Spoiler warning: this interview incudes specifics about Smoke if you aren't up to date with the series before reading. Noticing patterns sits at the heart of most detective narratives. For the characters in Smoke, that's firmly part of the job. Dave Gudsen (Taron Egerton, Carry-On) is a former firefighter-turned-arson investigator on the trail of two serial pyromaniacs — one using milk bottles to set their blazes, the other starting multiple infernos at once to attempt to split the fire department's resources — and, as a result, he's hunting for recurring clues in the ashes. So is Michelle Calderone (Jurnee Smollett, The Order), his new partner and a police officer who has been transferred to the fictional Umberland's arson squad not by choice. Add these figures to the list, too, in the nine-part Apple TV+ miniseries: Captain Steven Burke (Rafe Spall, William Tell), who is behind Michelle's reassignment; Commander Harvey Englehart (Greg Kinnear, Off the Grid), Umberland's fire chief; Ezra Esposito (John Leguizamo, Bob Trevino Likes It), the cop who was previously by Gudsen's side; and Special Agent Dawn Hudson (Anna Chlumsky, Bride Hard). Spotting connections falls on Smoke's audience as well, although it's an easy task at the outset. Here, Egerton leads, Kinnear co-stars and author-turned-TV showrunner Dennis Lehane is behind the miniseries, drawing upon a true-crime tale to make a thriller series about questioning appearances — who is reliable as a character, who isn't, and the difference between how someone is perceived and their reality — where unpacking the human psyche is a key factor. This all also proved the case with the streaming platform's Emmy- and Golden Globe-winning Black Bird in 2022. Smoke boasts a few more nifty links. Back when Egerton was just starting his on-screen career, one of his first roles was in the 2014 firefighter-focused British series The Smoke, for instance. "It's a weird moment," Egerton advises. "When I first started working on this, I sent a photo of myself in the firefighter gear to Rhashan Stone [Midsomer Murders] and Jamie Bamber [Beyond Paradise], who were two actors I worked with on that TV show The Smoke, saying 'this is weird'," he continues. "I'm glad that I've been employed long enough to end up doing two shows that are called the same thing. That's got to be a success on some level, right?" Then there's the fact that this Smoke, which debuted with two episodes at the end of June 2025 and is unveiling the rest of its instalments weekly, is drawn from the Firebug podcast focusing on IRL serial arsonist John Orr — and that when a 2002 HBO TV movie also told his tale, it starred Black Bird's Ray Liotta alongside now-Smoke supporting cast member Leguizamo. What interested the latter in stepping back into this story a second time? "Because this time it's better-written, it's better-directed — no offence. Ray Liotta was brilliant as John Orr, but I think this is a better version," Leguizamo tells Concrete Playground. "I think Dennis Lehane took some liberties, which I think made it much more interesting. It's based on, not a direct copy of what really happened, so I think that makes it more fun. He had a whole bunch of new characters, and he really gets into the mind and pathology of this character, the arsonist. And I think that's what's fascinating about this series." As Leguizamo notes, Smoke isn't a strict adaptation of John Orr's life. He isn't a character in the series, in fact. Lehane, who enjoyed great success on the page before his screen work — his books Mystic River, Shutter Island, Gone Baby Gone and Live By Night were all adapted into movies directed by Clint Eastwood, Martin Scorsese and Ben Affleck, respectively (Affleck helmed both Gone Baby Gone and Live By Night) — fictionalises many details, including monikers, in finding a new way into this story not only after Firebug but also Point of Origin. "I was trying to write about self-delusion. I was trying to write about chaos," the scribe who got his TV start penning episodes of The Wire, then worked on Boardwalk Empire, Mr Mercedes and The Outsider, explains. "I was trying to write about a world in which people feel so powerless and confused now that there are extremely powerful people who suggest with a straight face what we need to do is just burn it all down. Burn it all down. You don't like the way the government works? Burn it all down. Do we have anything to replace it with? Nope. But burn it all down. That's going on in the world, and at a pretty consistent level. And I thought this would be a fun way to look at it." "So everybody in this show is, I think, both psychologically complex and psychologically chaotic. And then they're emotionally chaotic. And then there's fire moving everywhere, which is chaotic unto itself. And it was just a way to look at a world that right now feels like it's on fire." [caption id="attachment_1014821" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] Plenty of Smoke's complexity and chaos springs from Gudsen, who isn't just looking into the fires that are burning across his town, and is also an aspiring novelist writing about what he knows. "Dave is such a fascinating, extreme role," reflects Egerton of his latest recent part with a cat-and-mouse dynamic, because Black Bird and Carry-On also fall into the same category. "There's a few moments in this show that really come to mind very quickly as being extreme or strange moments. And I've got to be honest with you, I really love doing those moments," he says. "I do think of myself as an artist, but deep down inside I'm still the kid who wanted to climb on my school desk and have everybody look at me — so those moments, I do enjoy as an actor." What appealed to Egerton, Lehane and Kinnear about reteaming so soon after Black Bird? And to Spall, Leguizamo and Chlumsky about being a part of a series about the fine line between arsonists and arson investigators with them? What's the draw, too, of portraying morally ambiguous yet playful characters — and of jumping in when there isn't a single person in the series who is clearcut, and keeping audiences guessing about almost everyone is baked into the story? In addition to reckoning with people not being who you think they are, plus exploring what makes folks tick when they're attracted to things that can kill them or bring about their downfall, we also spoke with Egerton, Lehane, Kinnear, Spall, Leguizamo and Chlumsky about all of the above, plus more. On Reteaming on Another Crime-Thriller Series Developed by Lehane, Starring Egerton and Co-Starring Kinnear That's Unpacking the Human Psyche and Questioning Appearances Taron: "I think as an actor, you are only ever as good as the words on the page, and you're only ever as good as the person opposite you in the scene. And I really believe that. And I think in the case of the work I've done with Dennis, they are — both Jimmy and Dave — just very, very rich, well-drawn characters. And they're characters drawn by Dennis. And so I feel very privileged to be in this collaborative partnership with him. As long as he wants to employ me, I'm going to work with him because he writes tremendous roles. It's not always going to be the case. He's going to want to do things without me and that's cool. But if he wants me to do something, I'm down. I really love working with Dennis, and we've struck up a really great friendship and partnership over the past five years." Dennis: "I knew I wanted to do it with Taron because I love working with Taron, and because the two of us have a great shorthand and a rather immense amount of trust between each other — for where we're willing to go and how we're willing to push each other. So in that regard, that was a no-brainer to bring Taron in on this. It's an interesting thing, because Jimmy in Black Bird goes on a journey in which he's kind of a callow, shallow guy at the beginning, and by the end, by moving through this transformation, he's become a better human being, but he's lost a lot of his swagger. Dave starts off as oh, you think he's this sweet, heroic fireman, arson investigator — but very quickly, we start to put a lie to that, and by the third episode we've pretty much lit the whole concept on fire. And now it's really about the rabbit hole of 'how demented is this guy's psyche?' — and that becomes the journey of the show. So it's almost inverse. And it was fun to write, it was fun for Taron to play." Greg: "I just think they're good dudes. What can I say? Taron and Dennis, they're both super-talented. Who doesn't like to work with talented people? And in addition to them, we have a whole cast of talented people. So I knew, I just had great confidence that that this would be a good show. And it would be unexpected — and it would like any good novel, it would be a page-turner and keep the audience hooked and guessing. He certainly didn't disappoint in Black Bird. I know he — I mean, I guess you never know, but I have great confidence just in his ability." On What's Interesting About Digging Into a Cat-and-Mouse Dynamic as an Actor Taron: "I think there's obviously tremendous tension in a cat-and-mouse dynamic — and the feeling that a great deal is at stake. And stakes are important for really good storytelling, I suppose. I have to say, I do, having been the mouse in the cat and mouse dynamic of Carry-On, there is something nice about playing Dave, who is probably a little bit of both. I think he would probably style himself as a persecuted man at a certain point in this show, but as we know, he's anything but a victim. But that's very central to his pathology, I think. I think he's a man who styles himself as what he needs to be at any one time. And I think it probably suits Dave's needs to be thought of as a victim, as a mouse, some of the time." Anna: "A lot of acting is about identifying intentions, and the cat-and-mouse structure of storytelling is delicious for that. You have to commit. You have to ask 'why this mouse?' if you're the cat — 'why this cat?' if you're the mouse, to extend the metaphor. And it's all about figuring out those motivations. And what's so awesome is, in a show like ours, because it refuses to be cut and dry, you're always discovering new motivations. And you're always discovering like 'oh wait, this is what I thought this was', but once you see it, you're like 'oh, maybe that's what it was like'. It keeps living. It doesn't die on the page. It just keeps living and generating its own fire." [caption id="attachment_1014824" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] On Whether Moving Into Creating TV Shows Was the Plan for Lehane When He Penned His First Novel or Scored His First Screenwriting Gig Dennis: "It definitely wasn't 30 years ago. It didn't really take effect — it didn't take hold even when I was doing The Wire. I think it was when I was doing Boardwalk that I said 'well, I really like this. I like the social aspect of this. I like the feel of it. Maybe one day I'll run a show'. And then we moved to LA three years later, and then it just really, my life changed drastically, and then it just took hold. And I ultimately became a showrunner." On How Lehane Having His Own Books, Such as Mystic River and Shutter Island, Adapted for the Screen Helped Put Him on the Path to Making Television Himself Dennis: "I think it opened some doors for me in LA, in Hollywood. People knew who I was. But my desire was never to make movies — which is weird because I love movies. I'm a movie fanatic. But my desire, I started to realise — it was when I was doing Mr Mercedes with David Kelley that I realised 'wow, the form seems to feel just like writing a novel'. If you've got ten episodes and they're 50 minutes apiece, that's 500 pages. Most novels and manuscripts are somewhere between 400–500 pages. That felt natural. So it felt as if I understood, at an organic level, how to tell a story for television — where writing for the movies is much more like writing a short story." On the Appeal of Being a Part of a Series That Explores the Fine Line Between Arson Investigators and Arsonists Rafe: "It's an unusual subject matter. I don't think I've ever thought about the idea of arson investigation. I don't think it ever crossed my mind. But of course it's a thing. Now, it's an extraordinary story, based in some ways on a real case. And yeah, I was interested in that, the idea of it, but what really hooked me in was the complexity of the characters — was their moral ambiguity, was their richness, was how each character was so well-defined, and how each character went on a very succinct journey. And I was really excited to play Steven. I was really thrilled to have a conversation with Dennis Lehane about it. I was really flattered to be asked. It's really great when people that you respect ask you to be in stuff. I never get over that. I'm always really made-up and flattered when someone of his calibre would want me to be in one of his shows. So I was flattered into doing it." John: "First of all, Dennis Lehane is one of the great writers, true-crime writers of our time. So the series was so well-written, and you don't get great writing like this too often. So that was a gift in itself. And then this character he wrote for me is unbelievable. This crazy, broken loser, loveable loser, who nobody believes but he knows the truth. It's an incredible role to play. I was so excited to be a part of it." [caption id="attachment_1014837" align="alignnone" width="1920"] John Lamparski/Getty Images for Tribeca Festival[/caption] Anna: "The writing. It's always the writing — the writing, the writing. Dennis Lehane is, I think, exactly what the world needs right now. We have to examine the things that he is fearlessly willing to examine. The way he writes, he gives every character that he's creating space and advocacy. And he allows the audience to ask their own questions and to engage with the storytelling. He's never telling you what to think — and this is exactly what I sign up for as an actor." On Going From Black Bird to Taking Inspiration From the Firebug Podcast and John Orr's Story Dennis: "So the sort of missing piece there is a guy named Kary Antholis. So Kary Antholis was a producer with me on Black Bird. Kary was obsessed with the John Orr case and had created Firebug. So he was the producer and narrator and writer of Firebug. And he pitched me when we were in the final stages on Black Bird, and I listened to it, and I said 'well, I don't think I'm the guy to tell the story of John Orr's trial, or the fires in San Bernardino and Glendale in the 1980s. That's not really my jam. It's not what I want to do. But I love the pathology of this guy. I would love to base a character on him, on his pathology. I would like to create a guy who is just as delusional, who is just as in denial, who is an arson investigator chasing an arsonist who happens to be him, and writing a book about an arson investigator chasing an arsonist whose arsons are mirrors for the real arsons that only the real arsonists would know about. That's a story I want to tell. Everything else, I kind of want to throw out'. And he was like 'great'. And so that's what we did as our launching pad. And I went off and told this story, which is very different than the John Orr story." On Stepping Into a Series with Real Life as a Basis, Even If the True Story Is Being Fictionalised Greg: "I was familiar with the podcast. And certainly there are fire chiefs, some people in that storyline, that I guess maybe Harvey is based on, but he's an amalgamation of a maybe a few different people. Most of it was just in the script I felt like Dennis had really written. Like I say, I used the basis of that podcast, a great piece of source information — I suspect we'll be seeing a lot more podcasts as sources for shows, because they're so rich and they offer so much creative backdrop to work with. I felt like this, though, had all been put into a script. And I felt like all of the characters had a real journey. I liked the character he had asked me to play. I worked with the Dennis, of course, on Black Bird, so it was great to come back to the party again." On Egerton's Run of Portraying Morally Ambiguous, Playful Characters — and Being Great At It Taron: "The secret is, the truth is, he is me. That's the thing. When you're an actor, sometimes when actors talk about the lengths with which they go to become someone else, there's something I think is slightly disingenuous about it because — or not disingenuous, that's mean, that's sounds judgmental. My experience of being an actor is not that you become someone else, it's that you express yourself through the prism of a character that has traits that are different to you. It's still you. It's still Taron. It's still me. It's still Taron existing in a set of imaginary circumstances that are different from the ones that have characterised my own life. So Dave is — although I am not an arsonist, I am exercising the muscles of imagination to be a version of me in that situation. I think I have a few of those on the way over the next 18 months — a few morally, either ambiguous or bankrupt, characters. And for some reason I'm entering a phase in my life where those are the roles that I'm playing, and I'm really okay with it. It's interesting. I think as somebody who started their career playing more archetypically heroic roles, there's a real appeal in like fucking shit up a bit, you know?" On Fleshing Out Characters When There Isn't a Single Person in the Series That's Clearcut — and When Keeping Audiences Guessing About Almost Everyone Is Baked Into the Story John: "Oh, I love that. That's what I live for — these roles that are not black and white, that are really complex and you can sink your teeth into, that allow you to be the full spectrum of human life. Life doesn't present itself with villains and heroes. It's just very complex and grey — in the grey zone. I really enjoyed this character, because there was so much to do in terms of he thinks he's sexy, nobody believes him, he thinks he's right, everybody thinks he's wrong. I think it's a very relatable sort of character. So it was a lot of fun for me." Rafe: "I think that the first thing you need to work out is the character's intention, is what they want and how they go about getting it, without passing judgment on it. You can never really have your own personal view on the person that you're playing. You need to believe that they're doing what they think is right. And so Steven, my character, from the outside is obviously dubious at points. But he is able to justify everything he does in his own mind. Now, from an objective point of view, a lot of the things that he does are wrong. But he would be very good at telling you why you were wrong in thinking he was wrong. And he's someone that's used to getting what he wants. So all of this stuff that I'm talking about is the stuff that me, as an actor, hooks into. What does the character want? What does he need? How does he go about getting those things? What gets in the way of him achieving those objectives? All of those things are really playable. And when you've got writing as detailed, as rich as this, it makes that pretty easy. Then you get there on the day and you try and make it sound real. That's it. You try and make it sound real and like real people talking — which, as I say, is easier when the when the writing is as excellent as this." On Playing Someone Who Is Forced to Reckon with the Fact That a Person He Knows Is Completely Different to Who He Thought He Was Greg: "I don't think people want to see what they don't want to see. I think Harvey is, I don't think it's — I guess he could be naive, but I just think it's that human condition of not wanting to be surprised by a friend. It's too painful. It hurts to have someone you trust break that. So he's kind of the last man standing in this when it comes to his assessment of one particular character, but he comes around and gets on board, but it takes a minute." On Chlumsky Taking on Roles with a True-Crime Angle After Veep with Inventing Anna and Now Smoke Anna: "I will engage in true-crime as a genre if the story is good — and when the story is good, that's what matters to me. It's funny, but these roles have been really excellent journeys into the people who are having to engage with these kinds of things every single day. And I appreciate it. I appreciate getting to play them." On Exploring What Makes People Tick When They're Drawn to Things That Can Kill Them or Bring About Their Downfall, Especially When They're Far From Being Honest About Themselves Rafe: "That's a really good question. I think that bad people don't know they're bad people. They think they're good. I think everyone thinks they're good. And so it's interesting to work out, when you're playing a character, what he puts out into the world and how others perceive him, and the dichotomy between those two things. He makes mistakes, but I like him, and I think that that is always good. And I think I always like the characters that I play, even if they're bad people, because I'm inside them. It's difficult to talk about acting, really, because it's such a sort of slippery old thing — and ultimately it is the process of throwing a load of shit against the wall and seeing what sticks. And it's quite a private process. But sometimes it's really fun, and this was one of those cases — and I don't know why. I think it's to do with the people that I was working with. I think that's what it comes down to, is being surrounded by really clever people that make your job easier." On the Crucial Commitment to Using Practical Effects Wherever Possible — and Getting Performances That Are Truly Responding to the Fire as a Result Dennis: "We were adamant about that from the very beginning. The first production meeting, that was the topic: 'how do we make this?'. If they could do it in Backdraft before CGI existed, then the problem has to be how CGI is being employed, not how they used to do fire. So we came up with a fusion of practical fire, CGI fire, put them together. If you had the practical fire in a scene, then the CGI artist could go in there and know what he was matching to. There's a fire — match to that. With the opening scene in which the fireman, Dave Gudsen, is trapped in a fire and runs toward his own reflection — that opening sequence was shot with Taron using nothing but practical fire on what's called a burn stage. So I don't think Taron had to do much acting there. That was pretty much 'aaaaah' — I wasn't going on that stage. But later, in some of the other scenes where the fire was far less practical, the actors were just bringing it, man. They were just bringing it. And we were documenting it and then filling in those fires later." Taron: "It's interesting. I didn't anticipate, when I first read the scripts, that Dennis would elect to shoot the fire practically. And it's a really amazing sequence. I think he chose to do that because that moment, for Dave, the opening sequence of the show, it's more than just the turbulent moment from his past. It's a kind of existential moment where something happened for him that changed who he is, and even I don't fully understand what that was, but it's something to do with his relationship with himself. It's something to do with his own self-image. And I think the significance of that event meant that it needed to be particularly cinematic and almost visually poetic. And the fire looked stunning in that sequence. It really is quite beautiful to behold. And I'd argue that it's better executed than anything that could have been done with computer-generated imagery. So I really loved that sequence. In terms of preparation, you do a little bit of training with the breathing apparatus to make sure that you're safe and set to go in there — because you can't step on a set like that without a regulator, and all the crew are wearing them as well. But beyond the rehearsal we did, which was quite rigorous because it's a dangerous set, I didn't go and do any special firefighter training or anything." On How the Smoke Cast Reflects Upon Their Careers So Far and Their Paths to the Series Taron: "The life of an actor is strange for many reasons, but it's very strange to have a moving video chronology of your own life. And sometimes I'll put on the telly or put on Netflix, like things I've been in sometimes pop up on Netflix and I'm all of a sudden having, like I put on the telly and there's a bit of me at 24 — and I find it really weird. And it's quite creepy. Because in my head, I look the same as I did when I was 24. And then I see a bit of a clip of Kingsman and I'm like 'no, no, definitely not'. And it's weird. I don't get super-reflective about my career so far, and I feel just enormously grateful to still be working and really grateful to be playing leading roles — and to be working with the great people that I get the chance to work with. And I don't take any of it for granted, ever. I am such a fortunate individual. I'm really glad that I'm still being employed." Rafe: "It's one thing getting opportunities, I think, as young actors. And I think that we put a lot of stock in like 'the big break', the idea of that — and there's a lot of reverence of that. That's never really been the case in my career. Like, I've always just done, just kept going, and done one thing and another thing and keep getting asked to do things. It's all I've ever wanted, really, is just to sustain a career. Because that's the most-difficult thing, is sustaining — is to keep going and to keep employed in good work. It's really difficult. It's a really difficult thing. So I'm just very, very grateful that I get to do it, because I really like my job. I really, really like — I love acting. I love actors. My dad's an actor, grew up around them. I think it's both a very important and very silly thing to do, and I'm very grateful for those things." Greg: "It's funny, we [Kinnear and Spall] both played Atticus Finch [in To Kill a Mockingbird], so we've both been through the same path. Plus, Rafe's done a lot of comedy and a lot of drama. I have been able to have kind of done both of that as well, which is really great. I feel very fortunate to be able to do both. This, I feel like Harvey's got — there's a little humour and a little warmth with him, and there's a little drama mixed into it. Whatever's led me here, it's the right mix of stuff, because I find myself more often than not being real happy with whatever it is that I'm doing at the time. That's certainly the case of Smoke." Anna: "I just want to tell the truth and explore the human condition. And if I get to in beautiful text, then I feel like I'm engaging in the culture and I'm engaging in the world, that's really anything anybody can ask for. So I'm just very proud that I'm still getting to answer questions about a show that I still feel that way about. I'm that kind of actor who's always wanting to stretch in different in ways. It's what keeps me alive in the craft. So it always feels like a gift when I get to stretch something." John: "I love to be a part of things that really make you think deeper than most shows. I like to be in work that makes a statement, that tries to change the way the world is and makes it a better place. That's what I strive for. And hopefully I hit that mark more than not. I've had to fight for appropriate representation and appropriate roles that I felt should have came my way, or been offered to me, because I'm a Latin actor in America. And I've had to deal with quite a bit of racism in this country, even though we're such a huge — we've been here since the beginning, the first European language spoken in this country was Spanish, not English, but we're still the most aggressively excluded ethnic group in America, even though we're 20 percent of the population. So I've had to deal with a lot of a lot of that, and luckily I haven't given up, and have persevered. And I think my fanbase is what's helped me to stay strong and to continue. And luckily Dennis Lehane saw something in me for the role of Ezra, and I'm really thankful for that." Smoke streams via Apple TV+.
