru and Kata Tjuta from the new sustainable viewing deck as the sun disappears below the horizon, and sampling creamy crocodile pies, pepper beef and truffle burgers, and cocktails made with Beachtree Organic Koala Gin. From there, attendees are taken on an immersive journey through a story that's been passed down for thousands of years. Voyages Indigenous Tourism worked directly with a group of ten senior community members from the Kaltukatjara (Docker River) and Uluru Aṉangu groups to create a show that tells the Mala ancestral story accurately and respectfully. "We are Aṉangu and we have one of the oldest continuing cultures on earth. This chapter of the Mala story has been passed to us from generation to generation. Our ancestors walked this Country, carried this story and shared this story through inma, our songs and our ceremonies," says Rene Kulitja, on behalf of the Aṉangu Consultation Group. "We have held hands with Voyages to create Wintjiri Wiru together. From the beginning, Voyages has been working together with the Aṉangu Working Group — talking together, listening together and creating together." The impact upon the environment and the local communities were also closely considered. No concrete was laid in the creation of the viewing platform, allowing it to be removed one day if needed; the movements of local wildlife were carefully monitored, including special consideration given to a local group of endangered desert skinks; everyone involved in the project undertook extensive cultural training lead by Aṉangu; and Indigenous-owned and -run law firm Terri Janke and Company was enlisted to oversee the project. When asked about Voyages' goals, Resort General Manager David Harper responded: "creating opportunities for Indigenous Australians through cultural tourism." Wintjiri Wiru now forms somewhat of a trio of experiences available to visitors surrounding Uluru — joining Bruce Munro's immersive Field of Light and starlight-lit fine dining experience Tali Wiru. The launch also coincides with the debut of Bruce Munro's latest installation Light Towers at Kings Canyon, forming a Red Centre light trail with the aforementioned attractions, as well as the yearly luminous Alice Springs festival Parrtjima — A Festival in Light. Tickets for the Wintjiri Wiru sunset dinner are available for $385, while you can nab a spot at Wintjiri Wiru after dark for $190, or $95 for children. For more information on Wintjiri Wiru, head to the Ayers Rock Resort website. Images: Getty Images for Voyages Indigenous Tourism Australia. Aṉangu share the Mala story, from Kaltukatjara to Uluru, through a drone, sound and light show designed and produced by RAMUS. 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.
How do you jump back into a superhero saga — a caped-crusader franchise within a sprawling, seemingly never-ending franchise, too — without your star? When Black Panther: Wakanda Forever arrives in cinemas in November, Marvel Cinematic Universe fans will find out. With Chadwick Boseman sadly passing away in 2020, the sequel to 2018's excellent Black Panther obviously isn't the film that returning writer/director Ryan Coogler (Creed) originally intended. Based on the just-dropped first teaser trailer, it's going to be unsurprisingly emotional, however. Marvel released the initial sneak peek at the eagerly awaited movie during this year's San Diego Comic-Con, and it's big on swirling, swelling feelings. "I am queen of the most powerful nation in the world, and my entire family is gone," exclaims Ramonda (Angela Bassett, Gunpowder Milkshake), T'Challa and Shuri's (Letitia Wright, Death on the Nile) mother, in a particularly climactic moment. While the teaser isn't overly concerned with Wakanda Forever's plot, it's firmly sets the mood. And yes, there's a tribute to King T'Challa among its frames. Story-wise, Ramonda, Shuri, M'Baku (Winston Duke, Nine Days), Okoye (Danai Gurira, The Walking Dead) and the Dora Milaje (including Florence Kasumba, Deutschland89) are charged with protecting their nation from world powers after T'Challa's death — and they'll need help from War Dog Nakia (Lupita Nyong'o, The 355) and Everett Ross (Martin Freeman, Breeders). Among the cast, joining the film are Michaela Coel (I May Destroy You) and Tenoch Huerta (Narcos: Mexico) — as well as Dominique Thorne (Judas and the Black Messiah) as Riri Williams, ahead of the character's solo Disney+ series Ironheart. Accordingly, the first glimpse at Wakanda Forever shows faces old and new, the same dazzling look and feel that was so essential to Coogler's initial film, and the Kingdom of Wakanda in a state of change. Dropping the trailer during a wide-ranging panel session that also included the latest look at Disney+ series She-Hulk: Attorney at Law, Marvel revealed that Wakanda Forever will wrap up the MCU's phase four — because this ever-growing on-screen superhero world is broken up into different chapters. Obviously, more caped-crusader stories are still in the works, though, with the Disney-owned entertainment behemoth also plotting out its plans across phase five and phase six, taking it up to 2025. One thing that wasn't mentioned: the previously revealed Black Panther Disney+ series set in Wakanda that was announced in early 2021. Check out the first Black Panther: Wakanda Forever trailer below: Black Panther: Wakanda Forever releases in cinemas Down Under on November 10.
Is cricket confusing you? Don't know your LBWs from your BBLs (Big Bash League)? Don't fret. We're here to tell you that the fun of cricket, especially the BBL, is more about the community, the spectacle, the seagulls, the superstars, and, of course, the KFC. Confused? Read on. [caption id="attachment_981725" align="aligncenter" width="1920"] Photo by Morgan Hancock/Getty Images[/caption] What Is It? Unlike traditional cricket, which you've probably seen on pub TVs and in the background at grandad's house, Big Bash cricket is a fast and flashy affair. There's a set number of innings and overs, and the scoring system is super simple – score more runs, win the game. Easy peasy. There are a few other bits and bobs unique to this faster game, but they're not really necessary to enjoy it. Now that the hit-ball-run-score-points element of the game is behind us let's dive into the spectacle of the game. But first, who's who? Who are the Major Players? Remember Warnie (RIP) in the early noughties? That cheek and camaraderie has carried on into modern-day cricket, including the zippier, simpler, faster game of Big Bash. So, you can expect the same cult of personality personalities. We're not going to run you through all the gang, but here are some of the bigger names and faces. [caption id="attachment_981726" align="aligncenter" width="1920"] Photo by Albert Perez/Getty Images[/caption] Paul Walter (Brisbane Heat) Tall blokes usually get picked for a career on the courts of basketball, but England-born bowler Paul Walter made his way to the pitch instead. Paul, 'Tall Paul' as he's dubbed with his 6'7" stature, has spent the majority of his career in his homeland, but Aussie fans of the game know him well, too. He's putting his left-hand-favouring skills to work for the Brisbane Heat now, and you'd best be ready for some crowd catches. Tall Paul bats big. [caption id="attachment_982894" align="aligncenter" width="1920"] Photo by Darrian Traynor/Getty Images[/caption] Jake Fraser-McGurk (Melbourne Renegades) Another beautiful thing about BBL is the platform it provides for rising young stars to make their mark in the game. If anyone is making a mark at the moment, it's 22-year-old Melbourne Renegades batter Jake Fraser-McGurk. He's made a reputation for himself with several stellar performances at the state level, but he rocketed to stardom in 2021 with a legendary catch of a screamer against the Strikers. [caption id="attachment_982895" align="aligncenter" width="1920"] Photo by Jonathan DiMaggio/Getty Images[/caption] Marcus Stoinis (Melbourne Stars) One could argue that the true spectacle of any BBL game is the batting. And Marcus Stoinis knows how to hit. Known for his aggressive, chunky shots, he can change the course of a game single-handedly. His powerful arm, particularly at the top or middle of the over, makes him a crowd favourite, holding the record for the highest individual score in BBL history. As you can expect, Stoinis has a larger-than-life personality, which is reflected in his interactions with his teammates, his facial expressions, and, of course, his over-the-top celebrations. [caption id="attachment_981724" align="aligncenter" width="1920"] Photo by Izhar KHAN / AFP[/caption] Teams and Rivalries It wouldn't be sport if there wasn't a bit of drama. Team rivalries keep the game alive, and the audience engaged – what would football be without the Manchester United v Liverpool feud? In the Big Bash League, there are a few ongoing rivalries, maybe not as loud or fierce as Premier League bouts, but still good fun to watch. There are regular rivalries between teams that'll hit the pitch this season. For starters, there are the Sydney teams, the Sydney Sixers and Sydney Thunder, who are set to go head-to-head on Saturday, December 21. Then, the Melbourne teams – the Melbourne Renegades and Melbourne Stars – will face off on Saturday, January 4. But the biggest and longest rivalry is between the Sydney Sixers and the Perth Scorchers, who are set to play on Saturday, January 11. Why the beef? They're the two best teams in the competition and have met in the final on five occasions. Rituals, Quirks and What to Expect Aside from your big players, there are a number of rituals and fireworks (literally) that run alongside a typical Big Bash game. You've got the seagulls that will sit on the green, watching the game (legend has it they're old players reincarnated). There are the actual fireworks and flames, which are an integral part of every Big Bash game, exploding whenever a team enters, a ball hits the boundary, or a wicket is scored. Then, there are derbies (hitting Sydney on December 17 and January 21, plus Melbourne on January 4 and January 12), pregames and halftime shows with live music, DJs, and of course, more fireworks. You didn't hear it from us, but some of the music acts this season will be unmissable, with major performances from the likes of Peking Duk, Baker Boy, Cyril and more planned on December 26 and 31, plus January 1, 4 and 12. Lastly, there's the time-honoured tradition of the KFC bucket heads, which is exactly how it sounds – chuck a KFC bucket on your head. Quirky? Yes. Nonsensical? A little, but all in the name of Aussie cricket. No matter how you spin it (get it?), the Big Bash is something to get excited about. For more information on the Big Bash League and it's 2025 season, head to the BBL website.
Two years after closing to the public back in early 2019 — and three years after first announcing it was undergoing a big makeover — Melbourne's Australian Centre for the Moving Image is set to reopen its doors on Thursday, February 11. And, when film and television lovers step back inside its Federation Square building, they'll notice plenty of changes. If you're going to shut down to undertake extensive $40 million renovations, you want people to see it, after all. Details have been announced over the past couple of years; however, that doesn't make the revamp any less impressive. So, visitors can expect revamped exhibition spaces, new immersive experiences and added interactive activations, including a permanent ode to Mad Max. And, the venue definitely looks different, all thanks to Melbourne architects BKK and experience design firm Publicis Sapient/Second Story. Also part of the makeover: the Lens, a handheld device made out of compressed cardboard that you use while physically moseying through ACMI's galleries, and tap at around 200 different touchpoints to collect objects of interest as you wander. You then take it home with you, and whip it out again to check out all the items you've collected — even after you've left the museum. One of the things you'll want to use the Lens on is ACMI's huge — and free, and permanent — The Story of the Moving Image exhibition, which has an online component and also physically sprawls across 1600 square metres. It's all about the past, present and future of screen culture in all of its forms, including optical illusions, the first projected images, and the ways in which cinema, TV and games have evolved over the past century. ACMI has also spent big on commissioning new work — to the tune of $880,000, which has gone towards 15 projects. Seventy percent are by First Nations artists, and 60 percent feature women in a lead creative role. Visitors will be able to see one, from Gabriella Hirst, during the venue's first solo exhibition after reopening. Called Darling Darling, the video work finds commonalities between the efforts to preserve colonial paintings of the Australian landscape and the real-world preservation of the Murray Darling Basin. The site's two cinemas are also restarting their screening program, beginning with Love & Neon: The Cinema of Wong Kar Wai, a season dedicated to the acclaimed director. And, its curated streaming service, which launched in 2020, is still up and running as well. Other big new ACMI highlights include the Blackmagic Design Media Preservation Lab, which is dedicated to preserving Australia's analogue past and also ensuring that the country's digital present remains accessible — and the high-tech Gandel Digital Future Labs, which are aimed at fostering young creatives. There's also a retail space that boasts decor as vivid as the film and TV-focused items on sale, plus a new dining space called Hero. The latter is a collaboration with Melbourne chef Karen Martini and new venture HospitalityM, takes inspiration from Jacques Tati's 1967 film PlayTime, and serves bites to eat and casual drinks all day. HospitalityM will also run a coffee cart on Flinders Street, and sell cinema snacks. The Australian Centre for the Moving Image reopens its doors on Thursday, February 11, at Federation Square, Flinders Street, Melbourne. Images: Shannon McGrath.
Following weeks of controversy around Bluesfest's decision to book Sticky Fingers for its 2023 edition, the festival has decided to remove the band from its lineup. The announcement comes after both King Gizzard and the Lizard Wizard and Sampa the Great withdrew from this year's event following the band's addition. Five weeks out from the festival, which is scheduled to arrive at North Byron Parklands across the Easter long weekend, Bluesfest has released reluctant a statement announcing that Sticky Fingers will not be performing — while also defending the controversial band. "Bluesfest cannot, sadly, continue to support Sticky Fingers by having them play our 2023 edition, and we apologise to those artists, sponsors and any others we involved in this matter through our mistaken belief that forgiveness and redemption are the rock on which our society is built," the statement reads. "The narrative that they continue to deserve to be cancelled, as well as anyone who publicly supports them, is difficult to accept, wherein a portion of society and media passes eternal judgment toward those, in this case, a diagnosed mentally ill person whom we feel doesn't deserve the continued public scrutiny he's being given." [caption id="attachment_876098" align="alignnone" width="1920"] King Gizzard and the Lizard Wizard, Jason Galea[/caption] In the two weeks following Bluesfest's sixth artist announcement for 2023, which featured Sticky Fingers, the festival experienced acts dropping out. When King Gizzard and the Lizard Wizard cancelled their appearance, it cited Bluesfest's decision to book content that conflicts with their values. "As a band and as human beings, we stand against misogyny, racism, transphobia and violence," King Gizzard and the Lizard Wizard's statement reads. "Surprised and saddened to see Bluesfest commit to presenting content that is in complete opposition to these values." The removal of Sticky Fingers is the fourth confirmed lineup change since Monday, February 20, after The Soul Rebels featuring GZA, Talib Kweli and Big Freedia were also removed from the lineup due to a separate disagreement with the festival's founder Peter Noble. Dylan Frost, Sticky Fingers' frontman, has been the subject of serious allegations which include physically threatening First Nations singer Thelma Plum and harassing a transgender woman at a Sydney pub. Frost and bassist Paddy Cornwall were also caught in an alleged brawl with each other in 2019 which saw Cornwall charged with affray. "We will now move on, put this behind us and continue to plan and present our best-ever edition of Bluesfest... proudly," continues the statement from Bluesfest, before linking to a lengthy article from The Weekend Australian about the band. The festival will continue without Sticky Fingers, The Soul Rebels, King Giz and Sampa the Great from Thursday, April 6 until Monday, April 10 with headliners including Gang of Youths, Paolo Nutini, Tash Sultana, Bonnie Raitt, The Doobie Brothers and Beck. [caption id="attachment_867504" align="alignnone" width="1920"] Kurt Petersen[/caption] Bluesfest 2023 will run from Thursday, April 6–Monday, April 10 at Byron Events Farm, Tyagarah. For the most up-to-date lineup, head to the Bluesfest website. Top image: Lachlan Douglas.
Whether you're looking for something on a budget, or you're after the best vintage fare, there's nothing like trawling through other people's wares. Forget your regular old household clear-outs, trash and treasure markets, outlet sales and car boot offerings though — that's where Brisbane's biggest clothing garage sale comes in, and it's hosting a Christmas night market. Despite the name, the event kicks off in the afternoon — so you can head by from 3–7pm on Saturday, December 5. We're not sure whether the garage sale's size has ever been officially confirmed, but you'll still find plenty of stalls and sellers delivering a massive array of sartorial bits and pieces at Bizzell's Garage on Latrobe Terrace. Prepare to arrive with shopping on your mind and leave with a full basket. Prices vary, as will condition, but expect to pay anywhere from $1 to over $100 for clothes, swimwear, shoes, accessories, denim, leather items and jewellery. Brands spanning the sporty likes of Adidas and Puma, the upmarket style of of Burberry, and the street cred of FILA and Calvin Klein will all be on offer. And, if you want to add a few plants to your home garden — including succulents — you'll find greenery on sale too, as well as DVDs, records and books as well. Top image: Lil J's Vintage.