If you've caught up with some of the highest-profile new movies in recent months, you might have noticed that looking up has been a big part of a few films. Top Gun: Maverick demanded it, while Don't Look Up grappled with the very idea of peering upwards — and the sky plays a significant role in fresh release Nope, too. Tonight, on the evening of Thursday, August 11 Down Under, looking up should be on your agenda as well. Stare at the heavens with your own two eyes and you'll see a stunning sight — and it'll also be visible tomorrow morning, on Friday, August 12, too. Another supermoon is upon us, and will officially be at its peak at 11.35 AEST on Friday — but if you train your peepers towards the sky this evening, you'll still be in for a glowing show. While super full moons aren't particularly rare — several usually happen each year, and one occurred just last month — there is a good reason to peer upwards this time around. If you're wondering why, we've run through the details below. WHAT IS IT? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. As we all learned back in November 2016, a supermoon is a new moon or full moon that occurs when the moon reaches the closest point to Earth in its elliptical orbit, making it particularly bright. They're not all that uncommon — and because August's 2022's supermoon is a full moon (and not a new moon), it's called a super full moon. It's also a sturgeon moon, too, which doesn't refer to its shape or any other physical characteristics, but to the time of year. In the northern hemisphere, August is around the time that sturgeon fish start to show up in big numbers in North America's lakes. Of course, that doesn't apply in the southern hemisphere, but the name still sticks. Also, this supermoon happens to the last one of 2022. WHEN CAN I SEE IT? As mentioned above, the sturgeon supermoon will officially be at its peak at 11.35am AEST tomorrow, Friday, August 12, Down Under — but thankfully it will be visible from Thursday night Australia and New Zealand time. The moon does usually appear full for a few days each month, so if you already thought that the night sky looked a little brighter this week, that's why. Still yet to catch a glimpse? You'll want to peek outside when it gets dark to feast your eyes on a luminous lunar sight. Head over to timeanddate.com for the relevant moonrise and moonset times for your area, with the moon rising at 4.22pm AEST on Thursday, August 11. WHERE CAN I SEE IT? You can take a gander from your backyard or balcony, but the standard advice regarding looking into the night sky always applies — so city-dwellers will want to get as far away from light pollution as possible to get the absolute best view. Weather-wise, the Bureau of Meteorology advises that Sydney and Perth will be cloudy, Melbourne is in for a few showers, and the wet will increase in Adelaide. In Brisbane, though, clear skies await. Over in NZ, Conditions are fine in Auckland, while Wellington can expect periods of rain. Fancy checking it out online? The Virtual Telescope Project is set to stream the view from Rome at 3pm on Friday, August 12, too. Top image: NASA/Joel Kowsky.
This autumn, the sweet fiends behind Victoria's hot chocolate and ice cream festivals launched a virtual month-long sugar extravaganza dedicated to sweet, nutty, marshmallowy rocky road. In place of its usual Yarra Valley Rocky Road Festival, the Yarra Valley Chocolaterie and Ice Creamery hosted online tasting sessions and giant boxes filled with 31 different flavours of rocky road. As metropolitan Melbourne reenters lockdown this July, it has brought back the latter. Until the end of lockdown (expected to be August 20), you can get the mammoth Ultimate Rocky Road Box delivered to your door for $110. Flavours include Golden Gaytime, Tim Tam, salted caramel macadamia, salty pretzel, Sour Patch, rum and raisin and many, many more. You can check out all of them here. Elsewhere on the shop's delivery menu, you'll find one-kilogram slabs of rocky road, a chocolate breakfast box and high tea sets. The boxes can be delivered anywhere within Australia for a flat rate of $15.
Fatcow was a beef-eating favourite in its original digs at Eagle Street Pier — and the aim is to repeat the feat now that it has moved to Fortitude Valley. It was back in late 2023 that Tassis Group announced that Fatcow on James Street, which was known as Fatcow Steak & Lobster during its CBD days, would return in 2024. It lost its previous site, where it had operated since December 2020 in the spot that was formerly home to fellow upscale steak joint Cha Cha Char, when the Brisbane CBD precinct was torn down to make way for an upcoming new $2.1-billion waterfront precinct. Now, since May 2024, the new Fatcow is welcoming in patrons. The restaurant has relaunched in the Fortitude Valley spot that Space Furniture and David Jones each used to call home. The design led by Allo Creative and Clui Design harks back to steak-slinging eateries in the mid-20th century, complete with a bar made out of solid marble. Patrons can also peer through a window to the chef's grill to see where the culinary magic happens. Two private dining rooms are also on the premises at Fatcow 2.0, but just eating at a booth here means stepping into your own world. Each one comes with a floor-to-ceiling curtain that screens off the rest of the restaurant. That's another luxe touch at the steakhouse's new digs. Also on the list: wagyu tasting boards and a gold-wrapped 400-gram rib fillet on the menu. Neither comes cheap; the first costs $285 for three types of steak and three sides, and the second — aka the Golden Fatcow — is $190 for a 150-plus-day grain-fed black angus cut from the Riverina region that's wrapped in gold leaf. Under Head Chef Garry Newton, a Fatcow alum who also has Herve's and Rich & Rare on his resume, the new Fatcow's signature dishes also span a $199 steak-and-lobster combo and the butcher's choice, which varies in price. If it wasn't already apparant, this is a treat yo'self type of restaurant. All up, the menu features more than 16 steaks. You can also tuck into mains such as wagyu burgers, buckwheat risotto and lamb shoulder. Caviar is among the options, as are oysters fresh from Brisbane's only live oyster tank, raw scallops and beef tenderloin tartare as entrees, and tank-fresh lobster. The restaurant is taking a 24-hour approach to seafood — that's how long, maximum, the journey from the trawler to your plate will be. As for dessert, choices include a chocolate tart, lime sorbet and basque cheesecake, plus ten cheeses that come served in 50-gram pieces. To drink, a 300-strong wine list combines local and international drops, and cocktails are also among the beverages. Images: Markus Ravik.
Not everyone is a sports fan, but if you like live tunes, the Australian Open should still be on your radar even if you care little about on-the-court action. Only one music event in the world takes place as part of a Grand Slam, and that's AO Live. On the lineup for 2025's iteration: none other than Kesha, Armand Van Helden, Kaytranada and Benson Boone. Game, set, match, music: that's what's on offer when the Australian Open returns in January 2025 with two jam-packed weeks of tennis, plus a few aces for music lovers in the form of its three-day festival. It was back in 2023 that the annual Melbourne sports event launched the AO Finals Festival, getting a heap of talents taking to the stage. Unsurprisingly proving a hit, the fest returned in 2024, and will now be back again in 2025 under a new name. [caption id="attachment_975223" align="alignnone" width="1920"] Brendan Walter[/caption] The venue: John Cain Arena, where AO Live will run from Thursday, January 23–Saturday, January 25. 2025's version features the event's biggest lineup so far — and while only the headliners have been announced at the moment, there's special guests to come. The fest kicks off with Boone on the Thursday, followed by Kaytranada on the Friday. Both days will span 5–9pm. Come Saturday, coinciding with the women's finals, Kesha will make her first visit to Australia in seven years, joined by Van Helden. Wrapping up AO Live, the day will kick off at 2pm and finish at 7pm. Expect plenty of company, with the 2023 fest selling out, then 2024's moving venues to John Cain Arena to take advantage of its 10,000-person capacity. AO Live ticketholders will also get a ground pass to the Australian Open, so you can watch the tennis as well as catching live tunes. As always, there'll be scores of food and drink pop-ups scattered throughout Melbourne Park, as well as big screens showing all the on-court action. AO Live 2024 Lineup Thursday, January 23: Benson Boone + special guests Friday, January 24: Kaytranada + special guests Saturday, January 25: Kesha Armand Van Helden + special guests AO Live hits John Cain Arena, Olympic Boulevard, Melbourne, from Thursday, January 23–Saturday, January 25, 2025. For tickets from Thursday, October 10, 2024 and more information, head to the festival website. AO Finals Festival images: Ashlea Caygill.
Since opening in 2018 Brisbane's Howard Smith Wharves precinct has continued to expand. The spot boasts the sprawling Felons Brewery, bright Greek taverna Greca, and Louis Tikaram's excellent Cantonese restaurant Stanley — and since 2020 it has also been home to Jonathan Barthelmess' Yoko Dining. If you've ever visited Tokyo and spent time exploring the city's izakaya and music bars, you'll be well prepared for Yoko Dining. Think tunes spun on vinyl, buzzing energy and a retro-futuristic feel both in the downstairs restaurant and on the mezzanine level. In the kitchen, a hibachi has pride of place. The seafood-heavy menu heroes those unique smoky flavours that come from the Japanese-style charcoal grill. And there's a raw bar serving up fresh sashimi, ceviche and seasonal gyoza. You'll also find soft shell crab temaki, wagyu and chicken karaage among the mains — plus spicy pork udon noodles. As for dessert, choose between black sesame soft serve, mochi, green tea jellies, and a fried bread topped with yuzu curd and kinako (roasted soy bean flour). The drinks list at Yoko is just as promising as the food. Prepare to sip your way through a series of Japanese-inspired cocktails, ten different types of sake, and a range of umeshu, yuzushu (yuzu liqueur) and shochu. Japanese whiskeys, Japanese and Australian beers, and sodas with optional booze are also available — as is wine on tap and in bottles from a 100-strong list. Yoko always promises a fun, boisterous night out that forgoes pretension and polish and will put you right in the party spirit. Appears in: The Best Restaurants in Brisbane
2023 ain't nuthing ta f' wit: it's the year that Wu-Tang Clan are returning Down Under, after all. After the hip hop legends kicked off their NY State of Mind tour with Nas in 2022, they're bringing the 2023 leg to Brisbane — and it's still a joint affair. Two of the biggest names in the business since the 90s — with Wu-Tang Clan first making a splash with their 1993 debut album Enter the Wu-Tang (36 Chambers), and Nas doing the same with 1994's Illmatic — will play one show at the Brisbane Entertainment Centre on Friday, May 12. These Aussie dates are the first gigs in the 2023 tour, too, after its 2022 leg hit up more than 25 cities. This year's run is just as epic — after its stint Down Under, it heads through Europe and then back to the US. Along the way, fans can enjoy Wu-Tang Clan's RZA, GZA, Method Man, Raekwon, Ghostface Killah, U-God, Masta Killa, Inspectah Deck and Cappadonna taking to the stage three decades after they first came to fame — and Nas sharing the mic as well. Over that time, Wu-Tang Clan have dropped seven further albums from a fill discography that, including solo records by its members, notches up more than 85 full-length releases. Their tours pull from the whole lot, as set against that ever-present Wu-Tang 'W' — and honours the deceased Ol' Dirty Bastard as well.
At the moment, you and I can't go visit an Australian aquarium or zoo, as they're temporarily closed in a bid to contain COVID-19. But, the animals still need to be fed, the tanks cleaned and the littl'uns cared for. So, staff at Sea Life Sydney have made the most of the lack of visitors and taken some very special furry guests along for a day. And, yes, we've got the adorable photos to prove it. Earlier this week, Sea Life's animal care team brought in their pet pooches to help them around the aquarium. Some of the tasks performed by the four-legged workers included feeding the resident sharks, dugong, penguins and fish; auditing the aquarium website; modelling merch; and attempting to send emails. As well as just general observation. Very important. Ned, a golden labrador, did a lot of the latter. And looked very happy while he did. Typical golden lab, really. Georgie the spaniel, slightly more serious, got stuck into emails. But maybe less successfully, by the look of that blank screen. Dukdik, definitely the most productive of the canine staff, not only fed Pig the Dugong lettuce, but also worked hard on the website and modelled some Sea Life merch. Hopefully these photos have given you some Friday warm fuzzies. Temporarily, at least. This is not the first time Sea Life has taken us behind the scenes during COVID-19, either. The Sydney aquarium — and its outposts in Melbourne and on the Gold Coast — are regularly live streaming playtime with their marine residents. Already, we've seen baby penguins fed, explored a jellyfish exhibition and hung out with tiny seahorses. To see what live-streams are coming up, head over to the Sea Life Facebook page.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to watching anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from April's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL RIGHT NOW APOLLO 10 1/2: A SPACE AGE CHILDHOOD In 1969, the year that Apollo 10 1/2: A Space Age Childhood is set, writer/director Richard Linklater was nine years old and living in Houston, Texas. This lovely animated film happens to follow a boy around the same age in the same city — and trust the filmmaker behind Boyhood, Dazed and Confused, and the glorious trio that is Before Sunrise, Before Sunset and Before Midnight to make viewers who weren't there then (who weren't even alive and have never been to America, too) to feel as nostalgic about the place and era as he clearly does. As narrated by his Bernie and The School of Rock star Jack Black, the film's entire middle section dances through memories of the time and city with infectious enthusiasm, but its biggest dose of affection radiates towards the technological promise of the 60s. The Mercury, Gemini and Apollo missions were rocketing into space and it patently felt like anything was possible, a sensation so marvellously captured in each second of Apollo 10 1/2. Jumping back into the rotoscoped animation that served Linklater so well in Waking Life and A Scanner Darkly, this loving ode to years and moods gone by also sports a delightful premise. As his older guise (Black) explains, young Stan (debutant Milo Coy) was an ordinary Houston kid with a NASA-employed dad (Bill Wise, Waves), doting mum (Lee Eddy, Cruel Summer) and five older siblings when he was approached by two men (Shazam!'s Zachary Levi and Everybody Wants Some!!'s Glen Powell) to help them with a problem. In the lead up to Apollo 11, it seems that NASA accidentally built the lunar module a couple of sizes too small, so they need a kid — Stan — to help them by going to the moon to test things out before Neil Armstrong, Buzz Aldrin and Michael Collins make their famous trip in a bigger version. That fantastical idea feels ripped from Linklater's childhood dreams, and it well might be; it also makes for a warm and charming entry point into a movie that's as much about life's ups and downs, the bonds of family and the wide-eyed optimism of youth as it is about heading to space. Apollo 10 1/2: A Space Age Childhood is available to stream via Netflix. SLOW HORSES One of several espionage-themed efforts worth a watch this month — see also: The Flight Attendant and All the Old Knives below — Slow Horses gives the genre a pivotal switch and entertaining shake up. It's still a tense thriller, kicking off with an airport incident (another theme for the month) and then following a kidnapping, but it's also about the kind of spies that don't usually populate the on-screen world of covert operatives. Stationed away from the main MI5 base at a rundown, clandestine office called Slough House, Jackson Lamb (Gary Oldman, The Hitman's Wife's Bodyguard) and his team are the agency's rejects. They haven't been fired for a multitude of reasons, however, including boasting ties to influential past employees, being great at their jobs but also a drunk and having impressive hacking skills yet proving impossible to get along with. Given the nickname that gives the show its moniker, usually they do little more than push paper, too, until they get caught up in a high-profile case. Oldman goes big and broad as Lamb, and he's also ceaselessly absorbing to watch, but Slow Horses isn't short on stars. In a six-episode first season adapted from Mick Herron's 2010 novel of the same name, Kristin Scott Thomas (Rebecca) plays MI5 Deputy Director-General Diana Taverner, Lamb's supremely competent head-office counterpart — although it's Jack Lowden (Fighting with My Family) and Olivia Cooke (Pixie) as young operatives River Cartwright and Sid Baker, and their efforts to chase down a lead they're not meant to, that anchors the series. Behind the scenes, executive producer and writer Will Smith (not that one) brings a sly and witty way with dialogue from his past work on The Thick of It and Veep, making Slow Horses both crackingly suspenseful and tartly amusing. The slinky theme tune by Mick Jagger also helps set the mood — and season two is already in development. The first season of Slow Horses is available to stream via Apple TV+. HEARTSTOPPER It only takes minutes for British newcomer Heartstopper to explain its title — showing rather than telling, as all great shows should. A year ten student at Truham Grammar School for Boys, Charlie Spring (first-timer Joe Locke) finds himself seated in his form class next to year 11 rugby player Nick Nelson (Kit Connor, Little Joe). Sparks fly on the former's part, swiftly and overwhelmingly, with the eight-part series' graphic-novel origins inspiring a flurry of fluttering animated hearts on-screen. But Charlie has a secret boyfriend, Ben (Sebastian Croft, Doom Patrol), who won't even acknowledge him in public. He also hardly thinks of himself as sporty, even after Nick asks him to join the school team. And, while a friendship quickly solidifies between the two, Charlie is initially unsure whether anything more can happen — and anxiety-riddled in general. As well as writing Heartstopper's source material — which initially started as a webcomic — Alice Oseman pens every episode of this perceptive teenage-focused gem. From the outset, it bubbles with heartwarming charm, while its coming-of-age story and central love story alike prove wholly relatable, aptly awkward but also wonderfully sweet and sensitive. In short, it's a series that plunges so convincingly and inclusively into its characters' experiences that it feels like its heart is constantly beating with affection for Charlie, Nick, and their fellow high-schoolers Tao (fellow debutant William Gao), Elle (Yasmin Finney), Isaac (Tobie Donovan), Tara (Corinna Brown, Daphne) and Darcy (Kizzy Edgell). First crushes, young love, the swirling swell of emotions that comes with both and also figuring out who you are: all of this dances through Heartstopper's frames. Also, when Oscar-winner Olivia Colman (The Lost Daughter) pops up, she's glorious as always. The first season of Heartstopper is available to stream via Netflix. Read our full review. KILLING IT Killing It starts with a pitch. It's the first of many because that's just life these days, the show posits. Adding another sitcom to his resume after The Office, Ghosted and his beloved Brooklyn Nine-Nine guest spots, Craig Robinson keeps his first name as a Miami bank security guard with big aspirations — if he can rustle up some startup funds. His vision: owning a saw palmetto farm and living the American dream, because he believed his dad back when he was told as a kid that hard work and perseverance always pay off in the USA. For $20,000, he plans to buy land in the Everglades, then sell the fruit to pharmaceutical companies, who'll use it in prostate medicines for the lucrative health market. But when his branch manager won't give him a loan, and his life spirals soon afterwards, he begins to realise how America really works for everyone who isn't ruthless, wealthy or both. Striving for a better life, styling yourself to meet society's expectations, getting brutally trampled down: that's Killing It, which hails from B99 co-creator Dan Goor and executive producer Luke Del Tredici. It's a perceptive and savvily funny series about aiming for a shiny future to escape the swampy present, but getting stuck slithering in a circle no matter what you try. And, it's also about literally killing snakes, a money-making scheme that Craig comes across via Uber driver Jillian (Claudia O'Doherty, Our Flag Means Death). She's a chatty Australian who swings hammers at pythons because it's a profitable business — and because there's a contest awarding $20,000 to whoever kills the most. If The Good Place was wholly set in Florida and followed down-on-their luck folks chasing glory by slaying pythons, and also made exceptional use of the well-paired Robinson and O'Doherty, this'd be the end result. The first season of Killing It is available to stream via Stan. Read our full review. MASTER Taking cues from Jordan Peele's Get Out and Donald Glover's Atlanta (see below), as well as from old-school horror classics such as Rosemary's Baby and The Shining, college-set horror-thriller Master isn't lacking in well-known influences. It also isn't afraid to let the imprint left by its obvious predecessors visibly ripple through its frames. But being overly ambitious in stitching together a story that so clearly owes a debt backwards is one of this film's few missteps — that and being so brimming with ideas that not everything gets its due. Excavating the institutionalised racism that festers in the American university system is a big task, though, and first-time feature writer/director Mariama Diallo doesn't hold back. There's a slow-burn eeriness to this intense Ivy League-steeped affair, but also a go-for-broke mentality behind its dissection of deeply engrained prejudice and weaponised identity politics. Regina Hall (Nine Perfect Strangers), Zoe Renee (Black Lightning) and Amber Gray (The Underground Railroad) play Gail Bishop, Jasmine Moore and Liv Beckman, respectively — three women of colour at a New England uni, Ancaster, with a long history. The school's past is almost exclusively tied to white administrators and students, of course, so much so that Gail is the first Black head of the college, or master. Her appointment comes as Jasmine arrives and gets allocated to a dorm once inhabited by the college's first-ever Black pupil, whose tale ended in tragedy, and as popular professor Liv tries to earn tenure. Diallo balances racial politics and the supernatural with skill; yes, the former, and the way that 'diversity' is paid lip-service to boost the university's prestige, is far more chilling than the otherworldly bumps and jumps, but both play a key part in making this a smart and haunting feature. Master is available to stream via Prime Video. ALL THE OLD KNIVES Starring Chris Pine (Wonder Woman 1984) and Thandiwe Newton (Westworld) as two spies wading through the fallout of a terrorist attack that changed their lives years earlier, All the Old Knives brings its espionage intrigue to the screen with a sense of timelessness. It's easy to imagine how stars from any other decade — perhaps pairings involving Kurt Russell and Jamie Lee Curtis in the 80s, Keanu Reeves and Sandra Bullock in the 90s, or Brad Pitt and Angelina Jolie in the 00s — could've stepped into the same film with little tinkering needed, and how it still would've turned out as slickly and engagingly. Pine and Newton play Henry Pelham and Celia Harrison, colleagues and lovers in 2012 when Turkish Alliance flight 127 is hijacked. In 2020, the case is reopened after new information comes to light, with Henry tasked with investigating — which means reuniting with Celia after she suddenly left her old existence behind. As directed by Borg vs McEnroe's Janus Metz Pedersen, much of All the Old Knives unfurls through conversation, with the filmmaker once again diving into a highly charged adversarial and emotional relationship. With Henry trying to extract information and Celia endeavouring to protect everything she's earned since the incident, it also unravels like a game between two well-matched players, even if the twists and turns penned by Olen Steinhauer — the creator of TV's Berlin Station, and also the author of the novel that All the Old Knives is based on — are rarely astonishing. Pine and Newton make the most of the material, however, in dialogue-driven parts that rely heavily upon their smouldering chemistry. Also influential in the handsomely shot thriller: the supporting cast that spans Laurence Fishburne (MacGruber) and Jonathan Pryce (Tales From the Loop) as fellow CIA operatives. All the Old Knives is available to stream via Prime Video. NEW SHOWS TO CHECK OUT WEEK BY WEEK THE GIRL FROM PLAINVILLE Whatever she's in, and whether she's the star of the show or a supporting player, Chloë Sevigny's face always tells a tale of its own. That's been true in everything from Kids and Boys Don't Cry through to Big Love and We Are Who We Are, and it remains that way in The Girl From Plainville — the new eight-part true-crime miniseries led by The Great's Elle Fanning that's based on the death of Massachusetts teenager Conrad Roy III in 2014. Here, Fanning plays Conrad's long-distance girlfriend Michelle Carter. It's due to the her actions that the situation has been known as "the texting suicide case" for almost a decade — garnering not just local but international attention, and earning a HBO documentary, I Love You, Now Die: The Commonwealth Vs Michelle Carter, back in 2019. Fanning is fantastic in what proves an eerie character study, but the looks that Sevigny, as Conrad's mother Lynn, shoots her way scream rather than simply speak volumes. Inspired by Jesse Barron's Esquire article of the same name, The Girl From Plainville tells a tough tale, starting with Conrad's (Colton Ryan, Dear Evan Hansen) suicide in his truck in a Kmart parking lot. It was his second attempt to take his own life, although he'd promised Lynn that he wouldn't do it again — and when his death was investigated, police discovered text messages sent to him by Michelle, including a plethora of words encouraging him to follow through. In 2015, she was indicted on charges of involuntary manslaughter for "wantonly and recklessly" assisting the suicide. In 2017, her trial took place. The outcome is now a matter a history, which the complicated, captivating and gripping The Girl From Plainville builds up to while also unpacking Michelle and Conrad's relationship. The Girl From Plainville is available to stream via Stan, with new episodes dropping weekly. Read our full review. OUTER RANGE Some shows commence with a dead girl wrapped in plastic. Others begin with a plane crash on a spooky island. With Outer Range, it all kicks off with a void. On the Abbott family ranch in Wyoming, in the western reach that gives the show its name, a chasm suddenly appears. A perfect circle swirling with otherworldly mist and resembling an oversized golf hole, it's just one of several troubles plaguing patriarch Royal (Josh Brolin, Dune), however. There is indeed a touch of Twin Peaks and Lost to Outer Range. A dash of Yellowstone, The Twilight Zone, The X-Files and whichever family-focused prime-time soap opera takes your fancy, too. As a result, while Royal is visibly disconcerted by the unexpected opening staring at him in an otherwise ordinary field in this intriguing, quickly entrancing and supremely well-acted eight-part series — a show that makes ideal use of Brolin especially — he has other worries. His rich, ostentatious and increasingly madcap neighbour Wayne Tillerson (Will Patton, Halloween Kills) suddenly wants a parcel of the Abbotts' turf, claiming mapping inaccuracies. One of Tillerson's mouthy and entitled sons, Trevor (Matt Lauria, CSI: Vegas), ends up in a bar spat with Royal's sons Rhett (Lewis Pullman, Them That Follow) and Perry (Tom Pelphrey, Mank). And there's also the matter of Perry's missing wife, who disappeared nine months back, leaving both her husband and their young daughter Amy (Olive Abercrombie, The Haunting of Hill House) searching since. Plus, into this sea of faith-testing chaos amid such serene and dreamlike scenery, a stranger arrives as well: "hippie chick" backpacker Autumn Rivers (Imogen Poots, The Father). She just wants to camp for a few days on the Abbotts' stunning and sprawling land, she says, but she's a key part in a show that's a ranch-dwelling western, an offbeat enigma, an eerie sci-fi, a detective quest and a thriller all at once. Outer Range is available to stream via Prime video, with new episodes dropping weekly. Read our full review. RETURNING FAVOURITES NOW DROPPING EAGERLY AWAITED NEW SEASONS ATLANTA Atlanta's third season arrives with two pieces of fantastic news, and one inevitable but not-so-welcome reality. Hitting screens four years after season two, it's one of two seasons that'll air this year — and it's as extraordinary as the Donald Glover-created and -starring (and often -written and -directed) show has ever been — but when season four drops later in 2022, that'll be the end of this deserved award-winner. The latter makes revelling in what Atlanta has for viewers now all the more special, although this series always earns that description anyway. Just as Jordan Peele has done on the big screen with Get Out and Us after building upon his excellent sketch comedy series Key & Peele, Glover lays bare what it's like to be Black in America today with brutally smart and honest precision, and also makes it blisteringly apparent that both horror and so-wild-and-terrifying-that-you-can-only-laugh comedy remains the default. Actually, in the season-three episodes that focus on Glover's Earnest 'Earn' Marks, his cousin and rapper Alfred 'Paper Boi' Miles (Brian Tyree Henry, Godzilla vs Kong), their Nigerian American pal Darius (Lakeith Stanfield, Judas and the Black Messiah) and Earn's ex Vanessa (Zazie Beetz, The Harder They Fall), the lived experience of being a Black American anywhere is thrust into the spotlight. Paper Boi is on tour in Europe, which results in an on-the-road onslaught of antics that repeatedly put the quartet at the mercy of white bullshit — racist traditions, money-hungry rich folks looking to cash in on someone else's culture, scheming hangers-on, brands using Black artists for politically correct PR stunts and culinary gentrification all included. And then there's the standalone stories, all of which'd make excellent movies. Proving astute, incisive, sometimes-absurd, always-stellar and relentlessly surprising, here Atlanta examines the welfare system and in its inequalities, reparations for slavery, and the emotional and physical labour outsourced to Black workers. The third season of Atlanta is available to stream via SBS On Demand, with new episodes dropping weekly. BETTER CALL SAUL Saul Goodman's name has always been ironic. As played so devastatingly well by the one and only Bob Odenkirk, the slick lawyer sells the "s'all good, man" vibe with well-oiled charm, but little is ever truly good — for his clients, as his Breaking Bad experiences with Walter White and Jesse Pinkman demonstrated, or for the ever-enterprising law-skirting attorney himself. That truth has always sat at the heart of Better Call Saul's magnificent tragedy, too, and has made the prequel series one of the best shows of this century. Viewers know the fate that awaits, and yet we desperately yearn for the opposite to magically happen. But when the first part of the series' final season begins — with seven episodes arriving weekly since mid-April, then the final six dropping from mid-July — we're pushed well past the point of hoping. Professionally, the earnest, striving, well-meaning Jimmy McGill is gone, ditching his real name and his quest for a legitimate career, and instead embracing his slide into shadiness. Only three episodes in, Better Call Saul's new season has explored the fallout from this concerted life change — and from all that's brought Jimmy to this point. It hammers home what's to come as well, given it opens on Saul Goodman's Breaking Bad-era home being seized by the feds; however, the show still has much to cover in the lawyer's past. With his significant other Kim Wexler (the simply phenomenal Rhea Seehorn, Veep), he's seeking revenge on their former boss Howard Hamlin (Patrick Fabian, Black Monday). Meanwhile, his ties to the Salamanca family and their drug empire — to the psychotic Lalo (Tony Dalton, Hawkeye) and ambitious-but-trapped Nacho (Michael Mando, Spider-Man: Homecoming), and to ex-cop Mike Ehrmantraut (Jonathan Banks, The Comey Rule) and Los Pollos Hermanos owner Gus Fring (Giancarlo Esposito, The Boys) — are drawing attention. Tense, intelligent, heartbreaking and just exceptional: that's the result so far, as it always has been with this astounding series. The sixth season of Better Call Saul is available to stream via Stan, with new episodes dropping weekly. RUSSIAN DOLL Getting philosophical about existence can mean bobbing between two extremes. At one end, life means everything, so we need to make the absolute most of it. At the other, nothing at all matters. When genre-bending and mind-melting time-loop comedy-drama Russian Doll first hit Netflix in 2019, it served up a party full of mysteries — a repeating shindig overflowing with chaos and questions, to be precise — but it also delivered a few absolute truths, too. Fact one: it's possible to posit that life means everything and nothing at once, all by watching Natasha Lyonne relive the same day (and same 36th-birthday celebrations) over and over. Fact two: a show led by the Orange Is the New Black, Irresistible and The United States vs Billie Holiday star, and co-created by the actor with Parks and Recreation's Amy Poehler, plus Bachelorette and Sleeping with Other People filmmaker Leslye Headland, was always going be a must-see. Here's a third fact as well: after cementing itself as one of the best TV shows of 2019, and one of the smartest, savviest and funniest in the process, Russian Doll's long-awaited second season is equally wonderful. In glorious news for sweet birthday babies, it's also smarter and weirder across its seven episodes, this time following Lyonne's self-destructive video-game designer Nadia and mild-mannered fellow NYC-dweller Alan Zaveri (Charlie Barnett, You) as they tackle another trippy problem. After being caught in a Groundhog Day-style situation last season, now death isn't their problem. Instead, time is. It was an issue before, given the duo couldn't move with it, only back through the same events — but here, via the New York subway's No 6 train, Nadia and Alan speed into the past to explore cause and effect, inherited struggles and intergenerational trauma. Season two of Russian Doll is available to stream via Netflix. Read our full review. THE FLIGHT ATTENDANT When The Flight Attendant hit shelves in 2018, it must've been sold in the most of obvious of places: airport bookstores. Based on the TV show adapted from its Chris Bohjalian-penned pages, it's easy to see why that would've been the easiest move any publisher has ever made; with its country-hopping murder-mystery thrills, spills and kills, it's a quintessential airport novel. The focus: Cassie Bowden, the titular airline worker and New York City-based party fiend, who is rarely far from a bar no matter which part of the world she happens to find herself in on any given day. But then she wakes up in a Bangkok hotel room next to a dead body, upending her already chaotic life — as Kaley Cuoco conveyed to perfection in the first season, and thankfully flew far, far away from The Big Bang Theory in the process. In The Flight Attendant's second season, Cassie's life has calmed down in some ways and gotten more tumultuous in others. Now based on Los Angeles, she's a year sober, all nested in a homely bungalow, and also in her longest relationship ever with the handsome Marco (Santiago Cabrera, Ema). She's working for the CIA as well, spying on people of interest during her jaunts abroad. And, when one moonlighting gig in Berlin ends in an explosion — and a mysterious woman seemingly passing herself off as Cassie's doppelgänger — the high-stakes bedlam sets in fast. Although it has been dropping its first four episodes in pairs, The Flight Attendant has always been compulsively bingeable, bringing page-turning cliffhangers to the screen with twisty and polished aplomb. Season two isn't as taut as its predecessor so far, but it still soars to entertaining heights thanks to its blend of humour, darkness and espionage intrigue, as well as Cuoco's career-best work and Girls' Zosia Mamet standing out in support. The second season of The Flight Attendant is available to stream via Binge, with new episodes dropping weekly. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September, October, November and December 2021, and January, February and March 2022 — and our top new TV shows of 2021, best new television series from last year that you might've missed, top 2021 straight-to-streaming films and specials and must-stream 2022 shows so far as well. Top image: Coco Olakunle/FX.
We've all done it at some point: drawn or painted a picture of ourselves. You were probably made to in high school, and before that you definitely committed your likeness to paper in primary school. Think of them as the original selfies. Every two years, the University of Queensland invites a selection of artists to craft a new self-portrait — and every two years, one of them wins $50,000 for their troubles. In 2017, that honour went to Jenny Orchard, with her sculpture piece Self Portrait as a Multispecies Activist, but she's not the only one getting introspective and creative. At the National Self-Portrait Prize 2017 exhibition, an array of artistic self-assessments are on display, spanning everything from ceramics to paintings to lighting to mirrors. Perusing their efforts, you'll be fascinated by the way these creative folks see themselves — and you'll likely be inspired to make your own attempt. Image: Julie Fragar, The Single Bed. 2017, oil on marine ply. 135.0 x 100.0 cm. Courtesy of the artist and Sarah Cottier Gallery, Melbourne.