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 GRAY MAN It's been four years since Ryan Gosling last graced screens, rocketing to the moon in First Man. No, Barbie set photos pored over on every internet-connected device don't count. Since he played Neil Armstrong, much has happened. There's the obvious off-screen, of course — but then there's Chris Evans farewelling Captain America, and also appearing in Knives Out with the scene-stealing Ana de Armas. After co-starring in Blade Runner 2049 with Gosling back in 2017, she leapt from that Evans-featuring whodunnit to palling around with 007 in No Time to Die. Also during that time, Bridgerton pushed Regé-Jean Page to fame, and Once Upon a Time in Hollywood earmarked Julia Butters as a young talent to watch. This isn't just a history lesson on The Gray Man's cast — well, some of them, given that Billy Bob Thornton (Goliath), Jessica Henwick (The Matrix Resurrections), Dhanush (Maaran), Wagner Moura (Shining Girls) and Alfre Woodard (The Lion King) also pop up, plus Australia's own Callan Mulvey (Firebite) — for the hell of it, though. Back in 2018, before all of the above played out, it's unlikely that this exact film with this exact cast would've eventuated. But plenty of action-thrillers about attempting to snuff out hyper-competent assassins already did flicker across celluloid — both John Wick and Atomic Blonde had already been there and done that, and the Bourne and Bond movies, and countless other predecessors. Still, the combination of this collection of current actors and that familiar setup isn't without its charms in The Gray Man, which makes the leap from the pages of Mark Greaney's 2009 novel to the big and streaming screens. Reportedly Netflix's most expensive movie to date, it lets its two biggest names bounce off of each other with chalk-and-cheese aplomb, and isn't short on globe-hopping action spectacle. The off-the-book spy versus off-the-book spy killer flick is knowing amid all that box-ticking formula, too, although not enough to make its cheesy lines sound smart and savvy. Gosling plays Court Gentry, aka Sierra Six; "007 was taken," he jokes. Before he's given his codename — before he's paid to do the CIA's dirty work as well — he's in prison for murder, then recruited by Donald Fitzroy (Thornton). Fast-forward 18 years and Six is a huge hit at two things: being a ghost, because he no longer officially exists; and covertly wreaking whatever havoc the government tells him to, including knocking off whichever nefarious figure they need gone. But one stint of the latter leaves him in possession of a USB drive that his arrogant new direct superior Carmichael (Page) will ruthlessly kill to destroy. Actually, to be precise, he'll pay Lloyd Hansen (Evans) of Hansen Government Services to do just that, and to do the dirty work that's too dirty for the criminals-turned-government hitmen in the Sierra program, with Six the number-one target. If you've seen one espionage-slash-assassin flick that sends a shadowy life-or-death fight bounding around the planet — here, Hong Kong, the Czech Republic, Croatia, Azerbaijan, Germany and Austria all feature, among other spots — then you've seen The Gray Man's template. Directing duo Joe and Anthony Russo helmed the Marvel Cinematic Universe's versions with Captain America: The Winter Soldier and Captain America: Civil War, so they know the drill. That they've seen a heap of other entries in the genre is never question, either. That feeling radiates from the script, which is credited to Joe Russo with seasoned Marvel scribes Christopher Markus and Stephen McFeely (Avengers: Infinity War and Avengers: End Game), and clearly styles its one-liners after superhero banter. Having Gosling and Evans sling it, one playing bearded, silent and virtuous and the other moustachioed, jabbering and unhinged, makes a helluva difference, however. Read our full review. THE PHANTOM OF THE OPEN If The Phantom of the Open was part of a game of golf, rather than a movie about the club-flinging, ball-hitting, bunker-avoiding sport, it wouldn't be a hole in one. It couldn't be; perfection doesn't suit the story it's telling, which is as real and as shaggy — as so-strange-it-can-only-be-true, too — as they can possibly come. That other key factor in spiriting dimpled orbs from the tee to the cup in a single stroke, aka luck, is definitely pertinent to this feel-good, crowd-pleasing, happily whimsical British comedy, however. Plenty of it helped Maurice Flitcroft, the man at its centre, as he managed to enter the 1976 British Open despite never having set foot on a course or played a full round of golf before. It isn't quite good fortune that makes this high-spirited movie about him work, of course, but it always feels like a feature that might've ended up in the cinematic long grass if it wasn't so warmly pieced together. When Maurice (Mark Rylance, Don't Look Up) debuts on the green at the high-profile Open Championship, it doesn't take long for gap between his skills and the professionals he's playing with to stand out. In the words of The Dude from The Big Lebowski, obviously he's not a golfer — although what makes a golfer, and whether any sport should be the domain of well-to-do gatekeepers who reserve large swathes of land for the use of the privileged few, falls into The Phantom of the Open's view. So does a breezily formulaic yet drawn-from-fact account of a man who was born in Manchester, later settled in the port town of Barrow-in-Furness in Cumbria and spent much of his life as a shipyard crane operator, providing for his wife Jean (Sally Hawkins, Spencer), her son Michael (Jake Davies, Artemis Fowl), and the pair's twins Gene (Christian Lees, Pistol) and James (Jonah Lees, The Letter for the King). Maurice had never chased his own dreams, until he decided to give golfing glory a swing. For audiences coming to all this anew, director Craig Roberts (Eternal Beauty) clues viewers in from the get-go, via a recreation of an 80s TV interview with Maurice. The film's key figure chats, looking back on his sporting efforts after his attempts at golf have clearly earned him a level of fame, but he'd also rather just sip a tea with six sugars. That's an easy but pivotal character-establishing moment. He's a cuppa-coveting everyman accustomed to finding sweetness in modest places, which aptly sums up his whole approach to his middle-aged pastime. The jovial humour of the situation — in caring more about his beloved tea than talking on the television — is also telling. Using a screenplay by Simon Farnaby (Paddington 2) based on the actor and writer's 2010 biography of Maurice, Roberts laughs along with and never at his protagonist. He affectionately sees the wannabe golfer's eccentricities, and also values the new lease on life he's eagerly seeking. That quest starts while watching late-night TV, after Michael advises that the shipyard where both men work — and Jean as well — will be making layoffs. With Bridge of Spies Oscar-winner Rylance dripping with sincerity and never cartoonish quirkiness, Maurice eyes the game on-screen like a man having a life-altering and surreal epiphany. Befitting anyone who's ever had a sudden realisation, he's instantly convinced. That he has zero know-how, nor the cash for the right attire, equipment and membership to the local club to practice, doesn't put him off. Neither does filling out the Open entry form, where he instructs Jean to tick the 'professional' box because that's what he wants to be. On the ground at Royal Birkdale Golf Club in Southport, he swiftly attracts attention for hitting 121 — the worst score ever recorded — with the press, as well as tournament bigwigs Keith Mackenzie (Rhys Ifans, The King's Man) and Laurent Lambert (Farnaby, Christopher Robin). Read our full review. 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. 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 and Sundown.
This could be love: a classic 80s film that's been adored for decades, a new date with the big screen, and a live band and singers bringing its soundtrack to life as you watch. Dirty Dancing in Concert isn't new to Australia, but it keeps returning to tour the country because the movie at its centre is one that audiences can't get enough of. If you're a fan, you'll know which phrase fits: ideally, you'll have the time of your film-watching life. In September and October 2025, Patrick Swayze and Jennifer Grey will dance up a storm in the 1987 romantic drama. While the tour is clearly hoping that you've never felt like this before, that'll only apply if you didn't go to 2022's or 2023's shows. Whether you're a Dirty Dancing in Concert first-timer or returning after seeing it before, you'll not only see the movie — you'll also hit up the party afterwards. Accordingly, as you celebrate one of Swayze's biggest and most-charming film roles, you'll be immersed in the world of the picture from the moment that you take your seat. Although no one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, the digitally remastered feature will grace the big screen, its iconic songs will get a workout live, then the musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. This blast-from-the-past affair has dates locked in for Sydney, Adelaide, Perth, Brisbane and Melbourne — on Saturday, September 6 at the Darling Harbour Theatre, ICC Sydney; Saturday, September 20 at Adelaide Entertainment Centre Arena; Sunday, September 21 at Riverside Theatre, Perth Convention and Exhibition Centre; Saturday, October 4 at Brisbane Convention and Exhibition Centre; and Thursday, October 9 at Hamer Hall, Arts Centre Melbourne. Around the world, Dirty Dancing in Concert has staged more than 200 sessions so far. Dirty Dancing in Concert 2025 Australian Tour Saturday, September 6 — Darling Harbour Theatre, ICC Sydney Saturday, September 20 — Adelaide Entertainment Centre Arena, Adelaide Sunday, September 21 — Riverside Theatre, Perth Convention and Exhibition Centre, Perth Saturday, October 4 — Brisbane Convention and Exhibition Centre, Brisbane Thursday, October 9 — Hamer Hall, Arts Centre Melbourne Dirty Dancing in Concert will tour Australia in September and October 2025 — head to Ticketek for tickets and further details. Dirty Dancing in Concert images: Zdenko Hanout.
It sure is no secret that Sydney's a pretty exxy place to call home. But here's some news to make you really start plotting that move interstate: a recent report on the cost of living has stuck it right up at number 10, above both New York and London. That's right, all your mates battling those killer Hackney rent prices now, apparently, have it better than you. As The Guardian reported this week, the Economist Intelligence Unit's 2018 study pushed our harbour city up four spots higher than in the same list last year, seeing it crack the top ten for the first time ever. This comes after another pice aggregation website Numbeo saw Sydney and Melbourne move up on its list too. The study compared prices across more than 150 products and services, looking at things like food, transport, utilities, clothing and rent in all the major cities. Singapore has again claimed the title of the world's most expensive city, followed by Paris, which jumped five points, and Zurich, which climbed one position. New York swapped last year's number nine ranking for a spot in 13th, while at number 30, London scored its lowest position in two decades — a fall the report's authors say has a lot to do with a little thing called Brexit. Via The Guardian.
Something delightful has been happening in cinemas across the country. After periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — at present, spanning both big chains and smaller independent sites in 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, comedies, music documentaries, 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. LITTLE JOE Pipes blow gently. The camera swirls. Rows of plants fill the screen. Some are leafy and flowery as they reach for the sky; others are mere stems topped with closed buds. Both types of vegetation are lined up in boxes in an austere-looking laboratory greenhouse — and soon another shoot of green appears among them. Plant breeder Alice (Cruella's Emily Beecham, who won the Cannes Film Festival's Best Actress award for her work here) is cloaked in a lab coat far paler than any plant, but the symbolism is immediately evident. Audiences don't know it yet, but her shock of cropped red hair resembles the crimson flowers that'll blossom in her genetically engineered new type of flora, too. "The aim has been to create a plant with a scent that makes its owner happy," she tells a small audience. She explains that most research in her field, and in this lab, has revolved around cultivating greenery that requires less human interaction; however, her new breed does the opposite. This species needs more watering and more protection from the elements, and responds to touch and talk. In return, it emits a scent that kickstarts the human hormone oxytocin when inhaled. Linked to parenting and bonding, that response will make everyone "love this plant like your own child," beams Alice like a proud parent. So starts Little Joe, which shares its name with the vegetation in question — a "mood-lifting, anti-depressant, happy plant," Alice's boss (David Wilmot, Calm with Horses) boasts. She's borrowed her own teenage son's (Kit Connor, Rocketman) moniker for her new baby, although she gives it more attention than her flesh-and-blood offspring, especially with the push to get it to market speeding up. The clinical gaze favoured by Austrian filmmaker Jessica Hausner (Amour fou) is telling, though. The eerie tone to the feature's Japanese-style, flute- and percussion-heavy score sets an uneasy mood as well. And, there's something not quite right in the overt eagerness of Alice's lab colleague Chris (Ben Whishaw, Fargo), and in the way that Planthouse Biotechnologies' other employees all instantly dismiss the concerns of the one naysayer, Bella (Kerry Fox, Top End Wedding), who has just returned to work after a mental health-induced sabbatical. Making her first English-language feature, Hausner helms a disquieting and anxious sci-fi/horror masterwork. Like many movies in the genre, this is a film about possibilities and consequences, creation and its costs, and happiness and its sacrifices — and about both daring to challenge and dutifully abiding by conformity — and yet it's always its own beast. There are aspects of Frankenstein at play, and The Day of the Triffids, and even Side Effects also. But as anyone familiar with Mary Shelley's iconic work knows, combining familiar elements can result in an intriguing new entity that's much more than just the sum of its parts. Read our full review. HERSELF Survivalist films typically pit humans against the elements, nature or space, testing a character's endurance when they're cast adrift in the ocean (as in Kon-Tiki and All Is Lost), enduring unwelcoming expanses (Into the Wild, Arctic), faced with animal predators (The Grey, Crawl) or navigating the heavens (Gravity, The Martian). Herself doesn't tick any of those boxes, but it still fits the genre — because what else is a movie about a woman trying to escape an abusive marriage, care for her two young daughters alone and build a safe future if not a story of survival? In Dublin, Sandra (Spider-Man: Far From Home's Claire Dunne, who also co-wrote the feature's screenplay) is unhappily married to Gary (Ian Lloyd Anderson, Vikings), and has the bruises to prove it. When he finds money hidden in her car, a badly fractured hand becomes the latest marker of their domestic horror. She leaves, children Molly (Molly McCann, Vivarium) and Emma (debutant Ruby Rose O'Hara) in tow, but forging a path forward proves complicated at every turn. Social services can only put the trio up in a hotel far away from the girls' school, juggling two jobs to barely scrape by becomes even trickier and, by court order, Gary still gets weekend visits with the kids. Then, thanks to a spark of unexpected inspiration, Sandra decides to try to build her own house — a €35,000 self-build that'll require an overwhelmingly thoughtful gift from one of her bosses (Harriet Walter, Killing Eve), the kindness of a construction industry veteran (Conleth Hill, Game of Thrones) and all the help she can muster. As a writer (with What Richard Did's Malcolm Campbell), Dunne doesn't make easy choices. Her narrative doesn't follow a straightforward path, either. Herself's script highlights the devastating complexities that surround Sandra at every turn, but avoids plotting the obvious course — because more hopeful and more grim moments are always in everyone's futures, even when it seems that worse surely can't come. Stress, resilience, tender gestures and uncaring powers-that-be are all a part of this story. So is interrogating a system that's quick to push back at victims in the name of family, and the impact upon children who grow up in a household blighted by domestic violence. Herself fleshes out this reality, but always hurtles forward, because that's all that Sandra can do. Worlds away from the two other features on her resume — Mamma Mia! and The Iron Lady — director Phyllida Lloyd helms an intense , compassionate but still clear-eyed drama. It's as bleak as French standout Custody, which also plunges into an abusive marriage. It's also as brutal in its unflinching depiction of navigating bureaucracy as fellow Irish film Rosie, which also tells of a mother trying to find housing for her kids. And yet, without any cloying sentiment, there's hope and tenacity here as well, including in Dunne's phenomenally rich and vulnerable performance. Read our full review. WEREWOLVES WITHIN The last time that filmmaker Josh Ruben trekked to a snowy mountainous locale and tracked the characters stranded in its midst, Scare Me was the end result, with the entertaining horror-comedy combining cabin fever chaos with creepy tales. Accordingly, it's easy to see how he's jumped from that Sundance hit to Werewolves Within, which shares the same kind of setting and setup — but with lycanthropes and a whodunnit twist. Forest ranger Finn (Sam Richardson, Promising Young Woman) has just arrived in the remote town of Beaverfield as the weather turns and the strange attacks start. He's barely been given a tour by fellow outsider Cecily (Milana Vayntrub, This Is Us), the local mail carrier, when the village's generators are found destroyed and the bodies start piling up. Finn has already established that he's surrounded by eccentric characters, including an oilman (Wayne Duvall, The Trial of the Chicago 7) trying to build a pipeline through the foliage, a store owner (Michaela Watkins, Search Party) obsessed with her dog, a constantly arguing couple (No Activity's George Basil and Barry's Sarah Burns) with a fondness for skirting the law, and a pair of ex-city slickers (What We Do in the Shadows' Harvey Guillén and Saved by the Bell's Cheyenne Jackson); however, he's soon forced into close quarters with his new neighbours as they all try to work out who's transforming into a ravenous creature and indulging their hunger. If it all sounds a bit like Cluedo but with werewolves, there's a reason for that; the 2016 virtual reality game that Werewolves Within is based on also matches that description. Adapted into a movie, the narrative aims for Knives Out with claws — but, while overflowing with one-liners, sight gags and a healthy sense of humour to a not just jam-packed but overstuffed degree, the end result is never as funny as it should be. It's never quite as fun, either, even though the concept is a winner on paper. Comedian-turned-screenwriter Mishna Wolff spends far too much time trading in the glaringly apparent, not to mention the predictable. Hell is other people here, and the fact that a seemingly quaint and friendly small town can be filled with deceit, duplicity and disaster is hardly a new observation (and neither is the musing that the sniping within the community just might be worse than the supernatural threat they're now facing). That almost every character remains purely one-note doesn't help, and nor do the over-amped performances given by all of the film's supporting players. Richardson is a delight, though, as he has been in everything from Detroiters to Veep. Indeed, he makes the case not just for more work, but for more leading roles. Vayntrub sinks her teeth into her part, too, and her rapport with Richardson is one of the movie's highlights. Also engaging: the off-kilter tone that Ruben adopts throughout, again aping his previous — and better — feature. PERFUMES Add Perfumes to the lengthy list of odd-couple comedies that bring folks with opposing personalities together, and suddenly, all so that they can learn life lessons, face much-needed realisations and ultimately live better futures. This French feature also hinges upon an only-in-the-movies setup, after a professional "nose" — someone with enhanced olfactory receptors who plies their talents in the fragrance trade — strikes up an unlikely connection with the struggling father that starts working as her chauffeur so that he can eventually win shared custody of his tween daughter. The key here: sincerity. There's sweetness in writer/director Grégory Magne's (L'air de rien) film, and whimsy, too, but this tale about two lost souls unexpectedly finding commonalities in each other never plays up its quirks. Instead, as penned with heart, helmed with patience, and performed with soul by stars Grégory Montel (Call My Agent!) and Emmanuelle Devos (Violette) as well, Perfumes is like smelling a familiar yet still enticing, comforting and surprising scent. Just as fragrance designer Anne Walberg (Devos) builds aromas out of recognisable ingredients while striving to create something that stands out, this charming movie blends its array of easy-to-spot elements into a pleasingly distinctive cinematic treat. In the latest French-made or -adjacent feature to include a custody battle of late (see also: Custody and My Zoe), all that Guillaume Favre (Montel) wants is to convince a judge that he can spend every other week with his daughter Léa (Zélie Rixhon, The Ideal Palace). To do so, he needs to radiate stability, something that he starts seeking through his driving job. When he's assigned to ferry Anne between assignments, he's far from impressed by her aloof demeanour or unusual demands. Helping her change the sheets at her hotel isn't in his job description, he notes. But he's also intrigued by her work, which currently involves recreating the specific odour of a cave, masking an unpleasant smell that's infected a leather brand's handbags, and trying to counteract the stench being pumped out by a rural factory — new gigs she's pushed into by her money-motivated agent (Pauline Moulène, Boomerang) after starting out concocting designer perfumes. Magne's film isn't about narrative surprises, but about emotions. It's also about spending time with two nicely fleshed-out characters who find friendship blossoming despite their initial misapprehensions, and bring out the best in each other as a result. Perfumes wouldn't work if it didn't unfurl with gentle but genuine warmth, if it didn't value attention to detail so highly, and if it didn't have both Devos and Montel as its anchors; however, thankfully they're all a part of this elegant Gallic effort. ESCAPE ROOM: TOURNAMENT OF CHAMPIONS More than once in Escape Room: Tournament of Champions, a supporting performance stands out — and not for the right reasons. Overdone and obvious, these portrayals leave audiences with no doubt that the corresponding characters are part of the game that this franchise has been playing for two movies now. The overall premise of this series sees ordinary folks receive invites that lead them into a maze of escape rooms. These are literal life-and-death spaces, and the body count grows room by room. This time around, Zoey (Taylor Russell, Words on Bathroom Walls) and Ben (Logan Miller, Love, Simon), the sole survivors of 2019's series starter, are trying to track down the villains responsible for the death traps. Of course, they're soon stuck in another one, alongside four fellow winners (In Like Flynn's Thomas Cocquerel, Follow Me's Holland Roden, Queen & Slim's Indya Moore and Step Up: High Water's Carlito Olivero) from other games. There's supposed to be a sense of anxiousness about where the escape rooms begin and the outside world ends, and vice versa, but that's completely stripped out of this second effort. Throughly unsubtle bit-part performances, even for a movie this blatant at every turn, will do that. Escape Room: Tournament of Champions is still tense when Zoe, Ben and their fellow pawns are trying to sleuth their way to safety, thankfully, but that's largely a result of giving them twisty puzzles to solve at an urgent pace. Watching people trying to problem-solve quickly comes with innate tension. Will they succeed? Won't they? The seesawing between those two extremes is inherently suspenseful. That, and the rooms themselves, are two of Escape Room: Tournament of Champions' three highlights. The third: Russell, who is capable of so much more — as seen in Waves, for example — and gives her part here more depth than is written on the page. But, as much as returning director Adam Robitel (Insidious: The Last Key) tries to spin something memorable out of the nervous tone, elaborate spaces and Russell's presence, the repetition and overtness gets tiring fast. While individual scenes may be tense, the overall film never is. It's always apparent where the narrative is headed, even when the six credited writers (Mortal Kombat's Oren Uziel, Hand of God's Daniel Tuch, Counterpart's Maria Melnik, The Hive's Will Honley, Invincible's Christine Lavaf and Wildling's Fritz Böhm) think they're serving up surprises; thought has clearly gone into the minutiae of each escape room, and yet little seems to have been afforded the bigger picture. Visually, and in its soundtrack, every stylistic touch paints by the numbers, too. Also much too predictable: that the film is a setup for yet more to follow. The Final Destination franchise has ratcheted up five instalments so far, so the Escape Room series, the closest thing it has to a successor, can obviously keep milking its setup for several more formulaic movies to come. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on January 1, January 7, January 14, January 21 and January 28; February 4, February 11, February 18 and February 25; March 4, March 11, March 18 and March 25; and April 1, April 8, April 15, April 22 and April 29; May 6, May 13, May 20 and May 27; and June 3, June 10, June 17 and June 24. You can also read our full reviews of a heap of recent movies, such as Chaos Walking, Raya and the Last Dragon, Max Richter's Sleep, Judas and the Black Messiah, Girls Can't Surf, French Exit, Saint Maud, Godzilla vs Kong, The Painter and the Thief, Nobody, The Father, Willy's Wonderland, Collective, Voyagers, Gunda, Supernova, The Dissident, The United States vs Billie Holiday, First Cow, Wrath of Man, Locked Down, The Perfect Candidate, Those Who Wish Me Dead, Spiral: From the Book of Saw, Ema, A Quiet Place Part II, Cruella, My Name Is Gulpilil, Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks and In the Heights.
What's better than one place where you can blow off steam by slinging sharp blades at a target? Two such establishments, obviously. Not that long ago, Brisbane didn't have any axe-throwing joints — and now it's welcoming its second thanks to Maniax. Three months after Lumber Punks expanded from the Gold Coast to Brissie, fellow weapon-flinging outfit Maniax has added a Queensland venture to its existing Sydney and Melbourne empire. And when it launches on Doggett Street in Newstead on Saturday, November 10, it's doing so with a whole day of free hatchet-hurling from 10am–8pm. The one-day launch party will also feature smoked meats from The Wofty Possum, although you'll need your wallet if you're feeling hungry. And, in an Australian first, you'll also be able to enjoy up to two Young Henrys beers while you're chucking axes. Maniax is usually a strictly alcohol-free zone, but it's making a one-off exception for its Brisbane opening celebrations. Maniax might be playing catch-up in Brisbane; however it was actually in the Australian axe-throwing game first, launching its original Sydney venue back in 2014. Finally making its way up north, it brings its range of blade-hurtling activities along with it — think solo or small group sessions, axe-throwing events for larger parties, date night options (because the couple that hurls hatchets together stays together, clearly) and even an eight-week competitive league. The different events all run for at least two hours, but take place on different nights. Every second Friday evening is all about couples, Monday to Wednesday will be dedicated to league comps, while solo and small group sessions are held on the last Saturday of every month. Bookings are essential — in fact, you can't just walk in and take part without a reservation — and as for how it all works, it's comparable to darts. Basically, you chuck axes at a board and try to hit a bullseye. Don't even know the first thing about picking up a hatchet? That's completely to be expected, with lessons included in every session, as well as in the league competition. Axe-throwing experts will also be on hand to help even when you think you've mastered the basics. The venue also features safety barriers to protect everyone — and, to the surprise of no one, is a completely alcohol-free affair at all times other than Maniax's opening party. You can buy soft drinks, water and some snacks onsite, and you're welcome to bring your own too. And if you suddenly become an axe-throwing fanatic, Maniax also has its own line of merchandise. Find Maniax at 52a Doggett Street, Newstead from Saturday, November 10. Visit the venue's website for further details and to make a booking.
The combination of Emma Stone and Yorgos Lanthimos is one of 21st-century cinema's best, and long may it continue beyond The Favourite, Poor Things and now Kinds of Kindness. The mix of the two-time Oscar-winner, the Greek filmmaker, plus Willem Dafoe and Margaret Qualley in the last two of those movies has also been working out swimmingly. There's another winning blend in Kinds of Kindness, though, and one deserving of earning the third Lanthimos lead in as many features an Oscar: the writer/director and Jesse Plemons, who has already collected the 2024 Cannes Best Actor award for his trio of roles in this black-comedy triptych. He gives not one, not two, but three exceptional performances. First he plays an employee who loses his boss' faith, then a husband whose wife is lost, then a disciple trying to find a woman with an extraordinary ability. Sweet dreams are made of this, as the Eurythmics' thumping 1983 hit tells Kinds of Kindness' viewers when it blasts through the movie at full blare from the get-go. There's little that's delectable for the film's characters, or kind for that matter, but Lanthimos back at his darkest, spikiest, and most sinister and cynical — back among the vibes of Dogtooth, Alps, The Lobster and The Killing of a Sacred Deer — is indeed a delicious reverie. As Annie Lennox sings about anthemically, this is a picture about desire. It's equally about everyone looking for something that fulfils those yearnings and stirrings. Using and abusing, wanting to be used and abused, holding and keeping your head up in this cycle of pleasure and pain: so also goes the words of one of the best dance-floor fillers of the past four decades, and now so goes the feature that makes its sentiments a filmic reality as well. Plemons (Civil War), Stone (Cruella), Qualley (Drive-Away Dolls), Dafoe (Asteroid City), Hong Chau (The Menu), Joe Alwyn (Stars at Noon), Mamoudou Athie (The Burial): they're Lanthimos' troupe in the three tales of his ninth movie. Joining them is Poor Things' Yorgos Stefanakos as RMF, who is driving the car pumping out "who am I to disagree?" and "I travel the world and the seven seas" when the anthology's opening chapter commences. The repertory cast is stunning, on paper and on the screen. So is the filmmaker's knowing playfulness in enlisting them, with some of the most-famous faces who routinely represent humanity — that's acting, after all — toying with being humane's utter absence. Sometimes they're demanding that each other commits murder. Sometimes they're getting cannibalistic. Sometimes they're lopping off their own body parts. Often they're fixated to the point of delusion. La Chimera is already taken as the name of an excellent and unique auteur-helmed 2024 cinema release in Australia, skewing figurative, but the three-headed creature of Greek myth that originated a term for illusions feels like the spirit animal for Kinds of Kindness in more ways than one. Among actual critters, dogs and cats feature here, more reminders of domesticity taken down startling paths. Neither are crucial to the debut chapter, but that's still the narrative's route, as Plemons' Robert, a salaryman with a spacious home, doting wife (Chau) and slick business job, has the facade of his comfortable existence shattered. His employer and sometimes-lover Raymond (Dafoe) dictates his every move, plotting out instructions on daily handwritten cards. Wardrobe choices, what to eat, who he married, when to have sex: everything is covered. After ten years of willing and eager compliance, Robert then refuses a task, then suspects that optician's assistant Rita (Stone) also has the same control-and-subjugation arrangement. Making Plemons and Stone competitors will pop up again, but next they're husband and wife in the movie's second instalment. He's police officer Daniel, she's marine researcher Liz, and he's distraught about her going missing at sea until she's rescued against everyone else's expectations. Is the woman now sharing his home really his spouse, though? And what lengths will he push her to to test his fears? In the last of Kinds of Kindness' trilogy of tales, Dafoe's Omi and Chau's Aka steer a cult that's looking for a healer who fits an exacting list of criteria. Doing the searching on their behalf, and being rewarded with sex, plus drinking water purified with their gurus' tears, are Plemons' Andrew and Stone's Emily. In this section as in each before it — and across Lanthimos' entire filmography — how brutal, domineering, selfish and cruel people can be is firmly in focus, as are the beliefs that we cling to to pretend that's not the case. These notions were all a part of The Favourite and Poor Things, of course, as scripted by The Great's Tony McNamara, yet the mood gets stormier when Lanthimos works with his Dogtooth, Alps, The Lobster and The Killing of a Sacred Deer screenwriter Efthimis Filippou. Gone are the whimsy and empowerment that also colours Poor Things, for instance. Still, his work with Filippou remains grounded in heightening everyday traits and patterns, however dystopian or nightmarish they get. Watching this duo's collaborations always means recognising the impulses that spring from the mix of water and flesh that comprise humans, as well as witnessing those relatable urges and compulsions being gleefully and cannily taken to extremes. Adding to a resume that continues the opposite trajectory to people en masse in Lanthimos and Filippou's view — that'd be getting better and better — Plemons is impossible to peer away from as Robert, Daniel and Andrew alike. Each is an everyman plagued by a need for purpose and belonging, and quickly willing to get vicious to grasp it. But amid the meticulous imagery that always characterises a Lanthimos film, with cinematographer Robbie Ryan (The Old Oak) a master in emphasising new views and angles on what'd be typical sights in other hands, Plemons isn't playing the same character over and over again. As his hair gets shorter chapter by chapter, the Killers of the Flower Moon, Love & Death and The Power of the Dog actor does far more than make his lost, lonely, searching, awkward and angry Kinds of Kindness figures thematic clones or even siblings. That said, there's a three-sides-of-the-same-coin statement to the picture overall: people are unkind, then people are unkind, then people are unkind once more. The specifics of their personalities and circumstances change. What they're desiring shifts as well. Kinds of unkindness remains the end fresult. As Hunter Schafer (The Hunger Games: The Ballad of Songbirds & Snakes) rounds out the ensemble, just in one segment, Stone has the same gig as Plemons, and is equally committed. She's in terrain, aka unpacking the savagery that flows through humans like blood, that she's also tapped into in her recent small-screen appearances in The Curse and Fantasmas, 2023's best new TV show and 2024's best in the same field so far. She's on message for Lanthimos, then, even when he's not her director. With him, Stone summed up the Greek Weird Wave great's prevailing perspective on life best when she was earning her second Best Actress Oscar for Poor Things as Bella Baxter: "I have adventured it and found nothing but sugar and violence".
Unlike Dorian Gray, surely Sarah Snook doesn't have a portrait in her attic that withers as she succeeds. The Australian Succession star might want to make some room on her mantle, though, or wherever she keeps her trophies. After winning a 2024 Laurence Olivier Award for Best Actress for the London version of Sydney Theatre Company's The Picture of Dorian Gray, she has now picked up a Tony nomination for the production's current Broadway season. Snook is in contention for Best Performance by an Actress in a Leading Role of a Play — and she's the only actor from The Picture of Dorian Gray to earn recognition because she's the show's sole cast member. Thanks to collecting five other nominations, for Best Direction of a Play (Kip Williams), Best Scenic Design of a Play (Marg Horwell and David Bergman), Best Costume Design of a Play (Marg Horwell again), Best Lighting Design of a Play (Nick Schlieper) and Best Sound Design of a Play (Clemence Williams), the production is now the most-nominated solo show in Tony history. "I couldn't be prouder of our incredible production and all of the individuals who have created it and bring it to life. Sarah Snook's nomination for her absolutely extraordinary performance is so very well-deserved, as are the nominations for our entire Australian creative team," said producer Michael Cassel. "The response to this production, be it in Australia, the West End and now Broadway is testament to the creativity, talent and sheer vision of all those involved and is wonderful recognition of Sydney Theatre Company and Kip Williams who took the bold risk of originating such a visionary and daring piece of theatre, right here in Sydney". Whether Snook will be adding to her Olivier Award, plus her Emmy, Golden Globes and Screen Actors Guild Awards for Succession, as well as her multiple AACTA Awards (including in 2025 for Memoir of a Snail), will be revealed on Monday, June 9, 2025, Australian time. Before The Picture of Dorian Gray gave Snook her Broadway debut playing all 26 of the play's parts, it was a smash in Australia with Eryn Jean Norvill (Love Me) in the lead. When it made the leap to the UK starring Snook, it became the talk of West End. It's also been picked up by Cate Blanchett's (Disclaimer) production company Dirty Films to get the film treatment. Not only does the show feature just one performer playing every single character but, to make that happen, it uses video to help. It's the work of writer/director Kip Williams, it's groundbreaking, and it's been understandably earning audiences raves and winning accolades. On the page, The Picture of Dorian Gray is also exceptional, as well as astute and unnerving, as it follows the selling of its namesake's soul in order to keep indulging every corporeal whim, urge and desire. There's a reason that it just keeps getting adapted for the screen and in theatres, after all. But there's never been a version like Sydney Theatre Company's, which the Tonys now clearly appreciate. Check out the trailer for the Broadway season of The Picture of Dorian Gray below: The 78th Tony Awards are taking place on Monday, June 9 Australian time — head to the accolades' website for more details. The Picture of Dorian Gray has been playing Broadway in New York since March 2025 — for more information and to join the waitlist for tickets, head to the play's website. Images: Marc Brenner.
In 2024, Doja Cat topped the Triple J Hottest 100 of songs from 2023 and added Coachella headliner to her list of achievements. This year, she's notching up a first touring-wise: the superstar's debut arena gigs in Australia. Come December 2025, the 'Say So', 'Kiss Me More' and 'Vegas' talent will hit Brisbane, playing on Saturday, November 29 at the Brisbane Entertainment Centre. Her Aussie (and NZ) shows are part of the rapper's Ma Vie world tour, which also has international stints in Manila, Singapore, Seoul, Tokyo, Bangkok and Kaohsiung locked in for December. The run of dates takes its name from Doja Cat's upcoming fifth album Vie. Expect to hear Jack Antonoff- and Y2K-produced single 'Jealous Type' as part of her set, with new tune first debuted live at San Francisco's Outside Lands Music Festival at the beginning of August. [caption id="attachment_1018453" align="alignnone" width="1920"] Dana Jacobs/WireImage[/caption] Vie follows 2018's Amala, 2019's Hot Pink, Planet Her from 2021 and 2023's Scarlet on the Grammy-winner's discography. It's the latter that delivered 'Paint the Town Red' — 2023's Hottest 100 number one, which marked the first time that a female rapper and woman of colour topped the poll.The tune also sat at number one on the Billboard Hot 100 chart for three weeks, was the first rap song to reach those heights in 2023 and topped the Billboard Global 200 chart for four weeks in a row, too. [caption id="attachment_1018452" align="alignnone" width="1920"] Jacob Webster[/caption] Top image: Raph_PH via Flickr.