Humanity has come far since literally hunting for food our main way of sourcing nourishment; however that doesn't mean that searching for something tasty to eat has become a thing of the past. Thankfully, that's where Modern Hunter comes in. If you're looking for a healthy, high quality or different bite, you'll find it on their menu. Tucked into Gresham Lane in the Brisbane CBD, the pocket-sized cafe serves up a mean salad, which is a great first reason to add it to your weekday rotation. Think pear, lentils, gorgonzola, walnuts, pickled beets, quinoa, spinach, cheddar, sweet potato, brown rice, edamame, orange, parmesan roasted cauliflower... the list goes on. The second great reason springs from the kind of selection that's certain to satisfy whatever craving you're having at any given moment. Keen on protein? Try the roasted pork belly on a roll, in a salad or as a slab — or some gin-cured salmon. Hankering for something familiar, but fancier? Then give a hot duck pie a whirl. Those after a pick-me-up can opt for house-made vegan-friendly muesli bars, while anyone buzzing for something sweet can choose from cinnamon doughnuts, house-baked banana bread, dark chocolate brownies, custard-filled profiteroles and more. Drinks-wise, sip on one of Modern Hunter's homemade iced teas in lemon black or green tea and apple flavours, or grab a cup of hot or chilled Veneziano coffee.
Break out the martinis and prepare for a shaken but not stirred couch session: Bond, James Bond, is coming to your lounge room. Just in time for wintry binge-viewing marathons, the famed espionage franchise has hit Prime Video, spanning every flick in the series from the now 60-year-old Dr No through to 2021's No Time to Die. Sean Connery smouldering his way through everything from that first-ever Bond instalment through to Diamonds Are Forever, Roger Moore stepping into 007's shoes between Live and Let Die and A View to A Kill, Timothy Dalton's two-film run in The Living Daylights and Licence To Kill — they're all included. So is Pierce Brosnan's stint as the secret agent between GoldenEye and Die Another Day, and Daniel Craig's five contributions from Casino Royale onwards, wrapping up with what might be the best Bond film yet. Aussie actor George Lazenby's one-movie appearance as Bond in On Her Majesty's Secret Service is also on the bill. That's all 25 official movies in total covered, but there is also a 26th movie, Never Say Never Again, that you might want to watch. Made in 1983, it stars Connery as the suave spy. But, because it was made by a different company from the rest of the Bond movies, it's not considered part of the franchise itself. If you're a completist, it's also on Prime Video now. Exceptional Bond flicks, terrible ones, everything in-between: if 007 is involved, it's now in this one spot. For everything other than No Time to Die, this isn't the first time the franchise has all sat on one streaming platform, and we've all seen various flicks hop between different services over the years. That said, the Bond movies aren't likely to move from Prime Video moving forward given that Amazon recently purchased MGM, the nearly century-old film studio that's behind all things 007. That deal will see the platform access MGM's 4000-plus films and more than 17,000 TV episodes, spanning the likes of the Rocky and Legally Blonde franchises, as well as other classics such as Thelma & Louise, The Silence of the Lambs, The Magnificent Seven and Raging Bull. For now, though, the focus is on a certain Aston Martin-driving spy — and the villains, women, gadgets, songs and stylishing opening credits sequences that go with him. If you want to don a tuxedo while you watch, well, that's up to you. The entire Bond franchise hit Prime Video on Wednesday, May 11 — and is now available to stream.
Snow Eggs, passionfruit puddle pies, Buddha's Delights... these dishes have all made marks on Australia's culinary landscape. And they were all created — or brought long-lasting fame — on MasterChef Australia. Last month, the reality cooking show, which aims to unearth the nation's best home chefs, launched its tenth season. Yep, it really has been a whole decade since Julie Goodwin and Poh Ling Yeow went head-to-head in the final episode of Season One. To celebrate the anniversary, we've partnered with MasterChef Australia to take a look at its impact on our national foodie scene. Here are five chefs who, since appearing on the show, have continued to shape how we cook, what we eat and where we source our food. Even if you're not a devotee of the show, chances are, you've fallen under their influence one way or another, somewhere along the way. ANDY ALLEN When 24-year-old electrician Andy Allen won MasterChef Australia Season Four in 2012, he became the youngest-ever champion. Unlike the other chefs on this list, he didn't grow up with a particular culinary tradition. "I like to explore each and every cuisine, from all corners of the globe," he said. "I'm learning new things every day and want to share those things with the people who dig food as much as me." To that end, Allen's brought tonnes of adventures into Aussie kitchens. His recipes are all about experimenting with simple combinations of fresh ingredients. Think beer- and maple-glazed pork belly or roast cauliflower with pickled grapes. He's big on foraging, too, so natives appear in recipes such as salt and pepperberry abalone, crisp-skinned butterfish with quandong jam and chilli mud crab with green mango, coconut and herb salad. These two passions combine in Allen's TV show, Andy and Ben Eat Australia, which sees him and his mate Ben Milbourne (who also starred on MasterChef Australia) go off the beaten track on all sorts of food-related escapades. Meanwhile, in Sydney, Allen helps run Three Blue Ducks Rosebery, the second incarnation of the eponymous Bronte original. [caption id="attachment_673952" align="alignnone" width="1920"] adamliaw[/caption] ADAM LIAW Adam Liaw's 2010 victory over runner-up Callum Hann at the end of MasterChef Australia Season Two attracted more viewers than any other non-sporting event in Australian television history. Since then, the Malaysian-born lawyer-turned-celeb chef hasn't stopped. Each of his five cookbooks is devoted to an aspect of Asian cooking. Asian After Wok (2013) teaches you how to whip up fresh, authentic Asian dishes at home, even when you've only 20 minutes to spare, while The Zen Kitchen (2016) combines Japanese recipes with zen philosophies, hoping to bring better health and more tranquility to the Australian kitchen table. Meanwhile, through his TV show Destination Flavour, Liaw, along with co-hosts Renee Lim and Lily Serna, has transported us to the deepest culinary corners of Japan, Singapore, Scandinavia, Australia and New Zealand. With him as our guide, we've travelled down Singapore's satay street, found out how to butcher a crocodile in the Northern Territory and joined the indigenous Sami people of far northern Norway on a reindeer-herding expedition. In all his spare time (what spare time?), Liaw represents Australia at UNICEF as our National Ambassador for Nutrition. [caption id="attachment_673947" align="alignnone" width="1920"] @pohlingyeow[/caption] POH LING YEOW We got to know Poh Ling Yeow, another Malaysian-born celeb chef, at the same time we did Julie Goodwin. The two battled it out for the inaugural MasterChef title in 2009, with Yeow coming in as runner-up, by a teeny-tiny margin. The defeat in no way held her back, and today Yeow is responsible, not only for making Buddha's Delight famous, but also for thousands of us creating edible gardens — the subject of her much-followed reality TV show Poh & Co. It carries us into the daily life of Yeow, her husband Jono Bennett and their two dogs, as they go about transforming the backyard of their Adelaide home into a veggie patch. Before that, you might've caught her in Poh's Kitchen, where she demonstrated how to make Malaysian pineapple tarts, cakes and epic sushi platters, among many other decadent dishes. One particularly influential episode encouraged us to re-think the traditional Christmas table, as Yeow teamed up with a bunch of international chef mates to create a multicultural feast. If you're keen to catch up with her in real life, then get yourself along to Adelaide Central Market, where she runs Jamface, a cafe peddling home-style sangas and pastries, all made from scratch. Every Friday evening, you can sit down to a six-course extravaganza. [caption id="attachment_673946" align="alignnone" width="1920"] @justineschofield[/caption] JUSTINE SCHOFIELD MasterChef Season One gave us more than its fair share of killer chefs. As well as Julie Goodwin and Poh Ling Yeow, there's Justine Schofield. Her main claim to fame is her TV show Everyday Gourmet which, since launching in April 2011, has aired more than 600 episodes and is still going strong. Schofield's chief legacy has been bringing the art of gourmet cooking into Australian homes, in a way that's accessible and down-to-earth. Many, many ingredients that once alienated us with their hard-to-pronounce names and obscure origins have – since travelling through her kitchen – become household names. Among the hundreds of recipes in Schofield's portfolio are beetroot and walnut tart tatins with goat's cheese, fudgey flourless chocolate cake and ricotta and ham omelettes. One of her tricks is keeping things simple: by substituting just one or two ordinary ingredient with slightly fancy ones, you can create a whole new dish. What's more, she proves that going gourmet can be done while staying healthy and meeting unusual dietary requirements, with nutritionists joining her on various episodes to collaborate on recipes. [caption id="attachment_673950" align="alignnone" width="1920"] @_juliegoodwin[/caption] JULIE GOODWIN MasterChef Australia started with Julie Goodwin, when, in 2009, she became our first ever champion. Almost immediately, passionfruit puddle pies and lemon diva cupcakes – two of her most memorable MasterChef creations – appeared on tables across Australia. But that was just the beginning. In 2010, on a mission to get folks back into their kitchens, the Central Coast-based chef starred in TV show Home Cooked! With Julie Goodwin. Visiting the homes of various celebs — including cricketer Steve Waugh, radio host Amanda Keller and actor Gyton Grantley — she shared her cooking tips and tricks. At the same time, Goodwin launched her first cookbook Our Family Table a collection of recipes covering everything from lazy Sunday morning brekkies to camping cook-ups, including several passed down through Goodwin's family over generations. These days, should you happen to fancy a trip to Gosford, you can meet the original MasterChef in-the-flesh at Julie's Place, where she hosts workshops, masterclasses and special events, such as high teas and long lunches. Catch the latest season of MasterChef Australia from Sunday to Thursday at 7.30pm on Channel Ten.
Following its local premiere last year, Love Actually? The Musical Parody is set for an encore run — with dates confirmed for Sydney, Melbourne and Brisbane. The NSW premiere lands first at Sydney's Darling Quarter Theatre from November 27, before the production heads south to Melbourne's Athenaeum Theatre from December 5, then up to Brisbane Showgrounds from December 11. The show, based on the famous hit 2003 Christmas film, will return to Melbourne's Athenaeum Theatre from December 5, after its NSW premiere at Sydney's Darling Quarter Theatre from November 27, and a Queensland premiere season playing at Brisbane Showgrounds from December 11. The musical follows "nine quirky couples seeking love across the pond, the cheeky show delivers all the awkward meet-cutes, over-the-top grand gestures, and side splitting moments that fans crave." "This show is like Christmas dinner after a few too many champagnes — loud, ridiculous, and way too much fun. Whether you're obsessed with Love Actually, love to hate it, or just want some musical theatre laughs, Love Actually? The Musical Parody is pure festive chaos: outrageous jokes, over-the-top romance, and songs that'll have you humming into New Year," promoter Ashley Tickell said. "It takes all the bits you secretly giggle at in the movie and dials them up to 100. Grab your mates, a date, or your mum — this is a night out that you'll actually love! It's like wrapping yourself in tinsel and good vibes." Love Actually? The Musical Parody will boast all local casts, with auditions already underway. Tickets are on sale now. Images: Supplied.
Each year, New Year's Eve defies logic and arrives quicker and quicker than the year before. Now, 2026 is just around the corner, and your calendar still has nothing but a blank space assigned to the 31st. We've been there. Thankfully, loyalty program The Pass is hosting a number of New Year's Eve celebrations not too far outside of Brisbane, to send off 2025 in style. We have compiled this list of six ideas that you and your crew can book — think space cowboys, rooftop parties, and 90s-themed nights. [caption id="attachment_1053619" align="alignnone" width="1920"] Kings Beach Tavern[/caption] No Scrubs vs Round Up, Kings Beach Tavern If you'd like to spend your New Year's break beachside, may we suggest the calm waters of Kings Beach? By day, hop between the beach's iconic ocean pool and the near-flat bays of Happy Valley and Bulcock Beach. Then, by night, head to the Kings Beach Tavern for their No Scrubs and Round Up night. With one ticket, you'll be able to join both the 90s throwback night and the country hoedown — so if you can't decide if you're feeling more 'Teenage Dirtbag' or Chattahoochee, this one's for you. Get tickets at the Oztix website. Space Cowboys NYE, Cleveland Sands Tavern Why not spend New Year's in the Redlands this year? Just off the coast of North Stradbroke Island, you'll find the Cleveland Sands Tavern's Space Cowboys NYE party. Prepare for a night of intergalactic meets honky-tonk hoedown with throwback tunes, dance-offs, singalong competitions, and table dancing. Be sure to dress for the occasion — there's a best-dressed space cowboy prize up for grabs. Get tickets at the Oztix website. [caption id="attachment_1053620" align="alignnone" width="1920"] No Scrubs[/caption] No Scrubs 90s Nights, Burleigh Town Hotel If, like Troye Sivan and Charli XCX, you just wanna go back to 1999, then you're in for a treat. On the sandy shores of Burleigh at the Burleigh Town Hotel you'll find the No Scrubs night. Dust off your butterfly clips, low-rise jeans and Clueless looks and prepare for a night soundtracked by 90s anthems. From 'Bye Bye Bye' to 'Genie in a Bottle' — you'll ring in 2026 with at least one 90s earworm stuck in your head. You'll find themed drinks, giveaways for the first people through the door, and, of course, a heaving dance floor. If you're a fan of the 90s but won't be on the Gold Coast, the same themed night is popping up at the Sundowner Hotel in Caboolture. Get tickets at the Oztix website. LuLu's The Last Dance, SONDA, For those who prefer their New Year's Eve to come with heavy bass, you'll want to nab tickets to SONDA's The Last Dance at LuLu Rooftop Bar. Why? Because here, the final night of 2025 is more like a celebration of music and community all on a Gold Coast rooftop. With a stacked DJ lineup — Saie, Cheq, Shyne and Cortezz — prepare for the dance floor to be one to remember. Get tickets at the Oztix website. Midnight in Vegas New Year's Eve Party, Retro's Gold Coast If you have always wanted to do NYE in Vegas but never seem to be organised enough, then Retro's Gold Coast's Vegas-themed celebration is for you. The boogieing hot spot will be decked out with dazzling lights, Vegas ambience and great music until 5am. Naturally, the dance floor will be full thanks to old-school anthems and party classics. Retro's New Year's celebrations tickets go quickly each year, so don't miss out. Get tickets at the Retro's website. Discover more of Australian Venue Co.'s New Year's Eve celebrations at the website.
Netflix might be making a docu-soap about Byron Bay influencers, but it isn't the only streaming service set to beam the area's scenic backdrops into Australian homes. Stan will soon unveil Eden, a new eight-part series shot in the coastal town and New South Wales' Northern Rivers region. It's unlikely that this fictional mystery-drama will receive the same backlash that Netflix's reality TV show has been garnering since its announcement, though. Eden does sound somewhat familiar, however. Like plenty of TV shows — Twin Peaks and The Killing, just to name two — it begins with a missing person. From there, it also charts the secrets and revelations festering beneath the surface of its small-town setting. In this case, a young woman has disappeared, with the series chronicling the aftermath over the course of a summer. The just-released first teaser sets the mood — and if you're wondering when the whole show will drop, Stan is yet to reveal an exact date. But, sometime this year (and likely to be sooner rather than later), you'll be able to watch a cast that includes BeBe Bettencourt (The Dry), Sophie Wilde (Bird), Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), Samuel Johnson (Molly), Christopher James Baker (True Detective), Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road) and Maggie Kirkpatrick (The Letdown) step through Eden's twisty tale. Behind the camera, the show stems from head writer Vanessa Gazy (Highway) and writing team Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People's Problems) — and directors John Curran (Chappaquiddick), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Alex & Eve). And, the creator of Skins, Bryan Elsley, helped created Eden, too, with Fiona Eagger and Deb Cox (Miss Fisher's Murder Mysteries). Check out the first teaser trailer for Eden below: https://www.youtube.com/watch?v=GaPeDr3DoMA Eden will hit Stan sometime this year — we'll update you with an exact date when it is announced. Top image: Every Cloud Productions.
These days, it's hard to be wowed, or even mildly surprised by a shopping centre. But Melbourne's newest suburban retail precinct is a whole different story. Set to officially open its doors on Friday, December 6, Burwood Brickworks doesn't just have a strong sustainability focus — it's on track to being the most sustainable shopping centre on the planet. Sitting on Middleborough Road in Burwood East, it's been built with the aim of scoring certification under the Living Building Challenge, an international program for sustainable buildings. It requires the building to have a net zero carbon footprint, produce more electricity than it consumes and use non-toxic and recycled materials in its construction, among other things. If successful, Burwood Brickworks will be one of only 25 structures worldwide to stake this claim, and the first-ever retail building to do so. Clocking a total of 13,000 square metres, the precinct boasts a Reading Cinema complex, a new-concept Woolworths store, a large Dan Murphy's and a curation of smaller independent retailers, all within an airy, light-filled space. The crowning glory, however, is the sprawling rooftop space, sporting its own paddock-to-plate restaurant and 2000-square-metre urban farm designed and run by consulting firm Tully Heard. They're the same crew who operate Sydney's farm-to-table Acre Eatery, here joining forces with local eco-warrior Joost Bakker (Greenhouse by Joost, Brothl) in the role of the centre's Creative Consultant. Along with a rooftop greenhouse, the huge variety of fruit, herb and veggie patches will be used in the restaurant, with excess sold to the public. There's even a coop of quails laying eggs for the kitchen. Visitors will be able to wander through the gardens and attend workshops, talks and more hands-on green-thumb experiences to come. The rooftop farm's not big enough to handle all of the kitchen's food supply, though, so Head Chef Brad Simpson (Lamaros, The Smith) has been busy sourcing any remaining ingredients from a crop of top Victorian suppliers. Think Mt Zero for olive oil and grains, and Flinders & Co, Sher Wagyu and Western Plains Pork for meat. In total, 20 percent of the Burwood Brickworks site will be used for growing food, with fruiting trees even planted between each aisle of the centre's car park. But while these urban farm practices might be the obvious, big-ticket sustainability drivers – along with the rooftop solar panel system generating a hefty one megawatt of power – it's the finer details that really set this centre apart. PVC has been scrapped from the build entirely in favour of less toxic alternatives, a swag of reclaimed hardwood has been incorporated throughout the precinct, and the products used by each retailer have had to meet super strict standards. Natural light and air quality are also huge factors here, so expect an abundance of greenery, windows aplenty and in the central space, a soaring, ventilated sawtooth roof decked out with huge skylights. A far cry from most of those other shopping centres we've frequented in our time. Burwood Brickworks is set to open on Friday, December 6, at 78 Middleborough Road, Burwood East.