Not that long ago, the narrow spaces around Fortitude Valley were just that — spaces, not vibrant laneways. These days, however, the area boasts not one, not two, but now three jam-packed alleys. Yes, that's a development that's worth celebrating. In fact, it's a change worthy of a day-long festival, which is exactly what the brand new Hidden Lanes Festival is all about. On Saturday, October 13 from 10am until late, Bakery Lane, Winn Lane and California Lane will turn into a flourishing — and free — party, complete with markets, beverages, art installations, food, fashion, a heritage trail, masterclasses and 41 live musical acts. If California Lane doesn't actually ring a bell, that's because The Hidden Lanes Festival will also mark its unveiling between Ann and McLachlan streets. As for the music lineup, prepare to join The Delta Riggs, Astro Travellers, Shag Rock, Ben and Anouk Ely, Danny and India Widdicombe, Future Haunts, Pocketlove and more. And, if you're keen to pick up a few new skills, you can catch a filter coffee demonstration, learn how to make cocktails, create your own personalised cupcakes and get into pickling. Updated September 16.
If you know only one thing about Singapore, it's most likely its reputation for fantastic food. And it's not just the cuisine that's earned high esteem with foodies around the world. Alongside the world-class eats, the city's bars are making waves on the global cocktail scene. There's no quicker way to unravel the complexities of Singapore's cultural heritage than by eating your way through the city, from Michelin-starred European fine-dining to humble hawker centres selling affordable but delicious dishes. Then there's the drinking, which ranges from quirky speakeasies to opulent cocktail dens. To showcase the depth of Singapore's drinking and dining, we've partnered with the Singapore Tourism Board to present some of the city's can't-miss experiences. From art deco bars and urbane craft breweries to authentic Peranakan restaurants and French fine dining, these are the places to bookmark for your next visit. ATLAS If you try only one cocktail bar in Singapore, make it Atlas — previously featured on the World's 50 Best Bars list. First, you'll be blown away by the grand art deco space with its vaulted (and frescoed) ceilings. Then you'll be awed by the lofty bronzed gin tower that requires bartenders to scale a ladder to access the more than 1,300 gins (though the extensive menu also includes seriously fine wines, champagnes and whiskies). Going beyond the booze, there's a European-inspired food menu, a lavish afternoon tea service, and the must-try #SundaysAtAtlas which includes free-flowing cocktails, champagne and nibbles. Reservations are essential. [caption id="attachment_864471" align="alignnone" width="1920"] Singapore Tourism Board[/caption] JIGGER & PONY Singapore has speakeasies aplenty but there's no finer example than Jigger & Pony. The proof? It landed on the World's 50 Best Bars list in 2021, 2022 and 2023. The buzzy spot, located at the Amara hotel, is swanky yet relaxed but shakes up a serious cocktail. Jigger & Pony's drinks list — cheekily titled "A Decent Menu" — elevates 24 classic cocktails with clever twists. Think yuzu whisky sours, black pepper sazeracs and sakura martinis. Pair your tipple with a next-level bar snack — we're looking at you, black truffle macaroni and cheese — and go home with some of the bar's bottled cocktail selection to enjoy another day. [caption id="attachment_864481" align="alignnone" width="1920"] Mindy Tan (Singapore Tourism Board)[/caption] KENG ENG KEE Zi char is a term derived from the Chinese Hokkien dialect that translates to 'cook and fry' and refers to casual home-cooked Chinese food meant for sharing. Third-generation zi char restaurant Keng Eng Kee has been firing its woks since the 1970s and has truly perfected its craft. The food here is largely of the Hainanese and Cantonese influence, with popular dishes including the chilli and black pepper crabs, coffee pork ribs and Marmite chicken. The late Anthony Bourdain was a fan, as is feted British chef James Martin, and that's good enough for us. [caption id="attachment_864482" align="alignnone" width="1920"] Afur Wong (Singapore Tourism Board)[/caption] LEVEL33 Singapore may be the home of Tiger Beer, but LeVeL33 is the place to go for a brew with a view. Known as the world's highest urban microbrewery, this award-winning concept serves up freshly shucked oysters, lobster bisque, and pasture-fed Australian steaks, while brewmaster Gabriel Garcia whips up everything from lagers and pale ales to stouts and Bavarian-inspired wheats. Order a tasting paddle for the full experience. The beer menu pairs expertly with LeVeL33's views of the Singapore skyline as well as the "contembrewery dining" of elevated pub grub like baby back ribs and Wagyu beef chunks. [caption id="attachment_864485" align="alignnone" width="1920"] Singapore Tourism Board[/caption] NATIONAL KITCHEN BY VIOLET OON France may have Alain Ducasse but Singapore has Violet Oon, the doyenne of authentic Peranakan cuisine. Oon's flagship is an elegant, colonial-inspired space of dark woods and Straits Chinese tiles tucked into the grand National Gallery of Singapore — but it's the authentic plates infused with fine, fresh ingredients that'll thrill. Dig into refined takes on popular local dishes like kueh pie tee, beef rendang and the signature dry laksa, all of which are full of flavour and beautifully presented. There's also a dedicated plant-based menu that features meat-free takes on classics. Round off the experience with a selection of locally inspired cocktails for a sophisticated Singapore meal. [caption id="attachment_864487" align="alignnone" width="1920"] Danny Santos (Singapore Tourism Board)[/caption] MAXWELL FOOD CENTRE Hawker centres are a quintessential Singapore experience. And while the well-known Lau Pa Sat and Newton are on every tourist's hit list, insiders head straight for Maxwell. This go-to destination began life in 1929, but its current iteration opened in 1987. Inside you'll find a smorgasbord of popular food stalls so this is very much a choose-your-own foodie adventure. There's rich laksa at Old Nyonya, Michelin Bib Gourmand-awarded chicken rice at Tian Tian and traditional sweets at Heng Heng tapioca cake stall. And that's before you get to the rare culinary finds like the alluring Maxwell Fuzhou Oyster Cake and DIY China Street Fritters. [caption id="attachment_864493" align="alignnone" width="1920"] Singapore Tourism Board[/caption] ODETTE Three Michelin stars? Step into Odette and it's easy to see why this is among Singapore's most lauded restaurants. Named after chef Julien Royer's grandmother, Odette delivers dishes inspired by Royer's French farming heritage and Asian culinary experiences, all laced with high-quality luxury ingredients handled with impeccable technique. Expect plates like the signature organic egg with ibérico chorizo, Normandy brown crab with wasabi oil and nashi pear, and kampot pepper-crusted pigeon. All of this is served in a graceful, elegant dining room and paired with polished service and a curated wine list. [caption id="attachment_864497" align="alignnone" width="1920"] Singapore Tourism Board[/caption] MANHATTAN It might be located at the Conrad Singapore Orchard but Manhattan isn't your average hotel bar. Drawing on old New York glamour for its art deco-esque interiors and artisanal spirits for elevated cocktails, Manhattan is one of the city's best drinking dens. The onsite rickhouse produces exquisite liquid like solera-aged negronis and barrel-aged spirits, while the menu brings together classic and forgotten cocktails that revive Golden Age drinking. There's even a collection of over 150 rare American whiskies and tipples inspired by New York personalities like Whoopi Goldberg and Andy Warhol. Did we mention it's ranked 21st on the World's 50 Best Bars list in 2024? [caption id="attachment_866128" align="alignnone" width="1920"] Supplied[/caption] BURNT ENDS When Aussie chef David Pynt ran his Burnt Enz pop-up in London, he probably didn't know it was going to evolve into Burnt Ends, a modern Australian barbecue restaurant that currently holds one Michelin Star and is on the list of Asia's 50 Best Restaurants. Pynt translates his love of flame cooking (found while working with Victor Arguinzoniz of renowned Spanish restaurant Asador Etxebarri) into a daily menu of grilled delights. You might find items like flatiron steak with burnt onion and bone marrow or grilled leeks with hazelnut and black truffle, all complemented by a convivial, unpretentious atmosphere and boutique wines. For more incredible ways to experience Singapore, head to Singapore Tourism Board's website. Top image: Nauris Pukis (Unsplash)
New Zealand chocolatier Whittaker's has released a special Easter treat for folks looking for something other than eggs and bunnies to indulge in in 2024. While it might seem a little early to be planning your Easter egg hunt and lining up Australia's best hot cross bun, it's never not the right time to indulge in Whittaker's chocolate. Whittaker's Choc Cross Bun Block fuses two of the best parts of Easter — hot cross buns and chocolate, of course — into one creamy block. Whittaker's classic milk chocolate is flavoured with raisins, spices and orange oil to capture the sweet citrus flavours of a traditional hot cross bun. Crafted in Porirua, like all Whittaker's chocolate, this limited-edition chocolate block is a great alternative for adults who may not be interested in the admin involved in an Easter egg hunt. It also ties into one of the best Easter trends each and every year: seeing how chocolatiers, restaurants and bars can whip up new and inventive treats for the occasion. You'll only find this one at Coles supermarkets. The Whittaker's Choc Cross Bun Block will be available in Coles stores across Australia while stocks last.
Usually, Australia's own Four Pillars is busy filling our gin shrines — or gin shelves, gin sections of the liquor cabinet or wherever else you store your juniper-based spirits. But with its latest release, it wants you to pop a bottle in your freezer. Next time you want a gin martini, you'll be thankful that you did. Forget shaking or stirring — sorry Bond, James Bond — because with Four Pillars' new bottled cocktail, all you need to do is pour. It's made with gin, but it isn't just gin. Instead, it's a ready-to-pour Double Gin Martini. You simply add the olives (well, you'll want a glass to pour it into, too, obviously). This new bottled favourite features two Four Pillars gins: the savoury Olive Leaf Gin and the citrus-heavy Fresh Yuzu Gin. There's no vermouth, however, with the distillery opting for aromatic Lillet Blanc and Toji Daiginjo Saké, as well as yuzu bitters. The serving suggestion? Drink it cold — hence the use of your freezer — and in a glass that's just as frosty. Yes, that's your fuss-free spring and summer cocktails taken care of. If you're now hankering for a beverage, understandably, the new Double Gin Martini is available from the distillery's website for $60 per bottle, and also from Four Pillars' gin shops at its distillery door in Healesville and its Sydney Laboratory in Surry Hills. For more information about Four Pillars' Double Gin Martini, or to buy it from Saturday, October 1, head to the distillery's website.
El Camino Cantina is known for its colourful interiors, cheap Tuesday tacos and giant margaritas, including at its venues all around Brisbane. Those oversized drinks are a huge drawcard, and they're on offer every day — but every now and then, the lively Tex Mex chain throws in a few specials. Brisbanites, it's that time again. Until Monday, March 13, El Camino's local outposts are celebrating those easy-to-down slushie margs with a month-long ode to the frozen cocktail. In the spotlight: ten of the chain's favourite special flavours, including varieties like Skittle, marshmallow, fruit tingle, sour apple and 'rita colada. The lineup also includes classics like mango, strawberry and lychee — and a watermelon and chilli number as well. South Bank's venue is serving all ten for the entire month, as it the Surfers Paradise joint, with El Camino's other locations at Bowen Hills and Chermside in Brisbane, Robina on the Gold Coast and Sunshine Plaza on the Sunshine Coast rotating through them. Drop by any site on National Margarita Day, which falls on Wednesday, February 22, and there'll also be a limited-edition one-day-only 'rita: a mango and gold Grand Marnier float version made with aged Patrón Anejo tequila, gold leaf and dry ice.
Music festivals are back, following a chaotic couple of years for reasons that we all know and lived through. That's great news in general — and particularly ace news if you've been hanging out for the return of Listen Out, which hits Brisbane Showgrounds on Sunday, October 2. Fuzzy's national electronic-meets-hip hop festival will make a huge comeback for its first gigs since 2019, complete with a hefty lineup led by Disclosure and The Jungle Giants. Also on the bill: everyone from BARKAA and Electric Fields to BBNO$ and Tove Lo. [caption id="attachment_626784" align="alignnone" width="1920"] Mitch Lowe[/caption] The lineup goes on — however, in just as excellent news, Brisbane's leg is also timed across the October long weekend. Spending a Sunday dancing in a crowd, then still having a day off afterwards? That's the perfect way to dive back into festival life. LISTEN OUT 2022 LINEUP: 24kGOLDN AJ Tracey BARKAA BBNO$ Blanke Bru-C Central Cee Chris Lake Culture Shock Dameeeela Disclosure Electric Fields James Hype JID The Jungle Giants Kito Louis The Child LP Giobbi Meduza Memphis LK Miiesha Nia Archives Pirra Pretty Girl Qrion Stace Cadet and KLP Roddy Ricch Tove Lo Trippie Red Top image: Mitch Lowe.
Positioned in the heart of New Zealand's North Island, Mt Ruapehu is best known for its pristine developed ski fields. On the southwestern Turoa slopes it features natural pipes, steep chutes and a vertical drop of 722 metres, while the Whakapapa village leads to breathtaking snow-capped landscapes and the largest ski area in the nation. And that's only what happens in winter. Many people don't think of the mountain as a summer destination, but in the warmer months it comes to life with the country's largest high-speed gondola, panoramic views across a dual world heritage site and a range of dining options in the clouds. And while it may be summer, there's still a chance you'll spot some of the cold white stuff. [caption id="attachment_757146" align="alignnone" width="1920"] Tourism New Zealand.[/caption] RIDE NEW ZEALAND'S NEWEST, LONGEST AND FASTEST GONDOLA Riding Mt Ruapehu's newly opened Sky Waka will take you on a journey into the clouds. Called New Zealand's largest and most technically advanced gondola, the high-speed Sky Waka travels 1.8 kilometres in just five minutes above the rugged terrain of Whakapapa. From the Top of the Bruce base station you'll traverse over waterfalls and ancient lava flows and catch a glimpse of Ruapehu and its neighbouring volcanoes, Ngauruhoe and Tongariro, through the floor to ceiling windows. Touch down will bring you to the award-winning Knoll Ridge Chalet where a selection of dining options await. DINE AT NEW ZEALAND'S HIGHEST RESTAURANT Sitting pretty at 2020 metres above sea level, Mt Ruapehu's The Pinnacles (Ngā Tohu) restaurant puts the sky-high eateries of Auckland to shame. The highest restaurant in New Zealand allows guests to enjoy their meal alongside breathtaking views of the valley below. The menu offers a rotating selection of locally sourced meats, from Awhi Farms marinated sirloin to Waihi Pukawa roast rolled lamb and venison from the Central Plateau below. Pair that with roasted carrots by way of Ohakune and a cheese and pastry selection sure to rival anything back on earth. The restaurant is open in summer for buffet lunch, afternoon tea, plus dinner on Friday and Saturday evenings. Also on offer in the Knoll Ridge Chalet is classic New Zealand cafe-style cuisine. VISIT A DUAL UNESCO HERITAGE SITE While shredding powder is sure to get your blood pumping, a visit to Mt Ruapehu in the summer is enough to prompt a few jaw-dropping moments. The mountain just happens to sit within Tongariro National Park, New Zealand's oldest national park and a dual UNESCO World Heritage site. The status recognises the park's important Maori cultural as well as geological significance. Visitors to Ruapehu and the surrounding region can expect to see some of the most rugged terrain in the North Island, including panoramic views across the Central Plateau and as far as the perfectly formed stratovolcano, Mt Taranaki. VISIT FAMOUS SCENES FROM THE 'LORD OF THE RINGS' At Mt Ruapehu you can visit the spectacular scenery of J.R.R Tolkien's fictional world of Middle-Earth without tackling the great writhing tangled brambles or bypassing the lair of the giant spider. Several key scenes of the trilogy were filmed in Tongariro National Park, and varied levels of trails will have you positioned in Ithilien where Gollum caught a fish, at the very location Isildur cuts off Sauron's finger and standing in the spot where Frodo and Sam met the Gates of Mordor. New Zealand's Department of Conservation has kindly done all the legwork and put together a list of coordinates for a self-guided Lord of the Rings tour. See where the magic was made while experiencing some of the most beautiful short hikes in the country.