There's a slight fuzz in the air on the East Coast. Twangy surf pop and singalong garage punk are teaming up in a predicted humdinger of a co-headlining tour — Brisbane charmers Major Leagues and Sydney's rascally trio Bloods have joined forces for one rambunctious escapade. Offering up gems from their Weird Season EP as well as snippets from their upcoming debut album, Brisbane's own Major Leagues have had major deal signings and huge festival appearances on their plate over the last year — prompting many a homegrown high-five and unashamed Brissy bragging rights. Bloods have their own reason to celebrate. Their latest single 'Want It' (to be officially launched on the tour) offers the sneakiest peek into their upcoming debut album, a hotly-anticipated LP set for release through brand new independent label Tiny Galaxy. Meandering into Black Bear Lodge on July 13, the local legends of fuzz, feedback and fun will throw down fast and furious sets one after the other. So gear up in your most easily toe-tappable, hair-thrashable threads and get a healthy dose of fuzz in your earholes, this one's going to be a right royal shindig. https://youtube.com/watch?v=n3NJc5ugGms
Since 2017 in Sydney, 2018 in Melbourne and 2019 in Brisbane, a trip to Archie Brothers Cirque Electriq has meant stepping inside a circus-themed arcade bar that's primed for kidulting. And, that's still the case; however, once a month from May until November, the chain is ramping its core concepts of circus, arcade fun and nostalgic activities for adults up a few levels. Run by Funlab, the group also responsible for Holey Moley, Strike Bowling and B. Lucky & Sons, Archie Brothers is kicking off a new Showtime event series. After launching on Friday, May 7 in Alexandria, and on Saturday, May 8 in Docklands and Toombul, it'll take place on the second Saturday of each month at each site, turning each venue into an adults-only circus and cocktail pop-up. From 7–10pm at each event, attendees can expect stilt walkers, magicians, burlesque and beverages — and tarot card readers and face painters as well. The lineup of performers will vary depending on the city, but there'll also be juggling and snake charming in Sydney, and mime in Melbourne. Brisbanites can look forward to unicycling, acrobatics, diabolo, balloon modelling and more juggling. The carousel-themed Archie Brothers bar will be pouring Showtime Disco Mirror Ball cocktails, which combine Red Bull, passionfruit, cranberry juice, triple sec, whiskey and lime, while the rest of the chain's usual drinks list will be on offer, too. Food-wise, the theme park and American diner-inspired menu will span sandwiches, pizzas, sliders, onion rings, mac and cheese and other dishes. And, all of Archie Brothers' usual games and activities will be on the agenda, as will prizes. So, you'll be whipping out your Mario Kart skills, hitting the dodgems, bowling and just generally mashing buttons in May, and again come June 12, July 10, August 14, September 11, October 9 and November 13. Then, you'll be trading all the tickets you amass for gaming consoles, 90s paraphernalia and more (and there won't be any kids around vying for the same goodies). Showtime at Archie Brothers kicks off on Friday, May 7 in Alexandria, and on Saturday, May 8 in Docklands and Toombul, then runs on the second Saturday of each month until November. To attend, you'll need to book online. Images: Zennieshia Butts.
Already in 2022, Australian shoe brand Volley has given footwear fiends one type of sneaker inspired by a local icon, aka its ridiculous mullet kicks. Now, it's time for a new range that pays tribute to more homegrown favourites. No lengthy strips of hair are involved with these summery shoes, though — but you can expect to get ice cream cravings every time you look down. In its latest collaboration, Volley has teamed up with Streets on a line of sneakers that nod to three treats that help define summer in Australia: Bubble O'Bills, Paddle Pops and Splices. The new shoes take their colour cues from the ice creams, meaning that they come in a pale pink hue, yellow like banana Paddle Pops and light green to match pine-lime Splices. The word you're looking for? Sweet. Now, you just need to pick which ice cream you'd most like to think about all day. The Streets range is decking out Volley's heritage low sneakers — but if you'd like to celebrate Aussie desserts with a pair of heritage high kicks, there's a fourth pair, all in white with Streets colours on its collar and laces, on offer as well. The rest of the collab spans Streets socks and a Streets bucket hat, with prices starting at $19.99 (for the socks) and topping out at $89.99 (for the heritage high kicks). The Volley x Streets range is strictly a limited-time collection, which means ideally getting in faster than you can lick your way through a Paddle Pop — or blow a bubble from a Bubble O'Bill gumball. Wearing your ice cream-inspired sneakers while scenting your home with Streets' team up with Dusk, which includes Bubble O'Bill, Paddle Pop, Golden Gaytime and Splice Candles, is clearly recommended. The Volley x Streets range is on sale now — head to the Volley website for further details.
The zombie apocalypse has evolved. When just 28 days had passed, survivors faced a nightmare. Little had improved when 28 weeks had gone by. Now, following 28 years of chaos, Jodie Comer (The Bikeriders), Aaron Taylor-Johnson (The Fall Guy), Ralph Fiennes (The Wonderful Story of Henry Sugar), Jack O'Connell (Back to Black) and Alfie Williams (His Dark Materials) are dealing with the aftermath of a society ravaged by a horrific infection for decades. Yes, the trailer for the aptly named 28 Years Later is here. Although 2030 will mark 28 years since viewers were treated to one of the best zombie movies ever, aka 28 Days Later from filmmaker Danny Boyle (Yesterday), you'll be watching a new flick from Boyle in the same franchise in 2025. First confirmed at the beginning of 2024, the movie has dropped its first full sneak peek to help close out the year — complete with Teletubbies, towers of skulls and bones, a possibly familiar-looking zombie, and the grim reality after days became weeks and then years of coping with the new status quo. 28 Days Later has already spawned one follow-up thanks to 2007's 28 Weeks Later, but Boyle didn't direct it. Screenwriter Alex Garland, who also penned Sunshine for Boyle, then hopped behind the camera himself with Ex Machina, Annihilation, Men, Civil War and TV series Devs, wasn't involved with 28 Weeks Later, either. But they're both onboard for the third film in the series, which is the start of a new trilogy. The saga's fourth feature 28 Years Later Part II: The Bone Temple has already been shot, in fact, with Candyman and The Marvels' Nia DaCosta directing. The setup this time around: almost three decades after the rage virus initially seeped through humanity after escaping from a biological weapons laboratory, some survivors have etched out a life on a small island. Elsewhere, quarantine remains a key way of tackling the infection. With that starting point — and with unease dripping through the first trailer, complete with stunning imagery — expect Boyle and Garland to dig into the terrors that linger when two of the island's residents venture over to the mainland. With 28 Days Later among the movies that helped bring Oppenheimer Oscar-winner Cillian Murphy to fame, the actor is an executive producer on 28 Years Later. That mightn't be all that's in store for him, though, if you pay close attention to the trailer. In the original film, he played Jim, a bicycle courier who wakes up from a coma in a deserted hospital 28 days after an outbreak changed the world forever. Marking Boyle and Garland's first proper collaboration after Boyle adapted Garland's best-selling novel The Beach for the big screen two years prior, 28 Days Later still ranks among the best work on either's resume — and on Murphy's as well, even if it didn't win him any of Hollywood's top shiny trophies. Set in the aftermath of the accidental release of a highly contagious virus, the film's images of a desolated London instantly became iconic, but this is a top-notch movie on every level. That includes its performances, with then-unknowns Murphy and Naomie Harris (the Bond franchise's current Moneypenny) finding the balance between demonstrating their characters' fierce survival instincts and their inherent vulnerability. If you wondering why 28 Months Later wasn't made, it was talked about for years, but the time has now passed unless the new trilogy includes a flick set between 28 Weeks Later and 28 Years Later. Check out the first trailer for 28 Years Later below: 28 Years Later releases in cinemas Down Under on Thursday, June 19, 2025.
If this isn't a golden ticket to a great night on the couch, then we don't know what is: the delightful Willy Wonka prequel starring Timothée Chalamet (Bones and All) and directed by the Paddington films' Paul King is now spreading its sweetness to your couch. Although it's still playing in cinemas after opening in mid-December 2023, Wonka has been fast-tracked to digital so that you can get chocolate cravings at home. And you will be have a hankering for desserts as Chalamet sings, twirls around an umbrella, and talks about making weird and wonderful treats — and as a childhood favourite gets a prequel. Our tip: choose your movie-watching snacks accordingly. Otherwise, your stomach will start grumbling amid the songs, dancing and Hugh Grant (Dungeons & Dragons: Honour Among Thieves) stealing scenes as an Oompa-Loompa. Wonka hitting digital helps add to any pre-Dune: Part Two Timmy C marathons that you might be planning before the latter film reaches the big screen at the end of February. With King writing and directing, the first with co-scribe Simon Farnaby, this new stint with Roald Dahl's chocolatier gives the character an origin story starring the actor who has had his heart broken during a lusty Italian summer, romanced Saoirse Ronan in a Greta Gerwig film not once but twice, spiced up his life in a sci-fi saga and sported a taste for human flesh. Here, Chalamet croons his way through a whimsical world of sugar and pure imagination. First gracing the page almost six decades back, in 1964 when Charlie and the Chocolate Factory initially hit print, Willy Wonka has made the leap to cinemas before with Gene Wilder playing the part in 1971, then Johnny Depp in 2005. The difference this time: not just Chalamet, but a film that swirls in the details of Wonka's life before the events that've already been laid out in books and filled those two movies. The picture's main man has a dream — and, after spending the past seven years travelling the world perfect his craft, he's willing to get inventive to make it come true. Starting a chocolate business isn't easy, especially when the chocolate cartel doesn't take kindly to newcomers, selling choccies at an affordable price and sharing their wares with the masses. From there, brainwaves, optimism, determination, Wonka inventions and life-changing choices all spring, plus big vats of chocolate, chocolate that makes you fly and Willy's dedication to making the greatest chocolate shop the world has ever seen. Beyond Chalamet and Grant, Wonka's cast is as jam-packed as a lolly bag, with the pair joined by Farnaby (The Phantom of the Open), as well as Olivia Colman (Heartstopper), Sally Hawkins (The Lost King), Keegan-Michael Key (The Super Mario Bros Movie), Rowan Atkinson (Man vs Bee), Jim Carter (Downton Abbey: A New Era) and Natasha Rothwell (Sonic the Hedgehog 2). And the magical tone sprinkled throughout Wonka doesn't just fit the tale — it's exactly what King and Farnaby spun when they were celebrating a marmalade-loving bear. King helmed and penned both Paddington movies, while Farnaby also did the latter on the second (and acted in each). The duo worked together on wonderful and underseen 2009 film Bunny and the Bull as well, and on The Mighty Boosh, of which King directed 20 episodes. Check out the trailer for Wonka below: Wonka is available to stream via platforms such as YouTube Movies, iTunes and Prime Video. It's also still showing in cinemas Down Under. Read our review.
Some films are long, slow and serious. Others are brief, quick and fun. There's a place for the former, of course; however, Radical Reels champions the latter category, combining the most action-packed mountain movies it can find into a compilation of high-octane shorts. Radical Reels is the adrenaline-loving little brother of the Banff Mountain Film Festival, the prestigious international film competition and annual presentation of short films and documentaries about mountain culture, sports, and environment. From the most recent festival's batch of submissions, a subset of daring displays have been singled out for not just one evening at the cinema, but three at Brisbane Powerhouse. Between Wednesday, October 19–Friday, October 21, Radical Reels will approach the very edge of action sports and natural highs: the wild rides, long lines, steep jumps, and skilled stunts, as well as the rugged playgrounds thrill-seekers explore on their mountain bikes, paddles, ropes, skis, snowboards and wingsuits. 2022 highlights include ski flick Maneuvers; Always Higher, about high diving; Arves-En-Ciel, focusing on walking between two rock towers on a slackline; and the wingsuit flying-centric Trustfall. Expect the world's best extreme athletes getting fast and furious — and expect quite the thrilling ride from the comfort of your cushy cinema seat, too. Top image: Arves-En-Ciel.
America's Southern cuisine is the stuff of legend. After all, who hasn't devoured Southern fried chicken, dreamed of a crawfish boil or salivated over a decadent mac and cheese? Whether you want to sample the authentic version of familiar favourites or enliven your palate with new, never-before-tried flavours, we've partnered with Travel South USA to uncover a mix of the region's must-visit establishments and must-try dishes. From Memphis-style barbecue to a comforting porridge that's a specialty of the region, here's our guide on where to go and what to eat. Gumbo at Mr B's Bistro, Restaurant Rebirth: Louisiana Countless dishes in the South have reached legendary status both within the US and abroad — among which gumbo stands out as a must-try. Not only is gumbo Louisiana's official state dish, the flavours and ingredients are an iconic example of the state's cuisine, reflecting its cultural history and blending together French, Spanish, African and Caribbean flavours. It's a stew that has infinite iterations; it can feature seafood such as shrimp and crab, meats like duck, chicken or sausage, and although there is a traditional style to making gumbo, each bowl is unique to its maker with variations in seasonings, proteins and thickness, making it a dish to try at many different restaurants. Head to Mr B's Bistro for a gumbo that the locals love, made with fresh regional products, or Restaurant Rebirth for a Creole Cajun gumbo that's made with farm-to-table ingredients. West Indies Salad at Wentzell's Oyster House of Mobile: Mobile, Alabama The southern border of Alabama just happens to be the Gulf — which means one sure thing: mouth-watering, fresh seafood. A must-try dish of the state is the distinctive West Indies salad, which notably is made with ice cubes and ensures the salad tastes exactly as it should — fresh and light. The salad is a pride of Mobile, where it has been served since the 1940s, and calls for fresh crab meat, making it a local specialty that you'd be hard pressed to find anywhere else. Hot Brown at Brown Hotel: Louisville, Kentucky The South is often synonymous with comfort food and Kentucky's Hot Brown is one of the finest on offer. The open-faced sandwich is a Kentucky culinary classic, originating in the 1920s at the Brown Hotel in Louisville, where it has stood the test of time and continues to be a menu favourite a century later. It features layers of turkey and bacon on thick slices of bread smothered in a decadent Mornay sauce, before being baked to perfection. Barbecue at Charlie Vergos' Rendezvous: Tennessee Barbecuing in the South isn't just one or two dishes, it's a tradition with countless regional variations and quirks. So much so, neatly demarcating the different styles of barbecue from region to region is a tall order, but there are four major variants that come up again and again — of which Tennessee's Memphis-style barbecue is one. The Tennesseean variant often sees pork selected as the meat of choice, with a focus on ribs and shoulders. Memphis is brimming with barbecue joints featuring everything from hole-in-the-wall hidden gems to world-class dining experiences. Once you step into Tennessee, it will quickly become apparent why Memphis-style barbecue has ascended to one of the greats; it's a state where barbecue culture thrives with incredible, smoky morsels always just around the corner. Elsewhere in the state, there are tomato and vinegar-based sauces in the mountains, while Nashville blends all of the state's traditions into one big culinary melting pot. [caption id="attachment_990176" align="alignnone" width="1920"] Austin Walsh[/caption] Burnt Ends at Arthur Bryant's: Kansas City, Missouri When in Missouri, do as the Missourians do and try Kansas City-style barbecue, another one of the four major styles of 'cue in America. In Kansas City the local specialty is burnt ends, and for fans of tender, slow-cooked brisket, these bite-sized meaty morsels are a must. Served sans sauce typically as a side dish or part of a wider barbecue plate, they're the perfect crispy platform for the smoke to shine and take centre stage. Head to the longstanding restaurant Arthur Bryant's, where burnt ends originated, to try this local favourite for yourself — but get in early because they sell out on the regular. Of course, the dish is now a staple of the state so there are plenty of other restaurants to try your luck at and sample these delectable bites. Shrimp and Grits at Slightly North of Broad: Charleston, South Carolina Grits are one of the great culinary staples of the South — and they pair perfectly with the abundance of fresh seafood throughout the region. Head to the culinary hub of Charleston to sample a bowl of the most refined version of this uniquely creamy style of porridge made with maize. Look out specifically for shrimp and grits which may have originated in the South, but has since found favour through the country. Helmed by chef Frank Lee, who has long been a proponent of South Carolinian cuisine, Slightly North of Broad (affectionately known as SNOB by locals) is an excellent stop to try this quintessential recipe of the region. '1010 Cut' at 1010 Bridge Restaurant: Charleston, West Virginia West Virginia is unique for its cultural heritage which spans both the South and Appalachia. Combining the best of both worlds is 1010 Bridge Restaurant in West Virginia's capital city, Charleston. The cosy restaurant offers a menu that reflects Appalachian roots matched with low country influence, owned and operated by chef Paul Smith, a winner of the prestigious James Beard Award. On the menu, you'll find a wide variety of meticulously crafted dishes including lamb loin, gourmet seafood and the iconic '1010 Cut' dish of cast iron-seared steak and lobster mac and cheese. Steak at Doe's Eat Place: Greenville, Mississippi If you're making a stop in Mississippi on an empty stomach, chart a course to Doe's Eat Place for your next feast and to experience Southern hospitality firsthand. Stop by for generously-sized steaks, tamales and a welcoming, no-frills atmosphere. With a storied history as a family-run establishment, there's a sense of tradition and community that you'll immediately feel from when you first step foot through the restaurant's door all the way until you roll out of your seat and back to your car. Fresh Seafood at Salt Box Seafood Joint: Durham, North Carolina The menu changes with the seasons at North Carolina's Salt Box Seafood Joint. Owned and operated by chef Rickey Moore, a James Beard Foundation Award winner, the Durham restaurant celebrates local, fresh seafood with dishes that prove why the South's seafood is so remarkable. The one constant on the menu is the oysters, which are also found in many restaurants around the state, since North Carolina is home to a sustainable oyster farming industry. Find your next adventure in the South. Discover more unforgettable destinations and start planning your trip with Travel South USA.
The namesake of the river-top rum distillery that floated along Queensland's rivers in the nineteenth century, The Walrus Club, is refreshed and ready to welcome party people back to its cosy quarters. And to herald its return, the speakeasy is putting on a spectacular long weekend of live music to accompany the rum- and Cuban cigar-fuelled fun it's known for. With the choice of tipple ranging from 50-year-old Jamaican rums and Pusser's British Navy through to rare spirits handpicked from the world over, you're sure to find a winning drop. There'll be musos crooning sweet tunes, moodily lit corners and deftly made cocktails. The debauchery kicks off at 6pm sharp on Thursday, August 11, and will flow through to Sunday, August 14. And, as an added treat, the first 50 guests to arrive each night will receive a gift. You are invited to celebrate The Return of The Walrus Club from Thursday, August 11 till Sunday, August 14. Make sure you stay up to date by signing up to the club's newsletter.