When Virgil Oldman (Geoffrey Rush) celebrates his birthday, he does so dining alone in a high-end restaurant, staring disconsolately at a special cake baked in his honour as other patrons titter at the pitiful spectacle. Lonely as he is, Virgil has carved out a fine career as an art auctioneer and is widely respected as the best at what he does and valued for his fine eye and penchant for detail. In his fastidiously maintained home, he keeps a whole wardrobe full of top-end designer gloves, the perfect accessory for a man who likes to keep life at arm's length. The wardrobe leads into a sanctuary of his most treasured possessions, a secret stash of portraits of women. He has secured these valuable gems in league with his only real friend, Billy (Donald Sutherland), an art collector who conspires with Virgil to win valuable works at auction, sold under value to 'the best offer'. When he is engaged to value the collection of antique furniture owned by Claire (Sylvia Hoeks), a young woman whose parents have died, he goes to the spectacular but run-down old property but finds to his frustration that Claire is not there. He continues to visit the property to attend to his work, but Claire is a ghost, always finding excuses not to meet him. Eventually, he finds that a young woman has in fact been in the house all along, but is in hiding. Concealed behind a wall, she tells him she has not left the house since she a traumatic experience she had as a teenager. Sensing a kindred spirit, Virgil gets drawn into her life, against his better judgement. As Virgil becomes more familiar with the house, he finds scattered wheels and cogs of a mysterious machine, which he takes to Robert (Jim Sturgess), a twinkle-eyed, raffish young man with a busy love life and a flair for repairing old things. Increasingly Virgil comes to confide in Robert and seeks the younger man's advice on the twin mysteries of the contraption and the elusive Claire. Becoming entranced by Claire's ethereal beauty and isolation, Virgil's usually perfect work performance begins slipping, the sign of a man losing control of his ordered life as he grapples with the foreign emotional landscape of human connection. Writer/director Giuseppe Tornatore has made an exquisitely told story with a cruel sting in its tale. Rush delivers a beautifully judged and involving performance as a man whose austere and detached approach to life is thrown into disarray, while Sylia Hoeks is ideal as the mysterious Claire. While some elements of the story's final act probably don't stand up to closer scrutiny, the overriding impression as the credits roll is one of complete heartbreak, making The Best Offer one of the best feel-bad films in recent memory. https://youtube.com/watch?v=WCfXq3nFDUM
Back in Brisbane for it's fifth consecutive year is the world most prestigious exhibition of photojournalism. Travelling across 45 countries around the globe, we are very fortunate to be exposed to the amazing showcase of skill that is World Press Photo. This year's 55th annual World Press Photo exhibition profiles the globe’s top press photographers and showcases the world’s best press photos of 2011. It's hard to compare the quality of work to anything else you might have seen before. As an independent, not-for-profit organisation, the world's most esteemed photography contest is the press equivalent of the Olympics. The images are literally the best in the world. It may seem hard to imagine how an image alone can shape life and history, but when taking in the imagery of the contest's winners, it becomes clear just how significant a photograph can be. To have the worlds best of anything in our town is a roaring big deal. If news and the media industry on a global scale is something of interest to you, World Press Photo is an exhibition you won't want to miss. With many confronting and controversial works on display, you will become exposed to a new degree of press culture like nothing you have seen before. Be brave and broaden your mind with World Press Photo.
It has been 11 art-filled years since Brisbane's Gallery of Modern Art first opened its doors, and the creative riverside hub just keeps going from strength to strength. As unveiled on Friday, July 13, GOMA is now home to an illuminating new permanent work: Night Life, a brand light installation by artist James Turrell. You might be familiar with the Arizona-based artist's pieces if you've been to Mona or the National Gallery of Australia (NGA). He's the one behind the sky-centred installations at both galleries — at Mona, the gazebo-like Armana lights up at sunrise and sunset each day, and at the NGA in Canberra, Within without acts as an outdoor viewing chamber to enhance your view of the sky. All up, Turrell has created 80 'skyspaces' like these around the world. Brisbane's Turrell piece isn't a standalone structure like these other two Australian works. Instead, Night Life lights up GOMA's eastern and southern white façades from within the building, using an 88-minute-long shifting pattern of vibrant coloured light developed by Turrell especially for the location. GOMA director Chris Saines describes it as "a permanent solid light installation that is a deeply immersive field of slowly changing colour." When illuminated — which it will be from sunset to midnight each and every night from this point onwards — the gallery is visible from across the river and around South Bank's cultural precinct. Commissioned for GOMA's tenth anniversary, while Night Life is a new addition, it actually ties into the gallery's history. As Saines explains, "during the development of GOMA, lead architects Kerry Clare, Lindsay Clare and James Jones envisaged an artist-illuminated 'white box' on the gallery's main pedestrian approaches. More than a decade on, Turrell's architectural light installation realises the potential of GOMA's white box façade, and completes a major aspect of the architects' original design intention." Images: James Turrell's architectural light installation at Brisbane's Gallery of Modern Art. Photograph: Natasha Harth, QAGOMA.
From 2025, what will Burleigh Heads have in common with Los Angeles, New York, Cannes, Bordeaux, Ibiza, Singapore, Seoul and Hong Kong? As Miami, Doha and Mexico City boast, too, it'll become home to a Mondrian hotel. Alongside fellow upcoming openings in Tulum and Dubai, the LA-born chain is launching its first-ever Australian outpost, heading to a breezy patch of the Gold Coast. For vacationers, the brand's debut Aussie site will feature 208 hotel rooms — some suites, some studios, some two- and three-bedroom beach houses. Also available for travellers: the venue's Sky House at its apex. Mondrian Gold Coast will also include residential apartments, however, if you're cashed up and looking for luxe new digs. Mondrian calls its hotels creative hives — and values its guests not just swanning in and feeling like they could be anywhere in the world, but becoming immersed in their surroundings. The 24-floor Burleigh Heads address will boast views that do plenty of heavy lifting in that regard; if you're not peering at the pine tree-lined beach, you'll have hinterland vistas. "Australia has long been a strategic focus for Mondrian's growth, and the Gold Coast was a focal point thanks to its phenomenal natural setting, rich cultural landscape and vibrant social scene," said Mondrian Hotels & Residences's Brand Chief Operating Officer Chadi Farhat. "Over the last couple of years, we have seen a rising demand for lifestyle brands, where locals and international guests are looking for authentic, creative and immersive experiences — all the hallmarks of the Mondrian brand. It felt a natural choice to bring Mondrian to the Gold Coast and we believe it will resonate strongly with the local market and lend something entirely new to the hospitality space," Farhat continued. Art, architecture, design and culture are also at the forefront of the chain's approach, with Mondrian Gold Coast skewing sleek courtesy of Australian architects Fraser & Partners and Studio Carter — the latter taking cues from the sand and pandanus shrubs for the hotel's textures and tones. Architecture and design practice Alexander &Co joins in with the as-yet-unnamed ground-floor restaurant, which will be just one of the location's spots to eat. Here, think: a space that sprawls both inside and out, complete with a sunny terrace. Up on the third floor, visitors will be able to eat with a vantage over the ocean, or enjoy kicking back at the hotel's pool club. While there's no menu details as yet, local produce will take the spotlight on the menus across the site. And for relaxing, the hotel will also feature a wellness space and sp. For partying, there'll be an events space as well. Find Mondrian Gold Coast at Burleigh Heads, Queensland, from sometime in 2025 — and head to the hotel's website for more information.
Few things will ever be better than seeing Mads Mikkelsen get day drunk and dance around while swigging champagne in an Oscar-winning movie, which is one fantastic film experience that 2021 has already delivered. But the always-watchable actor is equally magnetic and exceptional in Riders of Justice, a revenge-driven comedy that's all about tackling your problems in a different and far less boozy fashion. In both features, he plays the type of man unlikely to express his feelings. Instead of Another Round's mild-mannered teacher who's so comfortably settled into his adult life that his family barely acknowledges he's there, here he's a dedicated solider who's more often away than home. Beneath his close-cropped hair and steely, bristly beard, he's stern, sullen and stoic, not to mention hot-tempered when he does betray what's bubbling inside, and he outwardly expects the same of everyone around him. Mikkelson excels at transformational performances, however. He's also an exquisite anchor in films that dare to take risks. The aforementioned Another Round and Riders of Justice make a great double on his resume, in fact, and they're both bold and glorious in their own ways. In, Riders of Justice, Mikkelson's Markus isn't just the strong, silent type from the feature's first frame to its last. No matter what part he's playing, the Danish star is gifted at conveying subtlety, which is ideal for Markus' slow realisation that he needs to be more open with his emotions. And, while Mikkelson is usually expertly cast in most entries on his resume — the misfire that is Chaos Walking being one rare exception — he's especially in his element in this genre-defying, trope-unpacking, constantly complex and unpredictable film. With a name that sounds like one of the many by-the-numbers action flicks Liam Neeson has starred in since Taken, Riders of Justice initially appears as if it'll take its no-nonsense central figure to an obvious place, and yet this ambitious, astute and entertaining movie both does and doesn't. After a train explosion taints his life with tragedy and leaves him the sole parent to traumatised teenager Mathilde (Andrea Heick Gadeberg, Pagten), Markus returns home from Afghanistan. Talking is her method of coping, or would be if he'd let her; he refuses counselling for them both, and opts not to discuss the incident in general, because clamming up has always been his PTSD-afflicted modus operandi. Then statistician Otto (Nikolaj Lie Kaas, The Keeper of Lost Causes), his colleague Lennart (Lars Brygmann, The Professor and the Madman) and the computer-savvy Emmenthaler (Nicolas Bro, The Kingdom) arrive at the grieving family's door. They're a trio of stereotypically studious outsiders to his stony-faced military man, but they come uttering a theory. Mathematically, they don't think that the events surrounding the accident add up, so they're convinced it wasn't just a case of pure misfortune — because it's just so unlikely to have occurred otherwise. The nervy Otto, who was on the train with Mathilde and her mother Emma (Anne Birgitte Lind, The Protector), has even started to narrow down possible culprits with his pals. Markus, with his action-not-words mindset, is swiftly eager for retribution, but again, this isn't like most films of its ilk. Writer/director Anders Thomas Jensen (Men & Chicken) and screenwriter Nikolaj Arcel (A Royal Affair) do take the movie to its blatant next destination, yet never in the routine and formulaic sense. Narratives about seeking justice often ride the expected rails on autopilot, getting from start to finish on the standard vengeance template's inherent momentum; this one questions and subverts every usual cliche, convention and motif along the way. Its chief tactic: putting characters first. Jensen and Arcel don't just twist and turn a recognisable setup for the sake of it, but ground every change and choice in the personalities and backstories of their protagonists. Accordingly, Markus isn't just taciturn because that's the kind of figure that always stalks around reprisal-centric flicks, Otto and Lennart aren't merely booksmart geeky sidekicks eager for attention, and Emmenthaler is keenly aware of how the world sees him, not only because of his fondness for technology but also due to his weight. Riders of Justice doesn't add flesh to its characters to neatly explain away their decisions, either, diving into the myriad of factors that push and pull people in various directions without them even knowing it. The term 'emotional intelligence' might be so overused in self-help speak that it now feels largely meaningless, but it genuinely applies to this attentive and layered film. With calm and control, Jensen and Arcel also take a darkly comedic approach to Riders of Justice's storyline, as plenty goes wrong on their retaliatory quest. While that's where the movie's anarchic plot developments come in, and its witty dialogue as well, the film never jeopardises its investment in its characters' depth. In one case in point, the four men decide to hide their plans from Mathilde. Needing a cover, Otto and his friends claim to be counsellors dispatched to help after all. "I've had over 4000 hours of therapy," exclaims Lennart, who is quick to both embrace the ruse and spit out the appropriate terminology — and this scenario not only speaks volumes about him, but leads the feature to keep unpacking what that means. Indeed, this is a picture with a thoughtful and tender core, particularly when it comes to men facing their troubles. It's also shrewdly aware that that's what its chosen genre is always about amidst the overblown violence, and purposefully opts for a different alternative. Action, thrills and confrontations still lurk in Riders of Justice, of course. Blood and brutality do as well, as does a definite body count. But, although convincingly shot and staged, these scenes are never the picture's reason for being, or its point. Riders of Justice packages hilarity with its payback, understanding and empathy with its bullet-riddled affrays, and morality and ethics with its showdowns. It's set at the end of the year, too, so it also counts as a screwball Christmas movie — and it uses the visual references that come with that merry period to underscore its musings on togetherness, redemption, and valuing what really matters most. Another movie it'd make a stellar double with: the Nicolas Cage-starring Pig, because this year has been great for star-led revenge crusades that delight, surprise and ruminate on much, much more than getting even.
We've all been there, and more than once: in Fortitude Valley, ravenous for something to eat after a big night, and tucking into whatever stomach-settling food you can get your mitts on in the early hours of the morning. Now, however, if you've spend the night at a gig at Ann Street's iconic The Zoo, you'll be able to visit its new in-house pizzeria. That'd be Zoopreme Pizzeria, which'll start serving up slices on Saturday, January 15 — originally operating whenever the venue is hosting gigs, also letting late-night patrons in afterwards from 11.30pm–2.30am, and eventually expanding to takeaway, deliveries and orders even when The Zoo's stages are empty. And, to mark the new venture, the venue is throwing a shindig. Obviously, The Zoo is launching Zoopreme Pizzeria in the most fitting way: with a pizza party. Head by on opening night for slices, plus tunes by Totally Unicorn, Being Jane Lane and Cooper Reilly from Bad Neighbour. Entry is free, there'll be pizza and drink specials until 2.30am, and you'll get a slice without paying a cent, too, if you arrive between 6.30–7.30pm. [caption id="attachment_839240" align="alignnone" width="1920"] Luke Henery[/caption] Top image: Will Johnstone.
Christmas brings with it many traditions, from party season as soon as Halloween is over through to turkey and prawns on the big occasion itself (and, obviously, carols, stockings, lights and decorations aplenty, too). The next day has its own routine as well — swapping feasts, drinks, presents and backyard cricket for hitting up your favourite picture palace, ready to gorge your way through the year's biggest movie-going moment. And yes, getting an air-conditioned escape from Australia's summer heat is quite the nice bonus. We're talking about Boxing Day, clearly — and, specifically, Boxing Day's annual haul of new films. 2022's lineup is a little smaller than past years because the hefty blue behemoth that is Avatar: The Way of Water opened in mid-December, but there's still plenty to watch. Wondering what's newly showing? Eager to learn what's truly worth your time, more importantly? We've viewed and reviewed the day's full slate of new titles, including an Oscar frontrunner, a savage satire of privilege, a Whitney Houston biopic and Antonio Banderas voicing a mischievous cat. Here's our rundown — happy viewing! THE BANSHEES OF INISHERIN In The Banshees of Inisherin, the rolling hills and clifftop fields look like they could stretch on forever, even on a fictional small island perched off the Irish mainland. For years, conversation between Padraic Súilleabháin (Colin Farrell, After Yang) and Colm Doherty (Brendan Gleeson, The Tragedy of Macbeth) has been similarly sprawling — and leisurely, too — especially during the pair's daily sojourn to the village pub for chats over pints. But when the latter calls time on their camaraderie suddenly, his demeanour turns brusque and his explanation, only given after much pestering, is curt. Uttered beneath a stern, no-nonsense stare by Gleeson to his In Bruges co-star Farrell, both reuniting with that darkly comic gem's writer/director Martin McDonagh for another black, contemplative and cracking comedy, Colm is as blunt as can be: "I just don't like you no more." In the elder character's defence, he wanted to ghost his pal without hurtful words. Making an Irish exit from a lifelong friendship is a wee bit difficult on a tiny isle, though, as Colm quickly realises. It's even trickier when the mate he's trying to put behind him is understandably upset and confused, there's been no signs of feud or fray beforehand, and anything beyond the norm echoes through the town faster than a folk ballad. So springs McDonagh's smallest-scale and tightest feature since initially leaping from the stage to the screen, and a wonderful companion piece to that first effort. Following the hitman-focused In Bruges, he's gone broader with Seven Psychopaths, then guided Frances McDormand and Sam Rockwell to Oscars with Three Billboards Outside Ebbing, Missouri, but he's at his best when his lens is trained at Farrell and Gleeson as they bicker in close confines. Read our full review. TRIANGLE OF SADNESS Ruben Östlund isn't interested in keeping his viewers comfortable, no matter how cushy their cinema chair. To watch the Swedish filmmaker's features is to feel yourself reacting — emotionally, always, and sometimes physically as well. It was true of 2014's phenomenal Force Majeure, aka as clever and cringe-inducing a portrait of marriage and masculinity as the 21st century has provided. With dropped jaws over a divisive piece of art within a divisive piece of art, it was true of 2018's The Square, the writer/director's first Cannes Film Festival Palme d'Or-winner, too. And, earning him that same prestigious prize again in 2022, it's also wholly accurate of Triangle of Sadness. Make a movie with a shape in its title, score one of the biggest filmmaking awards there is: that's been a nifty formula for Östlund of late. But even if he directs a flick called something like Hexagonal Dreaming soon, or anything else with a geometrical bent, and it too nabs that Cannes gong, beating Triangle of Sadness' vomit sequence is highly unlikely. To remind audiences that responding to films and life alike is an involuntary reflex, Östlund shows plenty of his characters doing just that — to existence, and to a choppy luxury cruise. It makes for simply unforgettable cinema, but it's also just one part of Triangle of Sadness and its sublimely shot unpacking of wealth, privilege and social hierarchies. Appearing to be coasting through perfection is an ongoing quest for Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), well-known models-slash-influencers, and the movie's focal point. When they take to the sea among the uber rich, they're still working the requisite angles (and snapping everything for Instagram from every angle). But then, under the captain's (Woody Harrelson, Venom: Let There Be Carnage) watch, being stranded on an island becomes their fate — and the way that Östlund satirically carves into the resulting chaos is equally hilarious and and astute, even when his film is both obvious and hardly subtle. Read our full review. WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY In the decade since her death in 2012, Whitney Houston has proven one of filmmaking's greatest loves of all. No fewer than five movies have told her tale, including documentaries Whitney: Can I Be Me and Whitney — and that's without including a feature about her daughter Bobbi Kristina, a miniseries focused on her ex-husband Bobby Brown and dramas clearly based on her story. All of that attention echoes for obvious reasons. Houston's mezzo-soprano voice, which earned her the nickname "The Voice", soared to stratospheric and literally breathtaking levels. Still holding the record for the most consecutive number-one singles on the Billboard Hot 100, which she took from The Beatles and the Bee Gees, her career zoomed skyward as well. That swift rise from New Jersey church choir member to one of the biggest bestselling music artists ever was matched by tabloid-fodder lows, however, and that tragic, gone-too-soon passing — and Whitney Houston: I Wanna Dance with Somebody charts it all. Taking its name from one of Houston's most exuberant singles isn't just music biopic 101 (see also: Bohemian Rhapsody, also penned by this film's screenwriter Anthony McCarten). Kasi Lemmons' (Harriet) feature follows the standard Wikipedia entry-like genre template, but the filmmaker wants those titular words to reflect how Whitney (Naomi Ackie, Master of None) just wanted to be herself, to be loved as such, and openly be with Robyn Crawford (Nafessa Williams, Black Lightning), the girlfriend-turned-creative director that her gospel singer mother Cissy Houston (Tamara Tunie, Cowboy Bebop) and stern father John (Clarke Peters, The Man Who Fell to Earth) disapprove of. Instead, after being signed to Arista Records at 19 by producer and executive Clive Davis (Stanley Tucci, The King's Man), Whitney becomes America's princess next door. Ackie turns in a commanding, multi-layered performance as the conflicted singer — even while lip-synching, with the movie smartly using Houston's own vocals — in a film that's impassioned, wisely filled with electrifying performance recreations, yet is happy to just hit every expected note. Read our full review. THE LOST KING When King Richard III was killed in battle in the 15th century, did anyone wonder about a public holiday? Given the era and its working conditions, likely not. There's also the hardly minor fact that the monarch was slain by the forces of Henry Tudor, who promptly became England's ruler, so downing tools for a day of mourning probably wasn't a priority. The world has a frame of reference for grieving a British sovereign, though, and recently. When Queen Elizabeth II died in September 2022, pomp and ceremony reigned supreme. Dramatising the discovery of Richard III's remains, The Lost King wasn't made with the queen's passing in mind. Actually, it world-premiered a day afterwards. But the Stephen Frears (Victoria & Abdul)-directed, Steve Coogan- and Jeff Pope (Philomena)-scripted drama benefits from audiences knowing what's done now when whoever wears the crown is farewelled. The Lost King isn't about chasing a parade, pageantry, and a day off work for the masses in Britain and further afield. Charting the true tale of Richard III's location and exhumation 527 years after he breathed his last breath, it follows a quest for recognition and respect. When the film opens, Philippa Langley (Sally Hawkins, The Phantom of the Open) wants it for herself, as a woman over 40 overlooked for a promotion at work in favour of a younger, less-experienced colleague — and as someone with a medical condition, myalgic encephalomyelitis/chronic fatigue syndrome, who's too easily dismissed due to her health. She's also newly separated from her husband John (Coogan, This Time with Alan Partridge), adding to her unappreciated feelings. It's no wonder that Richard III's plight catches her interest thanks to a production of Shakespeare's Richard III, aka one of the reasons that the king was long seen as a hunchbacked villain. More surprising: that the film about all of this, while engaging enough and featuring stellar work by Hawkins, doesn't seem to trust that its real-life story can hold its own. Read our full review. LYLE, LYLE CROCODILE The Paddington movies did it better. That's a general catch-all statement that can apply to almost anything, zero context required, and it's also the prevailing feeling while watching Lyle, Lyle, Crocodile. Instead of a marmalade-coveting bear, a singing crocodile is trying to win hearts — and the similarities don't stop there. The page-to-screen leap from a children's favourite? Tick. An adorable animal winding up in a family of humans who need its unique presence to make their lives complete, bring them together and show them what truly matters? Tick again. The strait-laced dad, creative mum, nasty neighbour and kindly kid? Keep ticking. Also present in both: the titular critter donning human clothing and craving fruity foods, warm colours aplenty, a vintage look and feel to interior spaces, a tense and traumatic capture, and an accomplished star having a whole lot of fun going big, broad and cartoonish (Javier Bardem here, and worlds away from The Good Boss, Dune or Everybody Knows). Bardem's playful turn as magician Hector P Valenti is the best thing about Lyle, Lyle, Crocodile, which is breezily watchable but so indebted to Paddington and its sequel — so desperate to be an American version of the charming English franchise — that orange conserve might as well be smeared across the lens. As directed by Office Christmas Party's Josh Gordon and Will Speck, and scripted by Johnny English Strikes Again's Will Davies (adapting from Bernard Waber's books), the film is also a musical, with the eponymous croc (voiced by Shawn Mendes) able to sing but not speak. Those forgettable songs pad out a slight story, after Valenti discovers Lyle, hopes to get famous as a double act and loses his New York City brownstone when his gambit fails. Then the new residents, the Primm family, find the reptile in the attic, son Josh (Winslow Fegley, Come Play) finds a friend and his parents (Hustlers' Constance Wu and Blonde's Scoot McNairy) find their own reasons to get snapped up in the critter's singing-and-dancing vibe — although Mr Grumps (Brett Gelman, Stranger Things) downstairs obviously lives up to his moniker. PUSS IN BOOTS: THE LAST WISH Since arriving in cinemas in 2001, Shrek has inspired three more ogre-centric flicks, a heap of shorts and TV specials, and a stage musical for the whole family. It's also the reason that green-hued burlesque shows exist, plus all manner of parties and raves — none of the last three of which are appropriate for kids, obviously. But beyond the Mike Myers (The Pentaverate)-voiced titular figure himself, only Puss in Boots has become solo big-screen fodder from among the franchise's array of characters. Like much in this series, the shoe-wearing feline hails from fairy tales, but the reason for its ongoing on-screen popularity is as simple as casting. Who doesn't want to see a kitty swashbuckler voiced by Antonio Banderas (Official Competition), basically making this a moggie Zorro? Based on the 2011 Puss in Boots' $555 million at the box office, that concept is irresistible to plenty of folks — hence, albeit 11 years later, sequel Puss in Boots: The Last Wish. Pairing the right talent to the right animated character doesn't instantly make movie magic, of course; however, The Last Wish, which literally has Puss seeking magic, is among the best films that the broader Shrek saga has conjured up so far. The eponymous cat begins the picture being his usual swaggering self and caring little for the consequences, including his own dwindling lives. One raucous incident sees him realise that he's died eight times already, though, and knowing this ninth go-around is his last according to feline lore suddenly fills him with existential woe. That's a thoughtful premise for an all-ages-friendly flick, and one that's never dampened by the film's plethora of fairy tale nods, high-energy vibe and usually amusing gags. So, Puss, Kitty Softpaws (Salma Hayek, House of Gucci) and their new canine companion Perro (Harvey Guillén, What We Do in the Shadows) attempt to find a famed wishing star that can make avoiding death a reality — but Goldilocks (Florence Pugh, The Wonder) and the three bears (Black Widow's Ray Winstone, Mothering Sunday's Olivia Colman and Our Flag Means Death's Samson Kayo) are also after it, as is a no longer 'little' Jack Horner (John Mulaney, Big Mouth).
UPDATE, October 27, 2022: Bodies Bodies Bodies is available to stream via Google Play, YouTube Movies, iTunes and Prime Video. The internet couldn't have stacked Bodies Bodies Bodies better if it tried, not that that's how the slasher-whodunnit-comedy came about. Pete Davidson (The Suicide Squad) waves a machete around, and his big dick energy, while literally boasting about how he looks like he fucks. Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan Oscar-nominee Maria Bakalova plays the cautious outsider among rich-kid college grads, who plan to ride out a big storm with drinks and drugs (and drama) in one of their parents' mansions. The Hunger Games and The Hate U Give alum Amandla Stenberg leads the show as the gang's black sheep, turning up unannounced to zero fanfare from her supposed besties, while the rest of the cast spans Shiva Baby's Rachel Sennott, Generation's Chase Sui Wonders and Industry's Myha'la Herrold, plus Pushing Daisies and The Hobbit favourite Lee Pace as a two-decades-older interloper. And the Agatha Christie-but-Gen Z screenplay? It's drawn from a spec script by Kristen Roupenian, the writer of 2017 viral New Yorker short story Cat Person. All of the above is a lot. Bodies Bodies Bodies is a lot — 100-percent on purpose. It's a puzzle about a party game, as savage a hangout film as they come, and a satire about Gen Z, for starters. It carves into toxic friendships, ignored class clashes, self-obsessed obliviousness, passive aggression and playing the victim. It skewers today's always-online world and the fact that everyone has a podcast — and lets psychological warfare and paranoia simmer, fester and explode. Want more? It serves up another reminder after The Resort, Palm Springs and co that kicking back isn't always cocktails and carefree days. It's an eat-the-rich affair alongside Squid Game and The White Lotus. Swirling that all together like its characters' self-medicating diets, this wildly entertaining horror flick is a phenomenal calling card for debut screenwriter Sarah DeLappe and Dutch filmmaker Halina Reijn (Instinct), too — and it's hilarious, ridiculous, brutal and satisfying. Forgetting how it ends is also utterly impossible. The palatial compound where Bodies Bodies Bodies unfurls belongs to David's (Davidson) family, but it's hurricane-party central when the film begins. That said, no one — not David, his actor girlfriend Emma (Wonders), the no-nonsense Jordan (Herrold) or needy podcaster Alice (Sennott), and definitely not Greg (Pace), the latter's swipe-right older boyfriend of barely weeks — expects Sophie (Stenberg) to show as they're swigging tequila poolside. She hasn't responded to the group chat, despite claiming otherwise when she arrives. She certainly hasn't told them, not even her childhood ride-or-die David, that she's bringing her new girlfriend Bee (Bakalova) along. And Sophie hasn't prepared Bee for their attitudes, all entitlement, years of taken-for-granted comfort and just as much mouldering baggage, as conveyed in bickering that's barely disguised as banter. When the weather turns bad as forecast, a game is soon afoot inside the sprawling abode. Sharing the movie's title, the fake murder-mystery lark is this crew's go-to — but, even with a hefty supply of glow sticks (handy in the inevitable power outage), it doesn't mix too well with booze, coke and Xanax. The essentials: pieces of paper, one crossed with a X; everyone picking a scrap, with whoever gets the marked sliver deemed the perpetrator; and switching off the lights while said killer offs their victim, which happens just by touching them. Then, it's time to guess who the culprit is. That's when the mood plummets quickly, because accusing your friends of being faux murderers by publicly checking off all their shady traits will do that. It gets worse, of course, when those bodies bodies bodies soon become literal and everyone's a suspect. "It gets worse" could be a life motto for Sophie and her clique; they're at that stage of adulthood where their whole lives are supposed to await — until Bodies Bodies Bodies, the game, happens — and yet a whirlwind of disappointment and uncertainty lingers. Their friendships are stormy yet stagnating, old scores and misdeeds clattering down, secrets spilling, and past romantic entanglements still causing hail. Tension and unhappiness rains over their fragile arguments about grudges and jealousies, hate-listening and the word 'gaslight', and why 40-year-old Greg is even there as well. No one is making great decisions, or wants to be making decisions at all, and insular couldn't describe better the atmosphere that greets the quiet, reserved, clearly-not-as-wealthy Bee. Initially blissfully head-over-heels in that newly smitten, six-weeks-in way, "it gets worse" also starts to echo for her as the dynamic with Sophie unsurprisingly changes. As the kills keep coming, twentysomething malaise, mania and stupidity gets worse, too — and Bodies Bodies Bodies relishes it all. The dialogue is as sharp as a blade, and yet also like eavesdropping on any cohort of potential horror-movie victims trying to stay alive when they're being picked off one by one in a fancy abode; again, by design. Yes, there's much in the screenplay that's easy to spot. Toying with those formulaic pieces is the other game within the feature's fast-paced and tightly wound game, however, as bloody mayhem ensues sans internet, electricity, sobriety, trust and common sense. Capitalising upon the sense that everything is in a hurry, plus the careening cinematography by Jasper Wolf (Monos) that stalks and roams around the house, to mirror Sophie and her friends' inner chaos is a shrewd touch. That's Bodies Bodies Bodies all over, with Reijn utilising every shot, claustrophobic use of torches and lit-up mobile phone screens to light scenes, mischievous note in Disasterpiece's (Triple Frontier) score, obvious plot inclusion and buzzword-heavy line to irreverently rip into the film's many genres and targets. Bodies Bodies Bodies unpacks us all, to be fair; who isn't a few unexpected shocks away from bedlam, from their flaws being exposed and their worst instincts kicking in (especially without wifi as a crutch, the film jokingly/half-jokingly posits)? This romp of a slasher-comedy shreds almost everything in sight but takes care not to tear its characters down — we've all stumbled, fumbled and fought to survive in our own ways, and life is uneasy for all of us. The cracker of a punchline conclusion is full of heartily dark laughs, not terrors, which is Bodies Bodies Bodies' entire approach to parodying and slicing everything it can. Managing all of the above with a killer cast, too? Especially with Stenberg playing it loose and mesmerising, Bakalova pitch-perfect as the wary but enterprising newcomer, Davidson doing his usual charismatically goofy thing, and Sennott and Pace stealing every moment they can with her lively ditziness and his hanger-on swagger, Bodies Bodies Bodies slays slays slays.
Travelling overseas ranks right up there on everyone's bucket list, but the actual travelling part is far from fun. No one loves spending more than a couple of hours on a plane, and no one loves taking multiple flights to get to their destination either. But if you could choose between hopping over to your destination in one leg, or getting a break from being cramped and uncomfortable in the air, which would you opt for? Thanks to advances in aircraft development, ensuring that today's planes are more fuel-efficient over hefty distances, airlines are increasingly making non-stop long-range flights a reality. After Qantas introduced its 17-hour-plus Perth-to-London route earlier this year, Singapore Airlines will be unleashing the world's longest non-stop commercial flight in October: from Singapore to New York over 18 hours and 45 minutes. First announced by the airline in 2015 and confirmed a few months back, the route will be made possible thanks to the new Ultra Long Range version of the Airbus A350 XWB aircraft, which completed its first successful test flight in April. Singapore Airlines now have the world's first Airbus A350-900ULR in its possession, and it'll take off on October 11, with seven more set to be brought into operation shortly afterwards. The planes can travel up to 16,000 kilometres (or 8,700 nautical miles) without refuelling — or, for over 20 hours non-stop — which makes the 15,322-kilometre trip between Singapore and New York possible. They also feature higher ceilings, larger windows, a wider body, as well as quieter cabins and lighting that's designed to reduce jetlag. It's not the first time that the airline has flown direct to the US, with Singapore-to-Newark, New Jersey flights in operation until 2013. The world's current longest route without stopovers runs from Doha to Auckland in around 18 hours, travelling 14,529 kilometres on a Boeing 777-200LR, followed by the Perth-to-London leg. Qantas is keen to beat both the current and the impending record-holders, though, last year announcing plans to fly direct from Australia's east coast to both London and New York by 2022 — and this year advising that their plans are on track, with the airline comfortable that plane manufacturers will create a vehicle that can handle the 20-hour and 20-minute, 16,983-kilometre stint between Sydney and London.