Talk about stating the obvious: "this is a multi-year journey you're about to embark on," Bruce Banner (Mark Ruffalo, Dark Waters) tells Jennifer Walters (Tatiana Maslany, Orphan Black) in the new She-Hulk: Attorney at Law trailer. He's teaching her the ways of being green and huge, and possessing super strength — and, in the kind of winking, nudging tone that the new Disney+ series looks set to revel in, he's clearly not only talking about the on-screen journey, but the experience of keeping up with the Marvel Cinematic Universe for those watching along. This far in — 14 years since the first Iron Man reached screens, with 28 other movies releasing since, and the slate of streaming series only growing — being a fan of the MCU is a big commitment. After a few gaps during the first year of the pandemic, there's always something new Marvel-related to watch on screens big and small, or so it seems. In 2022 so far, Moon Knight, Doctor Strange and the Multiverse of Madness, Ms Marvel and Thor: Love and Thunder have all already arrived, for instance. Hitting Disney+ from Wednesday, August 17, She-Hulk: Attorney at Law is the next title on the way — and, yes, the idea is all there in its name. Walters is a lawyer newly specialising in superhuman law. After an experiment by Banner, she's soon turning green when she's scared and angry. And as both the initial and the new trailers for the about-to-release MCU show point out, with the latest dropping during this year's San Diego Comic-Con, things get chaotic from there. If your memory of TV extends back to the late 90s and early 00s, She-Hulk: Attorney at Law should give you big Ally McBeal vibes — but with superheroes instead of Calista Flockhart and dancing babies. Walters' work life, her efforts to balance being an attorney and being She-Hulk, her dating experiences: they're all covered, as is sitting around chatting about everything with her best pal (Ginger Gonzaga, Kidding) over drinks. The latest trailer also takes a few cues from The Boys, diving headfirst into the fallout when "more and more eccentric superhumans are coming out of the woodwork", as Walters is told. That's why she's enlisted to head up the legal division — her boss wants the She-Hulk to be the face of it, he explains. As it explores what it's like to be a single thirtysomething attorney who is also a green six-foot-seven-inch hulk — you know, that old chestnut — the show's nine-episode first season will also feature familiar MCU faces in the form of Benedict Wong (Doctor Strange in the Multiverse of Madness) as Wong and Tim Roth (Sundown) as Emil Blonsky/the Abomination. Rounding out the cast is a heap of recent sitcom standouts: Josh Segarra (The Other Two), Jameela Jamil (The Good Place), Jon Bass (Miracle Workers) and Renée Elise Goldsberry (Girls5eva). And, behind the lens, Kat Coiro (Marry Me) and Anu Valia (And Just Like That...) share directing duties across the season, with Jessica Gao (Rick and Morty) as head writer. Check out the latest She-Hulk: Attorney at Law trailer below: She-Hulk: Attorney at Law will start streaming via Disney+ from Wednesday, August 17. Images: courtesy of Marvel Studios. ©Marvel Studios 2022. All Rights Reserved.
It's the kind of dazzling space that you could easily lose a whole day to, and it seems that plenty of people have. A year after opening, Tokyo's teamLab Borderless Digital Art Museum has revealed that it welcomed more than 2.3 million visitors in its first 12 months, making it the most visited single-artist museum in the world. In this case, the term 'single artist' doesn't mean that everything that graces the site's walls, floors and ceiling is the work of just one person, with teamLab comprised of a collective of creatives. Still, Borderless' entry figures for the year exceed the other top single-artist venues, eclipsing the Van Gogh Museum's 2017 record high, the last reported figures for Spain's Dali Museums in the same year and the Picasso Museum's numbers for 2018. The first, in the Netherlands, saw 2.26 million patrons through the door, while the second reached 1.44 million across three sites and the third hit 948,483. [caption id="attachment_701274" align="aligncenter" width="1920"] Sarah Ward[/caption] While plenty of Japanese locals have made the trip to teamLab's permanent Odaiba facility, almost half of Borderless' visitors hail from overseas. Folks from more than 160 countries and regions made the trip, with the most coming from the USA, followed by Australia, China, Thailand, Canada and the United Kingdom. teamLab's other Tokyo site, teamLab Planets in Toyosu, also attracted huge numbers over its first year. Another immersive space — this time asking patrons to walk barefoot through its digital artworks — it received 1.25 million visitors from 106 global locations. It's safe to assume that patronage at teamLabs two current pop-ups — across 500,000 square metres of Japanese forest and hot springs, and in old oil tanks in Shanghai — will also prove rather healthy. For Australians keen to get a glimpse of the collective's work without jetting overseas, it's bringing its sculptures of light and "cascades of shimmering luminescence" to this year's Melbourne International Arts Festival in October. Find teamLab Borderless Tokyo: MORI Building Digital Art Museum in Odaiba Palette Town, 1-3-8 Aomi, Koto-ku, Tokyo, Japan. It's open seven days a week — for more information, visit the museum's website. Via Business Wire.
Melbourne's shindig-instigators Northeast Party House will be dominating Alhambra Lounge with a downright hootenanny to launch their highly anticipated debut album. Any Given Weekend features dancefloor fillers such as 'Youth Allowance' and 'Fake Friends', which are sure to stir a rambunctious crowd. Latest single off the album, 'The Haunted', is a great example of the strong songwriting chops and poppy hooks you can expect from NPH's debut record as a whole. Forming in 2010, these six Melbourne lads began by throwing down sets at warehouse parties, and their reputation for delivering high-energy live performances has stayed strong. Northeast Party House's alternative dance rock is chaotic but never sloppy, and always wildly fun. So don your most easily-danceable outfit and gather the party fiends in your crew, these shows are set for serious shindiggery. https://youtube.com/watch?v=yU63Pertfk8
Man, these guys are slaying alternative rock in Australia right now — and for all the right reasons. After a bout of intense national touring with Groovin The Moo and an unforgettable One Night Stand set earlier this year, it's clear that Australian audiences can't seem to get enough of these four guys from Mansfield, Queensland. Violent Soho's latest album, Hungry Ghost, was welcomed with open arms last year by those looking to thrash around in damp mosh pits. With anthemic tracks such as 'Covered in Chrome', 'In the Aisle' and 'Saramona Said', this headliner gig is sure to be an epic evening of sweaty enthusiasm. Over a whopping 14-date national tour (plus Splendour), Violent Soho will be joined by brothers-in-arms The Smith Street Band and Luca Brasi for various shows — either way, it's going to be well worth rocking up for the support band ahead of the main event. Just don't wear precious threads and make sure you come to The Hi-Fi ready to burl out a gravelly singalong. https://youtube.com/watch?v=RN9NC4iQcsA
For cheese fiends, there's only one suitable way to tuck into the beloved dairy product: all the time, or at least as much as possible. That's an idea that Australian cheese festival Mould not only understands but encourages, and has since 2017. In 2023, from May through to August, those cheese dreams will be continuing as well. Because you can never have too many occasions to eat cheddar, brie, camembert, raclette or whatever other cheese takes your fancy, Mould is back for another year, letting dairy lovers to explore and devour the mild, hard and soft bites that Australia's best cheese wizards have to offer. The event hails from Bruny Island Cheese Co cheesemaker Nick Haddow and the organisers of Pinot Palooza, and will hit up not just Brisbane, Melbourne and Sydney but also Perth for its latest run. Running for either two or three days in each city, Mould will kick off in Brisbane in May, then head to Melbourne in early June, plus Sydney at the end of June and beginning of July. As for Perth, it's getting a Mould x Pinot Palooza combo — because cheese and wine are that fine a pairing. There won't just be a few cheeses on the menu at each stop. Usually, more than 75 artisan cheeses from around the country are ready and waiting for you to devour, spanning dairy from around 30 producers. In past years, that lineup has included Bruny Island Cheese Co, naturally, plus Grandvewe, Milawa Cheese, Yarra Valley Dairy and Stone & Crow, as well as Section 28, Red Cow Organics, Nimbin Valley Cheese, Dreaming Goat, Long Paddock Cheese and Second Mouse Cheese. Alongside unlimited tastings of Australia's best cheeses — snacking on samples and purchasing slices and slabs to take home with you — the fest features cooking demonstrations, masterclasses and talks. And it wouldn't be a cheese festival without beverages to wash it all down with, so expect a bar serving Aussie wines, whisky, vodka, gin, beer, cider, cocktails and sake, all of which match nicely to a bit of cheese. Unsurprisingly, Mould is mighty popular. In 2021, attendees tucked into a one million samples across the fest's three cities, and also took home over 3.5 tonnes of Aussie dairy products. So, if this the kind of event that your cheese dreams are made of, you'll want to nab an early-bird ticket ASAP for Sydney, Melbourne and Brisbane — with the Perth event not yet on sale. MOULD — A CHEESE FESTIVAL 2023 DATES: Friday, May 12–Sunday, May 14 — John Reed Pavilion, Brisbane Showgrounds, 600 Gregory Terrace, Bowen Hills Friday, June 2–Sunday, June 4 — The Timber Yard, 351 Plummer Street, Port Melbourne Friday, June 30–Saturday, July 1— Carriageworks, 245 Wilson Street, Eveleigh, Sydney Friday, August 25–Sunday, August 27 — Centenary Pavilion, Claremont Showgrounds, Perth Mould — A Cheese Festival tours Australia from May. For more information or to buy tickets, head to the event's website.
Every trip to the movies serves up multiple delights, from the excuse to tuck into a choc top to whatever big-screen release has earned your attention at that very moment. But one aspect of cinema's magic has hit home particularly hard over the past year: the ability to switch off from the world, forget everything else for a couple of hours, ignore your phone and the news, and completely lose yourself in a film. In 2020, we all indulged in that escapism on our couches, as well as in cinemas. That said, it felt particularly special when projectors started whirring again post-lockdowns in picture palaces around the country. In 2021, here's hoping that the latter sensation will continue — because there are plenty of brand new movies vying for your attention this year. Whether you're eager to check out Australia's latest on-screen reckoning with the past, a drama about four friends testing the idea that humans actually need more alcohol in their blood or the revival of a beloved sci-fi franchise, 2021's upcoming film slate has you covered. There's no such thing as a bad year for movies, because there's always something new to see; however, getting particularly excited about the next crop of releases heading to the silver screen is completely understandable — including these ten highlights that we've either seen and can heartily recommend, or we're especially looking forward to. https://www.youtube.com/watch?v=WL-G4oCoDF0 HIGH GROUND A high-profile Australian cast and an acclaimed local director traipse through the country's colonial past in High Ground — and while that description applies to a growing number of Aussie films (Sweet Country, The Nightingale and The Furnace, just to name three recent examples), it'll never get old. Indeed, while Stephen Maxwell Johnson's (Yolngu Boy) frontier western feels like a natural addition to this growing genre, it also makes its own imprint. The setup: on what's supposed to be a routine expedition, almost an entire Indigenous tribe is wiped out by northern Australian police. Their leader, ex-World War I sniper Travis (Simon Baker, Breath), isn't responsible for the carnage, but it weighs heavily on him in the aftermath. In this gorgeously shot, deeply contemplative drama, that especially proves the case twelve years later — when Travis is enlisted by his superior (Jack Thompson) and his ex-partner (Callan Mulvey, Avengers: Endgame) to track down one of its revenge-seeking survivors, all while accompanied by the boy-turned-tracker (debutant Jacob Junior Nayinggul) who also lived through the slaughter. High Ground releases in Australian cinemas on January 28, 2021. https://www.youtube.com/watch?v=svq5OzzT7s4 THE NEST Over the past decade, Carrie Coon has amassed a resume that'd make many other actors envious, with Gone Girl, The Leftovers, Avengers: Infinity War, Avengers: Endgame and Widows all to her name. Her exceptional performance in The Nest should turn many of her peers green-eyed, too — as should the fact that she stars in this unsettling marital thriller about a couple's unhappiness when they uproot their 80s-era, New York-based lives for a new start in the UK. Coon plays Allison O'Hara, who'd prefer not to move halfway across the globe. But her British trader husband Rory (Jude Law, The Third Day) is adamant that it's the best choice for his career, for their bank balance, and for her teenage daughter Sam (Oona Roche, Morning Wars) and their younger son Ben (Charlie Shotwell, The Nightingale), too. Their tale is told with exacting precision and dripping unease by filmmaker Sean Durkin, making his the long-awaited second feature after 2011's Martha Marcy May Marlene, so it should come as little surprise that little is what it seems in this exquisitely shot, emotionally devastating movie. The Nest releases in Australian cinemas on February 4. https://www.youtube.com/watch?v=V5R46NgopPw&list=UUadhU_V17tZia6mvQSYn-tg ANOTHER ROUND Last time that Mads Mikkelsen (Arctic) teamed up with filmmaker Thomas Vinterberg (Kursk), 2012's The Hunt was the end result — and the difficult drama about a school teacher accused of acting inappropriately with one of his kindergarten students was one of the best movies of that year. In Another Round, the actor and writer/director have joined forces again. Screenwriter Tobias Lindholm (A Hijacking, A War) is back on co-scripting duties as well — and Mikkelsen yet again plays a school teacher, too. In this instance, however, a different subject comes to the fore: the idea that perhaps being constantly under the influence of alcohol is actually better for humans than remaining sober. Martin (Mikkelsen) and his fellow Copenhagen teacher pals Tommy (Thomas Bo Larsen, Veni Vidi Vici), Peter (Lars Ranthe, Warrior) and Nikolaj (Magnus Millang, The Commune) decide to put the theory to the test, chaos ensues, and so does an astute drama about four men weathering a midlife crisis in an extreme way. Also, you've never seen a movie ending quite like this one — and you're unlikely to ever again. Another Round releases in Australian cinemas on February 11. https://www.youtube.com/watch?v=NbE96sCJEjo MINARI Remember the name Lee Isaac Chung. Minari isn't the writer/director's first feature — with 2007's Munyurangabo, 2010's Lucky Life and 2012's Abigail Harm already on his resume — but it's the kind of intimate, heartfelt and resonant movie that no one will forget quickly, and that cements its filmmaker as a top cinematic talent to watch. Remember the name Alan S Kim, too. The child actor makes his film debut here, but he steals every scene he's in. Considering that he's acting opposite Steven Yeun (Burning), who turns in his latest excellent performance and will probably nab an Oscar nomination for his efforts, that's no minor feat. Remembering Minari in general is a given, actually. It's so detailed, vivid, honest and tender, and yet also so universal at the same time. Based on Chung's own upbringing, it follows the Yi family as they move to Arkansas to start their own farm, and it's a movie about chasing the American Dream — but don't go thinking that you've seen this tale before, or seen any similar story told with such feeling either. Minari releases in Australian cinemas on February 18. https://www.youtube.com/watch?v=Lk5YWIbwzRE EARWIG AND THE WITCH Since 2016's The Red Turtle, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. But that'll change in 2021, thanks to Earwig and The Witch — its first new movie in five years. Directed by Hayao Miyazaki's son Goro Miyazaki (who previously directed Tales from Earthsea and From Up On Poppy Hill), the film also marks the animation house's first feature completely made using CGI. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. In terms of story, Earwig and the Witch focuses on a girl at an orphanage in the British countryside, whose world changes when she's chosen to live with a couple — including a witch. Earwig doesn't know that her own mother also had magical powers, so she's thrust into a strange new world, all while trying to do what she's always wanted: belong to a family. In its English-language version, the film will feature voice work by Richard E Grant (Can You Ever Forgive Me?) and Dan Stevens (Eurovision Song Contest: The Story of Fire Saga), plus newcomer Taylor Paige Henderson. Earwig and the Witch releases in Australian cinemas sometime early in 2021, with its exact release date yet to be announced. [caption id="attachment_796213" align="aligncenter" width="1920"] Director Chloe Zhao filming 'Nomadland'. Image: Searchlight Pictures. © 2020 20th Century Studios All Rights Reserved[/caption] ETERNALS Another year, another Marvel movie. That actually didn't prove true in 2020, thanks to the pandemic, but 2021 promises to pick up the slack. Indeed, the Marvel Cinematic Universe is set to drop no fewer than four films this year — Black Widow, Shang-Chi and the Legend of the Ten Rings, Eternals and the latest Spider-Man flick — however, Eternals might just be the pick of the bunch. The fact that it focuses on an immortal alien race is certainly interesting. The cast, spanning Angelina Jolie (Maleficent: Mistress of Evil), Kumail Nanjiani (Stuber), Salma Hayek (Like a Boss), Barry Keoghan (Calm with Horses), Gemma Chan (Captain Marvel), Brian Tyree Henry (Superintelligence) and Game of Thrones co-stars Richard Madden and Kit Harington, is too. But it's the involvement of filmmaker Chloe Zhao that's the most exciting part. She's working on a far bigger scale than seen in her past two movies, The Rider and Nomadland; however, there's a sense of empathy and a knack for observation to her features that'll hopefully make the much-needed jump to superhero territory. Eternals releases in Australian cinemas on October 28. THE MATRIX 4 It's enough to make you say "whoa!" — which Keanu Reeves will hopefully exclaim multiple times. Yes, The Matrix franchise is coming back, its mind-bending dystopian sci-fi story will get another chapter, and not only is Reeves returning, but so is co-star Carrie-Anne Moss (Jessica Jones) and filmmaker Lana Wachowski (Jupiter Ascending). That should whet everyone's appetite for The Matrix 4, which will likely get a better title before it releases. The original is a science fiction classic, after all. And while sequels The Matrix Reloaded and The Matrix Revolutions don't reach the same heights, they still definitely have their moments. Jada Pinkett Smith (Girls Trip) will also pop up again, and the rest of the cast spans everyone from Yahya Abdul-Mateen II (Watchmen) and Neil Patrick Harris (A Series of Unfortunate Events) to Jonathan Groff (Mindhunter) and Priyanka Chopra (Baywatch). She may be directing solo this time around, but Wachowski doesn't make movies that can be confused for anyone else's work — and six years after her last feature, she's finally making her big-screen return. The Matrix 4 is expected to release in Australia in December 2021. https://www.youtube.com/watch?v=VoJc2tH3WBw THE GREEN KNIGHT After filming two of his last four movies in Australia (Lion and Hotel Mumbai), and also stepping into a Dickens classic set in Victorian England (The Personal History of David Copperfield), Dev Patel is heading somewhere completely different. Jumping back to medieval times, he's delving into the fantasy genre, messing with Arthurian legend and swinging around a mighty sword, all thanks to the dark and ominous The Green Knight. Based on the 14th-century poem Sir Gawain and the Green Knight, the film casts Patel as Sir Gawain. Nephew to King Arthur (Sean Harris, Mission: Impossible — Fallout), he's a knight of the Round Table and fearsome warrior. The character has popped up in plenty of tales, but here, he's forced to confront the green-skinned titular figure in an eerie showdown. Patel is in great company, too, with The Green Knight also starring Alicia Vikander (Earthquake Bird), Joel Edgerton (Boy Erased) and Barry Keoghan (Calm with Horses). And, it's the latest film by impressive — and always eclectic — writer/director David Lowery, with his filmography spanning everything from Ain't Them Bodies Saints and Pete's Dragon to A Ghost Story and The Old Man and the Gun. The Green Knight doesn't currently have an Australian release date. [caption id="attachment_654191" align="aligncenter" width="1920"] The Shape of Water[/caption] NIGHTMARE ALLEY What's better than one new Guillermo del Toro-directed movie this year? Two, of course — if everything goes as planned, that is. The filmmaker won the Oscar for Best Director for 2017's The Shape of Water, and his work has been absent from our screens since; however, 2021 is currently set to deliver his stop-motion animated version of Pinocchio, plus his new thriller Nightmare Alley. The latter is set in a carnival, where a man called Stanton Carlisle (Bradley Cooper, The Mule) has just started working. His new place of employment leads him to psychologist Lilith Ritter (Cate Blanchett, Where'd You Go, Bernadette), and that's just the start of the story. Based on the 1946 novel of the same name, this isn't the first film adaptation of Nightmare Alley — but no one makes movies quite like del Toro, as everything from Cronos and Pan's Labyrinth to Pacific Rim and Crimson Peak have proven. And to help, he has enlisted a stacked cast that also includes Rooney Mara (Mary Magdalene), Toni Collette (I'm Thinking of Ending Things), Willem Dafoe (The Lighthouse) and his regular collaborator Ron Perlman (Monster Hunter) Nightmare Alley doesn't currently have an Australian release date. [caption id="attachment_796214" align="aligncenter" width="1920"] Sundance Film Festival[/caption] PRISONERS OF THE GHOSTLAND Nicolas Cage has starred in some out-there movies in his time. Yes, that's obviously an understatement. Some of his films are so over the top, they're an unhinged delight, like Vampire's Kiss. Some seem as if they should fall into that category, but just end up being bland and clunky beyond Cage's involvement, as seen in 2020's Jiu Jitsu. But combine the inimitable actor with Japanese filmmaker Sion Sono, and something distinctive is bound to happen. Sono's movies, including Love Exposure, Why Don't You Play in Hell?, Tokyo Tribe and Tokyo Vampire Hotel, always fit that description anyway — and, like Cage at his manic best, have to be seen to be believed and truly appreciated. The director makes his first English-language feature with Prisoners of the Ghostland, and Cage plays a bank robber busted out of prison to find a warlord's missing granddaughter. The end result is premiering at this year's Sundance Film Festival, has been described as a western, samurai flick and dystopian thriller combined, and is certain to serve up one helluva ride. Prisoners of the Ghostland doesn't currently have an Australian release date.
For 22 years, BIGSOUND has highlighted Australia's music industry, getting power players sharing their experience and advice, championing up-and-coming talents, fostering crucial connections, and celebrating live tunes and the folks that make them happen in general. Here's a few other handy numbers for the music conference-slash-festival's upcoming 2023 run: four days, 18 venues, 141 artists and 300-plus showcases. Brisbanites and music obsessives, take note: the Sunshine State capital will be Australia's music haven between Tuesday, September 5–Friday, September 8. Earlier this year, BIGSOUND announced its first speakers, headlined ROC Nation's Omar Grant — who was once the road manager for Destiny's Child and now shares the President role at Jay-Z's entertainment agency. Now, it has dropped the full list of musicians that'll be getting behind a microphone. More than 1300 applications to hit BIGSOUND's stages were received for the 2023 event, but it's the festival team's job to whittle them down to the standouts. Among those making the bill: Brisbane's own Full Flower Moon Band, Zheani, Felivand and Baby Prince; Sydney's Moss and Little Green; Melbourne's PANIA, Moaning Lisa and The Slingers; Perth's DICE and Siobhan Cotchin; and Adelaide's Aleksiah and The Empty Threats. From New Zealand comes Reb Fountain and SWIDT, while Casey Mowry and MF Tomlinson are heading to Queensland from the UK. The list goes on, complete with a significant focus on representation. Among 2023's talents, 27 percent identify as LGBTQIA+, 50 percent are female or gender non-conforming, and First Nations acts comprise 18 percent of the lineup. Indeed, 27 showcases will be devoted to Australia's Indigenous artists, including Miss Kaninna, Loren Ryan, Brady, The Merindas, J-MILLA, CLOE TERARE, Tjaka and Kobie Dee. Fancy checking out the most isolated heavy metal band in the world? That'd be Southeast Desert Metal, and they're also on the roster. As always, the huge music-fuelled shindig will do what it always does: showcase impressive acts, artists and bands while filling as many Brisbane spaces as possible with musos, industry folks and music-loving punters, all enjoying the latest and greatest tunes and talent the country has to offer. Past events have showcased everyone from Gang of Youths, Flume, Thelma Plum, Tash Sultana, Sampa the Great, Courtney Barnett and Cub Sport to San Cisco, Violent Soho, Baker Boy, King Gizzard & the Lizard Wizard, Methyl Ethel, Tones and I, Spacey Jane and The Jungle Giants, so BIGSOUND's program is usually a very reliable bellwether. "At its core, BIGSOUND needs to work for artists. It's a global music market and in 2023 we've gone far and wide to attract speakers and buyers from around the world to ensure international relationships are forged and deals are made," said BIGSOUND and QMusic CEO Kris Stewart, announcing 2023's talents. "Our definitive goal is to create a rising tide for everyone. At the end of the week, we want everyone to leave with something — someone new they've met, a deal they've made or new insight to grow their careers. We remain proactive in finding new ways to do this and can't wait for people to discover a whole stack of amazing artists from the showcase lineup." BIGSOUND 2023 ARTIST LINEUP: 1tbsp Ūla aleksiah Alf the Great Anieszka Ashli Aurateque Baby Prince Battlesnake BAYANG (tha Bushranger) Bec Stevens Beckah Amani Behind You bella amor Ben Swissa Boomchild Boox Kid CAMINO GOLD Casey Lowry Charbel Charm of Finches CHISEKO Chitra CLOE TERARE Coldwave Cult Shotta Dean Brady Delivery DENNI DICE Dr Sure's Unusual Practice Dyan Tai ECB Elizabeth Emma Volard FELIVAND FELONY. Foley Freight Train Foxes Friends of Friends Full Flower Moon Band GAUCI Georgia Llewellyn GIMMY Glenn Skuthorpe Band Good Pash Gut Health Hannah Cameron Haters Hevenshe Isaac Puerile Izy Jada Weazel J-MILLA Joan & The Giants Joey Leigh Wagtail Johnny Hunter Jujulipps JUNGAJI Kavi Khi'leb Kid Heron King Ivy Kitschen Boy Kobie Dee Komang Kristal West Kuzco Little Green Logan Lola Scott Loren Ryan MARLON X RULLA Mason Watts Matilda Pearl Mazbou Q Melody Moko MF Tomlinson Micah Heathwood Mikayla Pasterfield Miss June Miss Kaninna Moaning Lisa Moss mostly sleeping Mr Rhodes Nat Vazer Nathan May Nikodimos Oscar the Wild Otiuh PRICIE Platonic Sex POOKIE Porcelain Boy Porpoise Spit PRETTY BLEAK Proteins of Magic Ra Ra Viper RAAVE TAPES Radio Free Alice Radium Dolls REBEL YELL Riiki Reid Ruby Jackson Rum Jungle S.A.B Sachém SAHXL Siobhan Cotchin smol fish Sollyy Sophisticated Dingo Southeast Desert Metal Steph Strings STUMPS Suzi SWIDT Taitu'uga Tamara & the Dreams teddie The Empty Threats The Grogans The Merindas The Omnific The Slingers Thunder Fox Tjaka Too Birds Tori Forsyth Trophie Twine Valtozash Vixens of Fall WHO SHOT SCOTT Yawdoesitall YIRGJHILYA Yorke Zheani Zia Jade BIGSOUND 2023 will take place between Tuesday, September 5–Friday, September 8 in Fortitude Valley, Brisbane. For more information, visit bigsound.org.au. Images: Dave Kan / Simone Gorman-Clark.
When you're deciding how to spend your next brunch — and where to spend it, more importantly — perhaps it's a case of what you'd like to drink. Tired of mimosas? Fancy something stronger with your first Sunday meal? Or, maybe you just really love gin. West End gin joint Covent Garden has been in the bottomless brunch game for a while now, and shows no signs of stopping. Here, you can tuck into gin tap cocktails — including the monthly cocktail special — for two hours, or opt for a few Pimm's cups. Pimm's is based on gin, after all. For $49 per person, you'll also sip red or white wine sangria, and munch on a shareboard spread — featuring charcuterie, cheeses, pickled vegetables and crackers, plus that breakfast and brunch staple, aka bread, too. The food and drink feast goes down between 11am–3pm each week and, while bookings aren't essential, it's recommended that you secure your spot in advance anyway.
For the "it's better down where it's wetter" crowd, Disney Cruise Line takes that The Little Mermaid sentiment to heart, albeit while remaining on top of the water. Mouse House darlings, if you like Disney, Marvel, Pixar and Star Wars-themed stints sailing the ocean, then you'll love holidaying on the huge entertainment company's ships. As announced in 2022, its 'Magic at Sea' cruises will initially launch Down Under this October — and, because Disney loves sequels, the cruises have already locked in their return visit. Not only will sailing with the Mouse House from Australia and Aotearoa become a possibility for the first time between October 2023–February 2024, but it'll also be on the cards for getaways between October 2024–February 2025 as well. And, once again departing from Sydney, Melbourne, Brisbane and Auckland, Disney Cruise Lines's second Down Under season will feature new itineraries, taking passengers to Eden in New South Wales, Hobart in Tasmania and Noumea in New Caledonia. [caption id="attachment_868737" align="alignnone" width="1920"] Todd Anderson[/caption] On offer for round two of this whole new cruising world (for Australians and New Zealanders wanting to depart close to home, that is) on the Disney Wonder: sailings for between two and seven nights — your pick — where you'll watch live musical shows, see Disney characters everywhere you look and eat in spaces decked out like Disney movies. Those musicals include a Frozen show; another production dedicated to the company's old-school favourites like Peter Pan, Pinocchio, Cinderella and Aladdin; and a Golden Mickeys performance, which is obviously all about Mickey Mouse. Or, there's a Mickey party set to DJ beats and a pirate shindig on the vessel's deck. While not every show and party is available on all cruises — especially the two-night option — the entertainment also includes Mickey, Minnie, Goofy, Pluto, Moana, Tiana, Cinderella, Woody, Jessie and more wandering around the ship. And, Chewbacca, Rey, Spider-Man, Captain Marvel and Thor as well, if you like hanging out around folks in costumes. Also on the list of things to do and see onboard as you explore the Disney Wonder's 11 decks: fireworks, plus movies — Disney flicks, naturally — in the ship's own cinema. The dining setup rotates, so each day of the cruise takes you to a different location with a different theme. One day, you'll hit up the Animator's Palate, which focuses on bringing Disney characters to life — including getting patrons to draw their own characters — and on the next, you'll get munching in a restaurant inspired by The Princess and the Frog, and serving up New Orleans-inspired dishes. Or, there's also Triton's, which offers an under the sea theme given it's named after Ariel's father, and does four-course French and American suppers. For folks travelling with young Disney devotees, there's also a whole range of activities just for kids — but adults without littlies in tow are definitely catered for, complete with a dedicated pool for travellers aged 18 and over, an adults-only cafe, the Crown & Fin pub, cocktail bar Signals, Italian eatery Palo, and a day spa and salon. Dates for Disney Cruise Line's second round of trips from Australia and New Zealand vary per city of departure, as do prices, but you can expect to enter this whole new ocean-faring world from $1214 per person for two nights in a double-occupancy room from Brisbane, $1413 out of Auckland, $1477 from Melbourne and $1889 departing from Sydney. And, room-wise, there's ten different types to choose from — some with private verandahs, and some with ocean views through portholes. [caption id="attachment_868736" align="alignnone" width="1920"] Matt Stroshane[/caption] [caption id="attachment_904977" align="alignnone" width="1920"] Matt Stroshane[/caption] Disney Cruise Line's 'Magic at Sea' cruises will sail from Sydney, Melbourne, Brisbane and Auckland for their first season between October 2023–February 2024, and for their just-announced second season between October 2024–February 2025. Bookings for season two open at 10pm AEST on Monday, June 26. For more information, head to the cruise line's website. Images: Disney.
Drake's first tour of Australia in eight years kicked off in mid-February. If you haven't caught him already, you won't be on this trip Down Under. Organisers have announced that the remainder of Canadian artist's Aussie shows, plus his New Zealand dates, have all been postponed. There's no details yet as to when they'll be popped back on the calendar. "Due to a scheduling conflict, four of Drake's 16 sold-out shows in Australia and New Zealand will be postponed. We are actively working on rescheduling these dates along with adding some additional shows," advises the statement. "We sincerely apologise for the inconvenience and appreciate your patience. Drake and the entire team have had an incredible time doing these shows and are excited to return soon. We look forward to sharing the rescheduled dates with you as soon as possible." The dates impacted: the five-time Grammy-winner's returns to Brisbane and Sydney, the former on Tuesday, March 4 and the latter on Friday, March 7. He's already played dates in both cities, unlike in Auckland, where his Spark Arena gigs on Saturday, March 15–Sunday, March 16 will no longer go ahead. Patrons can hold on to their tickets for the new dates, whenever they're revealed — or you can get a refund instead. Regarding the second option, the promoter offers a note: "as these shows are sold out, any refunded tickets may be released for sale at a later date". Drake's 2025 Anita Max Win tour was first announced in November 2024, and then kept being extended — not once but twice. The last dates added in Australia are the shows that've been scrapped for now. Before this year, the 'Hotline Bling', 'Too Good', 'Passionfruit', 'Nice for What', 'In My Feelings', 'One Dance' and 'Laugh Now Cry Later' performer last hit the stage in Australia in 2017 on his Boy Meets World tour. The Degrassi: The Next Generation star and platinum-selling singer is currently fresh off his 2023–24 It's All A Blur Tour, which saw him chalk up over 80 soldout shows in North America. Drake's 'Anita Max Win' Tour 2025 Postponed Dates Tuesday, March 4 — Brisbane Entertainment Centre, Brisbane Friday, March 7 — Qudos Bank Arena, Sydney Saturday, March 15–Sunday, March 16 — Spark Arena, Auckland Drake has postponed the rest of his Australian and New Zealand tour, scrapping dates in March 2025. Head to the tour website for more details, with tickets set to remain valid for yet-to-be-announced new dates or refunds available. Images: The Come Up Show via Flickr.
Every last trilby-wearing tween celebrity, former President's daughter and your smug, smug US-based friends will be rubbing their paws together after this afternoon's Coachella festival lineup announcement. Running over two weekends from April 12–21, the Californian festival has delivered their usual jaw-dropper of a lineup — including Australia's own Tame Impala headlining both Saturdays. Kevin Parker and his touring bandmates have big-name company, of course. Childish Gambino hasn't rescheduled his cancelled 2018 Australian dates yet, but he will be leading the charge on Coachella's two Fridays sessions. As for the Sunday shows, Ariana Grande doing the honours. Elsewhere, a bonafide metric fucktonne of squealworthy acts fill out the rest of the bill — Janelle Monae, Solange, Weezer, Aphex Twin, Khalid, Diplo, CHVRCHES, Jaden Smith, Idris Elba and Aussies Rüfüs Du Sol, to name a few. Anyway, let's be honest, you haven't truly read any of those words — you'll be wanting this: Coachella runs over two weekends, from April 12-14 and 19-21 in Indio, California. Tickets go on sale at 11am PST on Friday, January 4. For more info, visit coachella.com.
Six months after a group of ten adorable platypuses were introduced into the Royal National Park, the NSW National Parks and Wildlife Service has reported that the duck-billed buddies are thriving in their new home. The iconic native animal had been extinct from the area for 50 years up until 2023, but now they're back and they're loving it, with nine of the ten platypuses reportedly adapting well to their new environment. As for the tenth, it has travelled beyond the established tracking area, but the NSW National Parks and Wildlife Service said: "we are confident the little adventurer is just exploring other creeks". Originally announced back in 2021, the project is the first-ever translocation program for platypuses in New South Wales, coming from collaborative work between NSW National Parks and Wildlife Service, Taronga Conservation Society Australia, UNSW Sydney and WWF-Australia. The ten ultra-cute pioneers were collected from southern NSW before being given health checks and fitted with transmitters at Taronga Zoo's platypus refugee. They were then brought to the national park and shown their new digs, where they've been hanging out ever since. The project was started after a 2020 UNSW study that found that the areas where platypuses live in Australia had shrunk by 22 percent in the last three decades. The group of furry trailblazers will be monitored through 2024, with hopes that they might breed and rear young — a milestone moment for the project if it does occur. If you want to head out and explore this expansive stretch of nature — and possibly catch a sighting of a platypus — there are plenty of walks and stays that you can plan in the Royal National Park. Find out more about the platypus reintroduction project via the NSW National Parks and Wildlife Service Facebook page.
If you've ever raised an eyebrow at the idea of peanut butter and whiskey in the same sentence, you're not alone. But Skrewball — the Original Peanut Butter Whiskey — is full of cocktail-compatible surprises… and that's what makes it so damn good. Created in the US as a blend of American whiskey and natural peanut butter flavour, it's smooth, nutty and often the number one choice for bartenders who want to go a little wild. One of those bartenders is Sav Harrison, Skrewball's AU & NZ brand ambassador, who thinks too many people box it in before they've had a proper taste. "A lot of people get either caught up in the whiskey side or the peanut butter side and forget that we created a whole new category," Harrison says. "Don't just go for an old fashioned and manhattan. Skrewball is an opportunity to create something new altogether. Go nuts!" For Harrison, Skrewball cocktail creation starts with asking herself: what won't work? "Nothing is off the table with this bad boy," she says. "Recently I just discovered that Mumm Premium Sparkling Wine and Skrewball work when paired with raspberry and lemon." [caption id="attachment_1018328" align="aligncenter" width="1920"] Finley Jones[/caption] And when it comes to serving up your delicious concoction, she recommends a rocks glass or coupe. "Nothing beats a Skrewball on the rocks and the versatility of a rocks glass means you can make anything from a margarita to an old fashion. With the occasional jump to a coupe glass [because] it's fun, playful and can do anything." Here are three of Harrison's standout recipes, each designed to show off what peanut butter whiskey can actually do in the right hands. The Nutty Sparkler Think PB&J, but fizzy. The raspberry plays into Skrewball's nutty sweetness, while the lemon juice cuts through with a tart edge. The Mumm gives it a lift, making the whole thing lighter and more refreshing than you'd expect. What's in it: 45ml Skrewball Peanut Butter Whiskey 15ml Raspberry Liqueur (like Chambord, or a homemade raspberry syrup for less sweetness) 10ml Fresh Lemon Juice (to cut through the richness) Chilled Mumm Premium Sparkling Wine Garnish: Fresh raspberries and a lemon twist Ba Ba Bramble The classic 1980's bramble combines gin, lemon juice and simple syrup. To give it a remix, swap the gin for Skrewball's natural sweetness, add in blackberries for a fruity twist and Chartreuse for a herbal note and extra kick. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ½ parts Green Chartreuse ½ parts Lemon Juice 5 parts Blackberries Mint & Blackberries for Garnish Skrewball Old Fashioned If you're still suspicious of flavoured spirits, this is an easy entry ramp. The rye whiskey keeps things grounded, while the Skrewball adds a hit of smooth sweetness that'll keep you coming back for more. What's in it: 1½ parts Skrewball Peanut Butter Whiskey ¾ parts Rye Whiskey 4 dashes Angostura Bitters The bottom line? Creating a Skrewball Peanut Butter Whiskey cocktail can be as fun as you want it to be. "Every time I decide to play around with cocktails and Skrewball, I find out there's so much to Skrewball almost anything works," Harrison says. Find Skrewball Peanut Butter Whiskey at Dan Murphy's, BWS and Liquorland and start Skrewing around with cocktails at home. Explore more Skrewball Peanut Butter Whiskey recipes on the website. Skrewball is classified as a flavoured liqueur in Australia. Please enjoy responsibly.
Maybe your house needs the kind of colour and flair that only art can bring. Perhaps you're keen on supporting artists. If the first applies, the second should as well. Whichever fits, one event has you covered without requiring you to bust your budget to enjoy art on your walls. Even better: Affordable Art Fair is doing the rounds of Australia's east coast again in 2025, popping up for a four-day run in Brisbane in autumn, Melbourne in winter and Sydney in spring. Everyone should be able to fill their home with art no matter their bank balance. That's the idea behind this event, and has been since 1999. Back in the 20th century, Affordable Art Fair initially popped up in London to share eye-catching pieces with the world at manageable prices, and then started spreading its art-for-all ethos around the world. It only came to Brisbane a quarter-century later — in 2024 — but Australia is no stranger to this event, thanks to Sydney and Melbourne stops before that. Clearly Aussies are fans, given that it's returning again in 2025. Brisbanites will be heading to Brisbane Showgrounds from Thursday, May 8–Sunday, May 11. In Melbourne, Affordable Art Fair will take over the Royal Exhibition Building across Thursday, August 28–Sunday, August 31 — and in Sydney, Carriageworks is playing host from Thursday, November 6–Sunday, November 9. On offer at each venue will be original artworks by the thousands, with prices starting from $100. If you do happen to be flush with cash, however, costs will max out at $10,000 per piece. Alongside London and its three Down Under host cities, Affordable Art Fair has brought its budget-friendly wares to Brussels, Hamburg, Stockholm, Amsterdam and Berlin in Europe; Singapore and Hong Kong in Asia; and New York and Austin in the US. Unsurprisingly, democratising art has been proving the hit as Affordable Art Fair notches up the years. Up to 2024 across its stops worldwide since 1999, the event had sold 568,000 artworks at a value of over AU$820 million. In Brisbane, around 50 independent Australian galleries will have pieces up for sale this year — some new to the lineup in 2025, some back from 2024. Buying art isn't the only drawcard, though, with talks, tours, workshops, live tunes, bites to eat, drinks and live artist demonstrations all also on the agenda. "Affordable Art Fair is a fun and accessible way to view and buy art, whether you're a seasoned collector or considering buying your first piece," advises Australian Fair Director Stephanie Kelly. "The Fair offers a welcoming and relaxed space where art buyers can learn more about each piece, talk to gallerists, watch artists in action, hear from experts and immerse themselves in an array of styles, genres and mediums. Visitors also have incredible access to gallerists and experts who love to help them with every aspect of choosing art, from their budget and preferred style to selecting a space to hang it and how to frame it." "Every piece at Affordable Art Fair Brisbane is from a living artist, every artwork on display lists a sale price, and every piece can be bought, wrapped and taken home on the same day." Affordable Art Fair 2025 Australian Dates Thursday, May 8–Sunday, May 11 — Brisbane Showgrounds, Brisbane Thursday, August 28–Sunday, August 31 — Royal Exhibition Building, Melbourne Thursday, November 6–Sunday, November 9 — Carriageworks, Sydney Affordable Art Fair Brisbane will return to Brisbane, Melbourne and Sydney throughout 2025 — head to the event's website for tickets and more details.
Brisbanites, if you've ever tried to stop for an impromptu brunch at Picnic Cafe, you'll have experienced the Camp Hill spot at its busiest. This eastside favourite is always jam-packed mid-morning, although its all-day breakfast and lunch menu repeatedly draws a crowd all day long. So, you've probably stood outside on Martha Street, chatting to your pals and scoping out the local dogs trotting past while you're waiting for a table. That's all part of the experience — but if you'd like to try your luck elsewhere instead, Picnic has a sibling venue. Meet Picnic West End, operating seven days a week from 7am–2:30pm — so, staying open just a tad later each day than the OG Picnic — it's West End's beloved brunch go-to; however, you won't find exactly the same menu on offer here. On the brunch lineup, highlights include the pork belly khao phat, a Thai-style fried rice dish with Asian greens, wok-fried egg and honey-soy glazed pork belly or the mushroom ragu pappardelle with caramelised onions, garlic and a creamy carbonara sauce. At Picnic Cafe West End, drinks are a big focus, too — bringing over the Camp Hill cafe's lattes, chais, long blacks and mochas over ice, as well as the coffees and chocolates over ice cream and cream. A selection of cold press juices and smoothies have made the jump, but you can also pick from seven different cocktails. Coffee fiends will be sipping Paradox Coffee Roasters' Paper Moon Blend, and everyone can take advantage of the light and airy look and feel. Think: pastel hues, timber tables, stone tiling, and big splashes of green — both plant-wise and in the colour scheme.
Something delightful has been happening in cinemas across the country. After months spent empty, with projectors silent, theatres bare and the smell of popcorn fading, Australian picture palaces are back in business — spanning 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, 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. https://www.youtube.com/watch?v=COrqRKMZ2KM&feature=emb_logo EMA Before 2021 comes to an end, Pablo Larraín will have given the world Spencer, a new biopic about Princess Diana featuring Kristen Stewart as the royal figure. Also on his hit list this year: Lisey's Story, a Julianne Moore-starring TV adaptation of a Stephen King book that has been scripted for the screen by the author himself. But with the release of Ema in Australian cinemas, he's already gifting viewers something exceptional. A new project by Larraín is always cause for excitement, and this drama about a reggaeton dancer's crumbling marriage, personal and professional curiosities, and determined quest to become a mother rewards that enthusiasm spectacularly. In fact, it's a stunning piece of cinema, and one that stands out even among the Chilean director's already impressive resume. He's the filmmaker behind stirring political drama No, exacting religious interrogation The Club, poetic biopic Neruda and the astonishing, Natalie Portman-starring Jackie — to name just a few of his movies — so that's no minor feat. For the first time in his career, Larraín peers at life in his homeland today, rather than in the past. And, with his now six-time cinematographer Sergio Armstrong (Tony Manero, Post Mortem), he gazes as intently as he can. Faces and bodies fill Ema's frames, a comment that's true of most movies; however, in both the probing patience it directs its protagonist's way and the kinetic fluidity of its dance sequences, this feature equally stares and surveys. Here, Larraín hones in on the dancer (Mariana Di Girólamo, Much Ado About Nothing) who gives the feature its name. After adopting a child with her choreographer partner Gastón (Gael García Bernal, Mozart in the Jungle), something other than domestic bliss has followed. Following a traumatic incident, and the just as stressful decision to relinquish their boy back to the state's custody, Ema is not only trying but struggling to cope in the aftermath. This isn't a situation she's simply willing to accept, though. Ema, the movie, is many things — and, most potently, it's a portrait of a woman who is willing to make whatever move she needs to, both on the dance floor and in life, to rally against an unforgiving world, grasp her idea of freedom and seize exactly what she wants. Di Girólamo is magnetic, whether she's dancing against a vivid backdrop, staring pensively at the camera or being soaked in neon light. Bernal, one of the director's regulars, perfects a thorny role that ties into the film's interrogation of Chile's class and cultural divides. And Larraín's skill as both a visual- and emotion-driven filmmaker is never in doubt. Indeed, this film's imagery isn't easily forgotten, and neither is its mood, ideas, inimitable protagonist, or stirring exploration of trauma, shock and their impact. Ema opens in Sydney and Melbourne cinemas on May 13, and in Brisbane on May 20. Read our full review. https://www.youtube.com/watch?v=sV6VNNjBkcE THOSE WHO WISH ME DEAD A smokejumper stationed to a Montana watchtower, plagued by past traumas and forced to help a teenage boy evade hired killers, Those Who Wish Me Dead's Hannah Faber actually first debuted on the page. Watching Angelina Jolie bring the whisky-swilling, no-nonsense, one of the boys-type figure to the screen, it's easy to assume otherwise. The part doesn't quite feel as if it was written specifically for the smouldering movie star, though. Rather, it seems like the kind of role that might've been penned with Liam Neeson or Denzel Washington in mind — see: this year's The Marksman for the former, and 2004's Man on Fire for the latter — then flipped, gender-wise, to gift Jolie a new star vehicle. On the one hand, let's be thankful that that's not how this character came about. Kudos to author Michael Koryta, who also co-writes the screenplay here based on his 2016 novel, for conjuring up Hannah to begin with. But on the other hand, it's never a great sign when a female protagonist plays like a grab bag of stock-standard macho hero traits, just dressed up in a shapelier guise. It has been six years since Jolie has stepped into a mere mortal's shoes — since 2015's By the Sea, which she wrote and directed — and she leaves no doubt that Hannah is flesh and blood. There's still an iciness to the firefighter, and she still has the actor's cheekbones and pout, but Maleficent, she isn't. She's bruised, internally, by a fire that got away and left a body count. After hanging out with her colleagues, parachuting out of cars and brooding in her tower, she's soon physically in harm's way as well. As Those Who Wish Me Dead's plot gets her to this juncture, it also cuts back and forth between forensic accountant Owen Casserly (Jake Weber, Midway) and his son Connor (Finn Little, Angel of Mine), plus assassins Patrick and Jack (The Great's Nicholas Hoult and Game of Thrones' Aiden Gillen). Thanks to a treasure trove of incriminating evidence against important people that no one was ever supposed to find, these two duos are on a collision course. When they do cross paths — while Owen is trying to take Connor to stay with Ethan (Jon Bernthal, The Peanut Butter Falcon), his brother-in-law, a sheriff's deputy and one of Hannah's colleagues — it also nudges the boy into the smokejumper's orbit. Read our full review. https://www.youtube.com/watch?v=nuINvoFAnng&t=3s SPIRAL: FROM THE BOOK OF SAW With Spiral: From the Book of Saw, what came first: the decision to call its protagonist Ezekiel, or the casting of Samuel L Jackson as said character's father? Either way, the film's creative team must've felt mighty pleased with themselves; getting the Pulp Fiction actor to utter the name that's been synonymous with his bible-quoting, Quentin Tarantino-penned monologue for more than a quarter-century doesn't happen by accident. What now four-time franchise director Darren Lynn Bousman (Saw II, Saw III and Saw IV) and Jigsaw screenwriters Josh Stolberg and Pete Goldfinger mightn't have realised, though, is just how clumsily this choice comes across. The Saw series has made almost a billion dollars at the worldwide box office, but now it's resorting to winking and nodding to one of its latest stars' past movies. Perhaps Bousman and company didn't notice because almost everything about Spiral feels that forced, awkward, clunky and badly thought-out. Jackson and Chris Rock might gift the long-running franchise a couple of high-profile new faces; however, this ostensible reboot is exactly as derivative as you'd expect of the ninth instalment in a 17-year-old shock- and gore-driven saga. Focusing on a wisecracking, gung-ho, about-to-be-divorced police detective known for exposing his dirty colleagues, Spiral tries to coil the series in a different direction, at least superficially — and pretends to have meaty matters on its mind. Ezekiel 'Zeke' Banks (Rock, The Witches) has been crusading for honesty, integrity, fairness and honour in law enforcement for years. Starting back when his now-retired dad Marcus (Jackson, Death to 2020) was the precinct's chief, he's been vilified by his peers for his efforts. When a killer appears to be targeting rotten cops, too, Zeke is desperate to lead the case. Initially, he just wants to avenge the death of the first victim, one of the only co-workers he called a friend, but he's soon trying to track down a murderer that seems to be following in franchise villain Jigsaw's footsteps. A lone wolf-type not by choice but necessity, Banks also happens to be saddled with a rookie partner (Max Minghella, The Handmaid's Tale) as he attempts to stop the bodies from piling up. Read our full review. https://www.youtube.com/watch?v=sBFvpz_Tlrs&feature=youtu.be THE MAN IN THE HAT Throughout his four-decade-plus career, Ciarán Hinds has appeared in everything from Excalibur and The Phantom of the Opera to There Will Be Blood and Harry Potter and the Deathly Hallows: Part 2 — and in Game of Thrones and First Man as well. But his expressive face never been put to as a great use as it is in The Man in the Hat, which tasks the Irish actor with staying silent for its duration, save for a rare word here and there. As the titular figure, he potters around France in a small Fiat 500. What might've been a leisurely journey just because (its purpose is never explained) becomes somewhat frantic when a car filled with five bald men starts following his every move. The headwear-donning protagonist witnesses them up to no good, drives off quickly and attempts to take the scenic route, but wherever he goes, his pursuers cross his path eventually. That doesn't stop either the eponymous man from whiling away the time on his travels, whether dropping into cafes, helping the people he meets along the way, seeing the sights, having a swim or flirting with a red dress-wearing, bike-riding woman (Sasha Hails, Quiz). Often, the man in the hat simply listens to his short-term companions, including a fellow lonely soul (Stephen Dillane, Mary Shelley) initially spending his time under a bridge and a biker (Maïwenn, DNA) at a makeshift campsite. Written and directed by Oscar-winning Shakespeare in Love composer Stephen Warbeck with TV travelogue veteran John-Paul Davidson (Stephen Fry in America, Brazil with Michael Palin), The Man in the Hat is undeniably slight. It's also doused in the same type of Gallic whimsy that made Amelie a delight to some and an utter chore for others. And, with its jaunty score, episodic antics, smatterings of slapstick, and gorgeous small-town and countryside backdrop, it can play like a fever dream you might have after eating too much cheese, pairing it with a few healthy glasses of wine, making European holiday plans and falling asleep watching great silent comedians from decades ago. None of the above is a bad thing, however, if you're on the film's wavelength. Indeed, surrendering to The Man in the Hat's charms — and appreciating its exacting staging and choreography — happens both quickly and easily. It wouldn't be the same feature without Hinds, though, who adds an enchanting wordless performance that owes a clear debt to Charlie Chaplin, Buster Keaton, Marcel Marceau and Jacques Tati, but is never an act of miming mimicry. https://www.youtube.com/watch?v=O-d92kJUisU CARMILLA Premiering at the Edinburgh International Film Festival back in 2019, Carmilla first reached the screen shortly after Portrait of a Lady on Fire made its maiden appearance at Cannes. It debuted more than 14 months before Ammonite, the other big lesbian period romance of the past two years. But this gothic novella adaptation will always be seen as the lesser of the three recent films. Inspired by Sheridan Le Fanu's 1872 text, Carmilla is indeed another tale of love, lust, repression and the roles that have been enforced upon women for far too long. It takes the restraint that its characters are tasked with displaying a little too firmly to heart, though. While handsomely shot with a keen eye for vivid detail, moody in tone from start to finish, and eagerly savaging society's judgement of female sexual awakening and of sapphic desire, its often feels stilted rather than filled with yearning — and frequently seems as if it's holding a little too much back. Also, although its source material is one of the first works of vampire fiction, hitting the page nearly three decades before Bram Stoker's Dracula, first-time solo writer/director Emily Harris doesn't heartily sink its teeth into that genre, either. There's absolutely nothing wrong with eschewing the supernatural, of course, but a few especially striking images aside, Carmilla's pulse rarely quickens. What this story of passion, seduction, persecution and flouting strict norms does unshakeably possess, however, is memorable and committed performances by its key female cast members — all of whom do their utmost at every turn. Hannah Rae (Fighting with My Family) plays Lara, the cooped-up, constantly lonely daughter of the distant Mr Bauer (Greg Wise, The Crown). When the film commences, she's giddy with excitement about the impending arrival of a fellow teen from a neighbouring town, who's set to join their household for a prolonged sojourn. It'll give her a much-needed reprieve from her stern governess, Miss Fontaine (Jessica Raine, Patrick Melrose), who usually dictates every aspect of her daily routine. The tutor is even determined to train her left-handed pupil to favour her other appendage, all in the name of curing her of her sins. But, when their planned visitor doesn't make the trip, mysterious newcomer Carmilla (Devrim Lingnau, Immortality) earns everyone's attention instead. A victim of a carriage accident with no memory of who she is or why she's in the area, she's like a beacon in the night to the curious and isolated Lara, even as Miss Fontaine endeavours to maintain a close watch. https://www.youtube.com/watch?v=-uiCkL26zfQ FINDING YOU When aspiring violinist Finley Sinclair (Rose Reid, The World We Make) meets acting superstar Beckett Rush (Jedidiah Goodacre, Chilling Adventures of Sabrina) by falling asleep on his shoulder during a flight from New York to Ireland, she definitely isn't just a girl standing in front of a boy asking him to love her. The college exchange student thinks the cinema world's biggest current heartthrob is arrogant, in fact, and likely wouldn't have given him another thought if they didn't end up staying at the same small-town bed and breakfast thanks to pure rom-com logic. No, Finding You doesn't try to hide its Notting Hill-esque concept. Based on the young adult novel There You'll Find Me, it's quite eager to nod in its fellow romantic comedy's direction — and towards as many of the genre's other cliches and tropes as it can find. Even its setting sticks to recent convention; however, it's never as grating and inane as the Scotland-set Then Came You, and doesn't feature a twist as ridiculous as Wild Mountain Thyme. Everything about Finley and Beckett's will-they, won't-they romance plays out as expected, though, other than one key factor. Writer/director Brian Baugh (I'm Not Ashamed) hasn't met a pointless plot development he doesn't need to work into his movie, it seems, so the path to true love here definitely doesn't run smooth. Finley heads to Ireland seeking a change of scenery and a new source of inspiration after failing a big audition, while Beckett makes the trip to shoot the latest instalment of a big blockbuster franchise he's no longer that interested in being in. As they work out their individual issues and inch closer together, the script also tasks her with becoming his acting coach, and sightseeing with him in an attempt to track down a cross sketched by her brother. She also learns a few musical tricks from the boozy town expert (Patrick Bergin, The South Westerlies), and gets caught up in a decades-long scandal surrounding an elderly and cantankerous woman (Vanessa Redgrave, Mrs Lowry and Son) she's assigned to visit for class — while Beckett battles with his manager dad (