Fresh from winning an Oscar for getting antagonistic in times gone by as United States Atomic Energy Commission chair Lewis Strauss in Oppenheimer, Robert Downey Jr gets antagonistic in times gone by again in The Sympathizer — as a CIA handler, a university professor, a politician and a Francis Ford Coppola-esque filmmaker on an Apocalypse Now-style movie, for starters. In another addition to his post-Marvel resume that emphasises how great it is to see him stepping into the shoes of someone other than Tony Stark again, he swaps a franchise with a multiverse for multiple roles in an espionage-meets-war drama (the Vietnam War for Americans, and the American War for the Vietnamese), with the great Park Chan-wook (Decision to Leave) co-calling the shots. And, in this adaption of Viet Thanh Nguyen's 2016 Pulitzer Prize-winning novel of the same name, Downey Jr is excellent. He also executive produces. He likely has more awards in his future, starting with a Best Supporting Actor Emmy. Note the category: he could never be mistaken for The Sympathizer's lead or point of focus. Instead, that honour goes to Australian Hoa Xuande, who has fellow series Top Knot Detective, Top of the Lake, Cleverman, Hungry Ghosts, Cowboy Bebop and Last King of the Cross, plus Aussie films OtherLife and A Stitch in Time, on his resume before now. Against a co-star whose hops between characters bring his single 80s season on Saturday Night Live to mind, and also Tropic Thunder when that fake Vietnam War flick pops up, Xuande makes the leap to a high-profile HBO miniseries. As seen via Binge in Australia and Neon in New Zealand, he plays The Captain, who works for South Vietnamese secret police in Saigon before the city's fall, and is also a spy for the North Vietnamese communist forces. It's his memories, as typed out at a reeducation camp, that guide the seven-part show's narrative — jumping back and forth in time, as recollections do, including to his escape to America. As The Captain unveils the details of his mission and double-agent efforts, The Sympathizer isn't flitting between flashbacks as a mere structural tactic. The act of remembering is as much at the centre of the series as the varied contents of The Captain's memories — to the extent that rewinding to add more context to something that's just been shown, as accompanied by the sound of a VHS tape doing just that, is also a feature. So is The Captain noting that he didn't specifically witness everything that he's relaying, but feels as if he can fill in the gaps, talking through such choices to viewers like they're his editor. The Sympathizer interrogates the act and function of storytelling, too, underscoring those musings with the flickering light of a movie being projected as a recurrent symbol, nods to filmmaking everywhere — one episode solely spins around The Hamlet, the picture within the series — and even the grim repurposing of a cinema. Spy thrills, several Downey Jrs, one of the greatest Korean filmmakers there is, a standout protagonist, unpacking how fast and loose recollections can be with the facts, laying bare the motivations behind and complexities of telling tales: The Sympathizer has them all. Perspective and influence are also high among its concerns, alongside duality, deception and assimilation. The Captain's task is to play his part for The People's Army by supporting and also sabotaging the South Vietnamese General (Toan Le, Bigfoot) that he's embedded with — and to stick with the gig both in Vietnam and in the US. His path is also to navigate the sway of many colonial faces, making Downey Jr's array of characters a powerful and revealing touch (that everyone he brings to the series, and therefore every white man with an imprint on The Captain's life, resembles each other makes a potent statement). What toll does an existence divided take, personally, for a community forced to immigrate and start anew abroad, and for the nation they left behind? The Sympathizer explores this query as well. The son of a Vietnamese mother and French father who was teased mercilessly for his heritage as a boy, The Captain has lived in this chasm between two words for as long as he can remember — and now, as an adult who studied in America, embraces its popular culture, and has childhood best friends split between a secret fellow North Vietnamese agent (Ghosts' Duy Nguyen as Man) and a committed South Vietnamese fighter (Tales of Melee Island's Fred Nguyen Khan as Bon), clashing sides has long been his baseline. Fragmentation surrounds The Captain everywhere, including in his romantic life. He's torn between Sofia Mori (Sandra Oh, Quiz Lady), a Californian of Japanese ancestry born in America, and Lana (first-timer Vy Le), The General's daughter. Also omnipresent: the pressure to fit in, especially with the capitalists and colonialists that he's pretending to be in league with. Downey Jr's countenance adorns Caucasian men endeavouring to keep him under the thumb — and when the CIA's Claude, Orientalist academic Hammer, Congressman "napalm" Ned and auteur Nikos all share a scene (in "the natural habitat of the most dangerous creature on earth, the white man in a suit and tie: the steakhouse"), it's in an attempt to ensure that The Captain is using his identity for their aims first and foremost. Thanks to Park, behind The Sympathizer off-screen is a filmmaker with a history of probing the stories that we tell ourselves and get others believing. See: stone-cold revenge-thriller classic Oldboy and the Vengeance Trilogy that it falls into; 2022's best film, the aforementioned Decision to Leave; and, the last time that he made a TV spy thriller, 2018 miniseries The Little Drummer Girl. He co-created this ambitious adaptation for television with Don McKellar (Blindness) and it always bears his touch, whether or not he's directing episodes — he helms three — with his piercing style, or he's getting assistance from Fernando Meirelles (who has been busy with this and Sugar) and Marc Munden (The Third Day). Park and his collaborators have made a tension-dripping psychological thriller, a weighty and moving drama, and a cutting political satire. They've applied a New Hollywood look — and undeniably American motifs aplenty — to a narrative where cultural imperialism is inescapable. They've cast meticulously and, through exceptional performances by Xuande and Downey Jr, stress how the chameleonic demands of a spy are easier to maintain if you're also playing both sides within yourself, and how there's only one face to dominance. Giving 2024's small-screen slate one of its must-sees, they've also scorched a work of page-to-screen brilliance into every viewer's own memory. Check out the trailer for The Sympathizer below: The Sympathizer streams via Binge in Australia and Neon in New Zealand.
Drinks, food, tunes. If there's a recipe for the perfect summer evening, that's it. And that's exactly what's on the agenda at Two Donkeys over summer. They're calling it their version of a backyard party. We're calling it a cruisy way to hang out when the weather is warm but the sky is dark. At Spring Hill Summer Nights, the Astor Terrace cafe and bar will be serving up live music, refreshing beverages and tasty snacks for your listening, sipping and eating pleasure. It all kicks off on November 17 with The Fergies in the performing hot seat, before bringing duo Brad and Brodie in for some fun on November 18 — and then keeping the series running across the sweltering season. A cider and mojito pop-up bar, tapas and more are also on the bill, keeping things zesty yet relaxed. And as for just what the rest of the lineup will entail, keep an eye on Two Donkeys' Facebook page.
There's something about exercising with a view that gives even the most avid fitness devotee an extra boost. (No, bending and stretching in your living room while watching TV doesn't count.) At Brisbane's latest regular exercise sessions, you'll be in prime surroundings and score a mighty fine vantage — because attending a yoga class on a rooftop will do that. These sessions take place at Cielo Rooftop in Fortitude Valley, so you have a reason to stop by other than cocktails and a bite to eat. And, you have multiple options to get in a workout, too. Start your day with an early-morning stint, or head by after work to de-stress. For sunrise yoga, you'll need to block out Wednesday and Sunday mornings from 6–7am. Sunset classes take place on Monday and Wednesday 5.45pm–6.45pm. Whichever you opt for, it'll cost you $20 a session, and you'll need to bring your own yoga mat. Updated October 11.
For so many of us, France is the dream. The cheese is so good it's practically an out of body experience, it's acceptable to drink wine at any time of the day, local employers only want you to work 35 hours a week (with no sneaky emails thereafter), and now they're paying people to ride their bikes to work. For realsies. This isn't like when people say an internship is paid, but its actual currency of choice is good vibes and stale lamingtons from the break room. This plan is fuelled by real cash money. This governmental effort to boost bike usage comes as an incentive to improve people's health, reduce air pollution and cut fossil fuel consumption. Though currently in a six-month trial period, the initiative is backed by similar efforts in neighbouring European countries too. The Netherlands, Belgium, Germany and Britain also have bike-to-work schemes, but this will be the first of its kind to actually offer direct payment to riders. The system as it stands offers 25 euro cents for every kilometre ridden to work. Live 4km away? You just earned half your morning coffee. Twenty companies employing a total of 10,000 people had reportedly signed up to the program as of Monday, and the government believe the initiative will raise the cyclist population by 50 percent. At the moment just 2.4 percent of French people ride to work, as compared to 8 percent in Belgium and a whopping 25 percent in the Netherlands. Our figures in Australia sit just below France, around 1.5 percent. You can't help but imagine what a world of good such policies would do for us too. Despite traffic being at its worst, and the increasing presence of new bike lanes or bike-share programs, the desire to stay plonked sedentary in your car is stronger than ever. We're not saying we need the government to pay us money to get off our butts, but at this point, it sure couldn't hurt. Via Reuters. Photo credits: Simona K and infomatique via photopin cc.
13 albums is an achievement that most bands never reach. It is a testament to their musical ability and endless creativity that they reach such a milestone. Wire have 13 albums under their belt and the fact that they’ve had 40 years to reach it is irrelevant except for the fact that 40 years of activity is also a hell of an achievement to reach. Influential is probably one of the better terms to describe Wire, yet it still doesn’t do them justice. They are influential mostly because of the way they have managed to keep re-inventing themselves and their music to avoid stagnation; something that many bands of the modern era seem to fail at. Blending hard and soft elements into their brand of post-punk has kept their music interesting since their breakthrough album, Pink Flag, released in 1977. Wire will be playing at The Zoo with two of Brisbane’s best in support. Per Purpose with their blend of abrasive Australiana and Multiple Man, whose sonic sound-scapes are earning them quite a name in the ‘biz’. This will be a great night of great music. I can guarantee it.
Australians, your suitcases are about to come in handy again. Your passports, too. Since March 2020, the country has been under an indefinite ban on international travel to control the spread of COVID-19; however, today, Friday, October 1, Prime Minister Scott Morrison has announced how and when that restriction will end. Just like COVID-19 rules around the country in general — lockdowns, the restrictions that apply when stay-at-home conditions aren't in effect and the like — the situation will vary in each state and territory. Allowing fully vaxxed Aussies to enjoy overseas travel again falls under the National Plan to transition Australia's National COVID Response that was announced back in July, and has been slated to kick in when 80 percent of Australians over the age of 16 have been double-jabbed since then. That's still the case, but it'll now come into effect in each state and territory as they reach that vax mark. "Within weeks, large parts of the country will be moving to Phase B and then to Phase C of the National Plan to safely reopen Australia and to stay safely open," said the Prime Minister in a statement. "Under Phase C, international travel is on track to reopen safely to fully vaccinated Australian travellers. Many countries around the world have now safely reopened to international travel and it will shortly be time for Australia to take the next step." Accordingly, each state and territory will be able to begin international travel again when they hit that 80-percent fully jabbed threshold, with the Federal Government expecting that to first happen in November. And, when that occurs, there'll be no limits on where you can head — from an Australian perspective, at least. "The current overseas travel restrictions related to COVID-19 will be removed and Australians will be able to travel subject to any other travel advice and limits, as long as they are fully vaccinated and those countries' border settings allow," said the PM. "These changes mean there will be no travel restrictions if you are a vaccinated Australian entering or leaving our shores." There will be a quarantine requirement, though, but the system that's currently in place isn't expected to apply to double-vaxxed Aussie travellers. After undertaking home quarantine pilots in New South Wales and South Australia, that's likely to be the option in each state and territory for fully jabbed Australian citizens and permanent residents — and for seven days. If that doesn't apply to you because you aren't double-dose vaxxed or you've had a vaccine that isn't approved for use in Australia or recognised by the Therapeutic Goods Administration, you'll still need to go into the fortnight-long managed quarantine that's been operating throughout the pandemic. The announcement comes just over a week since Australia's Federal Minister for Trade, Tourism and Investment Dan Tehan revealed that the country's international border will open back up "at this rate, by Christmas at the latest." Today's news beats that timeframe by more than a month. The PM also revealed that Australia will work towards quarantine-free arrangements once overseas travel restarts, such as the trans-Tasman travel bubble with New Zealand that's presently on hold until at least mid-November. Previously, the Federal Government also floated the possibility of opening a similar arrangement with Singapore — and extending travel bubbles to some countries, such as Singapore and places in the Pacific, is specifically mentioned in the nation's roadmap. As a nation, Australia hit the 50-percent double-vaxxed mark a week ago, on Friday, September 24. At the time of writing, that figure now sits at 54.2 percent of people aged over 16. You can keep an eye on the jab rates at a number of different websites and, if you still need to get vaccinated, these helpful maps show you where in NSW, Victoria and Queensland. Also, if you're wondering which state or territory is likely to hit 80-percent double-jabbed first, it's currently New South Wales. Unsurprising, just when Australia will reopen its international borders has been the subject of much discussion over the 18 months since ban came into effect, only allowing Aussies to leave the country in very limited circumstances. But with Australia's vax campaign gathering speed recently, Qantas and Jetstar have already begun selling tickets for overseas flights for trips scheduled from December, because that's when the two airlines hoped the country's international travel rules could ease. For further information about Australia's plan to restart international travel, head to the Prime Minister's website. More details about the National Plan to transition Australia's National COVID Response can be found on the same site. And, to find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
If getting spirited away to the most adorable place on earth is at the top of your must-do list, then you've likely been counting down the days until November 1 hits. That's when Studio Ghibli's very own theme park will open its doors, after years of anticipation. And yes, it's all looking extremely magical. The Japanese animation house has been dropping photos of the park via its Twitter feed, and it really does resemble the company's gorgeous frames in real life — as the Studio Ghibli museum in Mitaka, a city on the western outskirts Tokyo, already does as well. Something else that's obviously a delight: a Hayao Miyazaki-directed trailer for the new park, to promote ticket sales, complete with a supremely cute cat train. A cat train? Yes, you read that correctly. My Neighbour Totoro features a cat bus, but this brand-new — and very brief — piece of animation from acclaimed filmmaker Miyazaki combines felines and another mode of transport. Fingers crossed that the Studio Ghibli theme park will build upon that idea, or screen a longer version. ゆっくりきて下さい。 pic.twitter.com/BtQP4tVGCJ — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 1, 2022 If the new trailer for the park in Nagoya's Aichi Prefecture has you excited, then the venue itself will make you feel like you've stepped right into Studio Ghibli's movies. It's located around a three-hour train trip from Tokyo, expands across 200 hectares and was initially announced back in 2017. It was also originally planned to open in 2020 but, in 2018, that date was pushed back to 2022. The Aichi Prefecture Expo Park spot is already home to a replica of Satsuki and Mei's house from My Neighbour Totoro, and it's gaining plenty of other attractions as it becomes a fully fledged Studio Ghibli theme park. Totoro features heavily, understandably, with the site even initially described as having a My Neighbour Totoro focus. However, you'll also be able to check out a life-sized version of Howl's Moving Castle, the antique shop from Whisper of the Heart, Kiki's home from Kiki's Delivery Service and a village area that pays tribute to Princess Mononoke. pic.twitter.com/DmvmhZPFze — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 2, 2022 Also slated to feature: nods to the cat from Whisper of the Heart and The Cat Returns, buildings with design elements that take their cues from Laputa: Castle in the Sky, and a super-sized garden that'll make you feel like you're one of the tiny characters in Arrietty. There'll also be a permanent exhibition room, a special exhibition room, a video exhibition room, a playground, and a shop and cafe, so you'll have plenty of places to explore, eat and browse. Expect more nods to Ghibli's various features to follow, recreating other aspects from its three-decade-old body of work — and possibly its most recent movie, Earwig and the Witch, too. And if the end result is even half as wondrous as the studio's aforementioned museum, then fans are in for a treat. There, you can also climb up to the building's rooftop garden to see one of the robots from Laputa: Castle in the Sky, and watch exclusive shorts (including a sequel to My Neighbour Totoro) in a cute little cinema. Indeed, the museum is such a tourist attraction, you have to buy tickets over a month in advance — and experiencing the rush of folks in the merchandise-packed gift shop will make you feel like a susuwatari (Totoro's gorgeous little balls of floating soot). pic.twitter.com/jZ92iNqhxT — スタジオジブリ STUDIO GHIBLI (@JP_GHIBLI) August 2, 2022 Incorporated into the existing parklands, the Studio Ghibli theme park will be heavy on greenery and the natural surroundings, which matches the environmental messaging that plays a prominent part in Ghibli's movies. The site will also encourage "enjoying walking", according to the draft concept outline, while aiming to offer "a one-of-a-kind park loved by more people". We don't think either will be difficult. If you're now planning a Ghibli-centric holiday, you'll need to cross your fingers that Japan's border rules change before November. At the moment, foreign tourists can only enter the country as part of package tours. The Studio Ghibli theme park will open on November 1, 2022. For more information, head to the venue's website.
Schmoopy woopy and bubba bear, lil' puffy wuffy, honey pie or spicy chilly philly. Maybe just the classic: babe. Regardless of whether you're coupled up or flying solo, pet names for partners can be divisive at the best of times. Whether you love them or loathe them, we've joined forces with Melbourne-based Grinders Coffee Roasters to make a case for sharing yours with the world. In anticipation of Valentine's Day, let's delight in (or cringe at) the pet names we use to refer to our nearest and dearest — and then send 40 of you honey pies on an all-out date. Simply tell us the delightfully soppy (or saucy) nickname you use on your lover (or bestie, cos we're into that platonic love too), and you and snookums could be scoring a $500 Mastercard e-gift card from Grinders Coffee — the grounds for a very good date. Maybe you wear your alter ego on your sleeve, having your barista prepare a double-shot cap for Sergeant Snuggles. Or maybe you save it for home time, downloading after a long day while bae strokes your forehead and calls you boo boo. Whatever your preference, we wanna know about it — and reward you for your honesty. From Monday, January 16 until Tuesday, February 14, someone will score the prize each and every day. And on that day of days? Ten extra winners will be selected. That's 40 stand-out dates with the bill taken care of. Red hot. To go in the draw, enter your details below. Top image: LanaStock
One of Brisbane's most recent traditions is also one of its most fun: themed mini golf at different times of year at the Victoria Park Putt Putt Course. At Christmas, the site gives itself a festive revamp. At Easter, a candy-themed wonderland pops up. And, the Halloween spirit kicks in for a month and a half leading up to the spookiest date of the year — including in 2023. From Friday, September 15–Tuesday, October 31, the venue's greens will be getting a horror-themed makeover — and, no, missing a hole in one won't be the most terrifying thing about your stint on the course. As it did in 2022, the mini-golf spot is busting out something that's haunted one of Stephen King's best-known horror novels, the movies based on them, and just life in general: clowns being creepy, chilling and downright terrifying. How do you feel about M3GAN, Annabelle, Chucky and the like instead? Evil dolls are also one of 2023's source of inspiration. Fancy seeing how you cope with both types of eerie figures while you're tap, tap, tapping? Wondering if all that makeup and those unsettling toy stares will put you off your short game? When you're doing the monster mash on the green this year, you'll also be trying to avoid frightening jokers and unnerving playthings. Zombies, witches, spiders, toxic waste barrels, tombstones, pumpkins: they're also among the petrifying things that'll be improving or scaring your short game again. So is a spot called Broken Bones Boulevard. If a haunted house was to meet up with a mini golf course, this is what it'd look like. Bookings are essential, with the course open from 6am–10pm Sunday–Thursday and 6am–11pm Friday–Saturday. Fancy a few holes before work? Want to add some fun to your lunch break? Need something to look forward to come quitting time? They're all options. Just remember that it's a family-friendly affair, so you'll likely have plenty of company — and tickets cost $23 per adult. Also, for liquid courage, there'll be Altos Tequila slushie margaritas available to purchase. Spooky Putt Putt takes over the Victoria Park Putt Putt Course at 309 Herston Road, Herston from Friday, September 15–Tuesday, October 31, open 6am–10pm Sunday–Thursday (and public holidays) and 6am–11pm Friday–Saturday — with tickets costing $23 for adults. For more information, head to the venue's website.
Summer is upon us! You could have looked at a calendar for that information, but the fact has only dawned on me this week. Primarily due to the preponderance of sunshine threatening to burn my pale skin, and the fruiting mango tree outside my window in which Sydney’s entire bat population have been spending evenings hosting barn dances or their national AGM, or something that at the very least involves a lot of screeching designed to keep me sleepless and cranky. And, as always, you know it’s summer because you’re finally looking down the barrel of a few months in which you can relax, wear skimpy clothing, drink your liver into retirement and spend long hours sitting on beaches or in backyards with a book. In an effort to keep my recommendations timely, all the books included in this summer reading guide were published in the last year. Well, year-ish. Some of them came out in 2012, but I was a bit slow on the uptake. And they are really very good, as is everything included on this list, regardless of my arbitrarily self-imposed rule. As ever, I would gently recommend searching out a copy of whatever takes your fancy at your local, independent bookshop. They are more in need of your dollars than Book Depository. The Flamethrowers by Rachel Kushner The Flamethrowers is one of the most beloved books of the year, for good reason. Suffice to say, it is very much worth your time. The novel is centred around Reno, a young woman just arrived in New York from art school. It’s 1977, and she’s intent on turning her fascination with motorcycles and speed into art. This coincides with her affair with Sandro Valera, an older man descended from Italy’s foremost motorcycle manufacturer, a man at the centre of the explosion of activity in New York’s art scene. The book shifts from the dreamers, performers and ciphers of the art world to Reno’s childhood in Nevada to the family history of Sandro’s family in Italy and finally to the political radicalism on the streets of Rome, in which Reno is cast adrift. The Flamethrowers is a complex, disorienting, beautiful book, but most importantly it’s alive. Every page is electric. The Best of the Lifted Brow V1 The Lifted Brow is Australia’s most interesting and innovative magazine.* It’s sincere and it’s funny and it’s excessive and it’s dangerous. It’s proof — if proof was needed — that the publishing industry in this country isn’t chasing it’s own tail around a gurgling drain. There is incredibly exciting, brilliant work being produced, and much of it is being published by The Lifted Brow. This volume comprises some of the best writing TLB has published since it was founded in 2007. Inside, you’ll read nonfiction from Benjamin Law, Sam Cooney and Alice Pung. Michaela McGuire works in a casino, Luke Ryan gets cancer, Liam Pieper investigates the history of cocaine in Australia, and Romy Ash hunts and cooks a rabbit. There’s original fiction from Tao Lin and David Foster Wallace and Frank Moorhouse; stories about bone-struck hearts, holy water, a shipwrecked man and a chimpanzee; and a list of the pornography available for download from the United Dairy Council. So the next time somebody tells you the print industry is dead and nobody has anything original to say anymore, gently thrust a copy of this book into their hands. *Full disclosure, The Lifted Brow has been kind enough to publish some of my own scribbling. This Is How You Lose Her by Junot Diaz Junot Diaz’s writing is explosive. The Dominican-born American author writes in a dialect often described as Spanglish, but that doesn’t even begin to acknowledge all the other idioms he taps into when he tells a story. There’s Spanish and there’s English, sure, but there’s also the language of sci-fi, nerd-dom, hip hop, drugs and the literary canon. And there’s quite a bit of swearing. A typical sentence of his reads like this: “Dude was figureando hard. Had always been a papi chulo, so of course he dove right back into the grip of his old sucias, snuck them down into the basement whether my mother was home or not.” That comes from the story The Pura Principle, published in Diaz’s third book, This Is How You Lose Her. The book is a collection of interwoven stories narrated by Diaz’s alter-ego Yunior, who also appeared in Diaz’s first collection, Drown, and the Pulitzer Prize-winning novel, The Brief Wondrous Life of Oscar Wao. If you’ve read either of those books you’ll know how brilliantly Diaz sweeps you up into the world of his writing. This Is How You Lose Her does the same thing, only better. Taipei by Tao Lin Tao Lin is widely considered to be a kind of hipster-savant. A novelist, poet, publisher and artist, he’s one of the first writers to have been formed by social media and the internet instead of traditional print culture. His writing is light on plot, mirroring the kind of prose generated by Twitter, Gmail and Tumblr. His writing acknowledges that the record of an individual’s impulses and desires alone can be a worthwhile subject for literature. And while that has struck some critics as needless, navel-gazing overspill, Taipei is the best thing Lin has written so far, and one of the most interesting books published this year. It’s an account of a year or so in the life of Paul, who is pretty clearly a stand-in for Lin himself. Paul wanders around New York and Taipei, doing a lot of drugs with his girlfriend, and spending a lot of time alone, craving solitude and darkness despite the depression and affect-less self obsession which lurk in his psyche at all times. Above all, the book is about the desperate, howling desire to connect which characterises the present. Tenth of December by George Saunders In a year when the short story has been re-energised and shoved into the limelight by the awarding of the Nobel Prize in Literature to Alice Munro, George Saunders has been widely lauded as the future of short story writing. Tenth of December is Saunders’ fourth, and best, collection of stories, published to huge acclaim at the beginning of the year. There are stories about rape, abduction, suicide, the frustrated rage of tightly wound people, the post-traumatic impulse of a former soldier to burn down his mother’s house. But these stories aren’t grim. They’re inventive, the language twists and turns, they’re buffeted by anarchic good cheer and merriment. It’s only when you put the book down that you realise how dark the stories are, and the sheer talent of the man who’s crafted them. If you want a taste of the collection, the final story in the collection is free to read here. Night Games by Anna Krien Anna Krien’s book is ostensibly a work of investigative non-fiction beginning on the night of the 2010 AFL grand final, and the rumours of a gang rape that began to circulate the next morning. Two Collingwood players were linked to the rape, but in the end one young man, also a footballer although not with the AFL, was charged. The book follows the case from beginning to end, but in the meantime it branches out into many different issues. It’s a story about top-level football, the problem of prosecuting sexual assault, and the treatment of women. But it also highlights the grey areas, the uncertainty, in the way human beings interact with each other. It’s a beautifully written book about deeply complex issues, and it’s that which makes it one of the best pieces of investigative non-fiction I’ve ever read. All That Is by James Salter One of the best things I did this year was start reading James Salter’s novels. Despite being one of the best writers of the 20th century, he has never gotten the same kind of recognition, or sales, as many of his peers. He’s frequently called a ‘writer’s writer’, which basically means that people who do their own scribbling think he’s the bees knees . But he is truly one of the most beautiful writers you could possibly read, and All That Is is a very good place to start. All That Is is Salter’s first novel in over 30 years. On the surface of it, the story is fairly simple: it follows Philip Bowman over a period of 40 years, from his youth at the end of WWII and as an editor in New York, through marriage, divorce and a series of middle-aged affairs. What sets it apart is the intensity of Salter’s language, the burn and clarity of the fast-flowing scenes. How Should A Person Be? by Sheila Heti How Should A Person Be? is a strange, wonderful novel, arguably one of the most influential books published in the last five years. Subtitled, 'A Novel from Life', it’s a book which sits within a contemporary literary movement bored and frustrated by conventional fiction writing. The book is thus a number of things at once — a confessional, a manifesto, a novel, and a self-help manual, revolving around the life of ‘Sheila’ and her friends in Toronto’s creative community, delving into questions about art, sex and female friendships. Heti claims to have been inspired by reality TV, particularly The Hills, and so many of the emails and transcribed recordings of conversations come from real life. But the book is also shaped, forced into a plot, and sits somewhere at the blurry edges of fiction and memoir. It’s a beautiful and engaging book, and it likely to be a huge influence on contemporary writing for years to come. Ninety9 by Vanessa Berry Ninety9 is a memoir of what it was like growing up in suburban Sydney in the ‘90s, written and illustrated by Australia’s foremost zine-maker. Vanessa Berry came of age when triple j was just going national, when the street press was still the arbiter of all things ‘indie’. She grew up pressing ‘record’ on cassette tape decks; compiling handmade zines and sending them through snail mail; staying up late watching Rage; covering her bedroom walls in Teenage Fanclub, The Cure and My Bloody Valentine posters; and creating an identity for herself as a Goth in a city which mocks your melancholy by bathing you in relentless sunshine. It’s a beautiful memoir about adolescence and the lost landscapes of Sydney’s independent fringes, before the Millennium rolled over and the line between alternative and mainstream became dizzyingly vague. For those who like doing two things at once, Vanessa Berry has also compiled a special Ninety9 mixtape to accompany the book, which you can listen to right here. The Circle by Dave Eggers Dave Eggers, founder of McSweeneys, is without doubt one of the best writers working today — have you read A Heartbreaking Work of Staggering Genius? You really should. Be that as it may, The Circle, Eggers’ newest book, is an excellent example of his tendency to take important contemporary social issues and turn them into interesting, innovative literature. The book, in the tradition of Orwell’s 1984, is set a couple of years in the future, and follows Mae Holland as she begins working at The Circle, the world’s most powerful internet company, which has eclipsed and merged with Google, Facebook, Twitter, etc. The book raises questions about the power of technology to regulate and orchestrate human behaviour, and the way that the dictums of ‘sharing’ and ‘openness’ are beginning to take on a dangerously cult-like loyalty. It is a deeply disturbing book, but it’s also effortless to read, making it the closest thing to a ‘page-turner’ on this list.
The allure of a Mediterranean beach holiday might seem tempting, but you'll find a bounty of worthy vacation spots located right here in your own backyard. And if sun, sand and surf are on the agenda, there are plenty of idyllic island escapes up and down the coast of Queensland, just waiting to be explored. Indulge in a tropical getaway to Hamilton Island, or embrace the beachside life with a few days spent lounging in The Whitsundays. We've done the hard work for you and pulled together a list of the most idyllic island accommodations you can book in Queensland. Pick a favourite, pack your sunscreen and get ready to feel the sand between your toes. Recommended reads: The Best Hotels in Brisbane The Best Glamping Sites in Queensland The Best Dog-Friendly Accommodations in Queensland The Best Islands in Australia to Visit Any Time of the Year Central Airlie Holiday Home, Airlie Beach This Airlie Beach gem has room for the whole gang, but it's the divine deck and pool overlooking the Whitsunday Islands that'll steal your heart. From $545 a night, sleeps 10. Luxury Private Retreat Villa, Urangan Your own tropical haven, just minutes from the beaches of Hervey Bay. This breezy villa boasts contemporary styling, gorgeous outdoor living and a private pool. From $235 a night, sleeps six. Yacht Club 33, Hamilton Island This newly built island escape is a study in luxury living, complete with high-end features, pool access and sweeping ocean views throughout. From $1715 a night, sleeps nine. The Little Bush Hut, Nelly Bay On a secluded patch of island paradise, this stylishly restored hut is couples' holiday perfection. Fall in love with the private setting and the covered outdoor tub. From $310 a night, sleeps two. Headland House, Picnic Bay This architectural stunner boasts a covetable location on Magnetic Island, with luxurious spaces indoors and out, and epic ocean vistas to match. From $1752 a night, sleeps ten. Point Blue, Hamilton Island With its sleek interiors, picture-perfect views and abundance of outdoor living, this island home is the answer to all types of tropical holiday cravings. From $2164 a night, sleeps eight Point Lookout Townhouse, Point Lookout This stylish townhouse comes complete with panoramic water views, a gorgeous indoor-outdoor set-up and access to the complex's infinity pool. From $580 a night, sleeps seven. Complete Straddie Beach Retreat, Point Lookout Blissful island days await at this vibrant villa, perched just metres from the beach. Enjoy the romantic loft bedroom, sun-drenched deck and shared pool. From $219 a night, sleeps three Ascension, Point Lookout Luxe out in this sprawling holiday mansion, set overlooking the waters off Point Lookout. There's a huge deck, spa room and telescope for whale-watching. From $1000 a night, sleeps 12. Elementa House 1, Airlie Beach Unwind in style with a stay at this Whitsundays stunner, complete with private garden, shared infinity pool and master tub with breathtaking views. From $637 a night, sleeps six. La Boheme Studio, Jubliee Pocket Experience your own little slice of Whitsundays magic at this contemporary coastal cottage, flitting between porch hammock and incredible magnesium pool. From $155 a night, sleeps two. Shorelines 23, Hamilton Island You'll feel on top of the world at this soaring Hamilton Island apartment, featuring panoramic ocean views and a stunning shared pool located just metres away. From $495 a night, sleeps six. Hamptons House on the Hill, Airlie Beach Boasting incredible vistas across the Whitsundays, a private pool and lots of luxury features, this award-winning Hamptons-style home is total bliss. From $375 a night, sleeps four. The Moreton Mansion, Tangalooma This generous three-level abode makes for a lavish group getaway, overlooking the waters of Moreton Bay. Plus, enjoy full access to the nearby resort facilities. From $1050 a night, sleeps 16+. Bedarra Island Villa, Bedarra Island A glam island paradise surrounded by leafy palms and lapping blue ocean. This designer villa boasts a stunning deck and delightfully secluded beachside setting. From $1258 a night, sleeps eight. 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: Courtesy of Airbnb
The Mouse House is bringing some of its magic Brisbane's way, with Disney: The Magic of Animation making a date with Queensland Museum from Friday, June 24. Whether you've always been a fan of Mickey Mouse, can remember how it felt when you first watched Bambi, are able to sing all of Genie's lyrics in Aladdin or fell head over heels for Moana more recently, you'll find plenty worth looking at. And in its doors, too — because walking beneath mouse ear-shaped openings to move from one area to the next is all part of the experience. Running through till Sunday, January 22, 2023, Disney: The Magic of Animation explores everything from 1928's Steamboat Willie — the first talkie to feature Mickey Mouse — through to last year's Raya and the Last Dragon. Obviously, a wealth of other titles get the nod between those two bookending flicks. Fantasia, Alice in Wonderland, Lady and the Tramp, The Jungle Book and The Lion King also feature, as do Mulan, Frozen, Big Hero 6 and Zootopia. The big drawcard: art from the Mouse House's hefty back catalogue of titles, and heaps of it. More than 500 original artworks feature, spanning paintings, sketches, drawings and concept art. The entire lineup has been specially selected by the Walt Disney Animation Research Library, and will let you get a glimpse at just how the movie magic comes to life, how some of Disney's famous stories were developed, and which animation techniques brought them to the big screen. Get ready to peer at hand-drawn dalmatians (which is timely, given that Cruella released last year as well), stare closely at Mickey Mouse's evolution, examine Wreck-It Ralph models and pose next to Snow White. Wall-sized artworks pay tribute to a number of movies, too — The Little Mermaid piece is particularly eye-catching — and feeling like you're stepping into a Disney movie is an unsurprising side effect. Disney: The Magic of Animation is clearly designed to appeal to Mouse House fans of all ages. You, your parents, today's primary school kids — you've all grown up watching Disney flicks. So, while you're pondering tales as old as time, being QM's guest, contemplating the animated circle of life and definitely not letting your nostalgia go, prepare to be accompanied by aficionados both young and young at heart. Images: Phoebe Powell.
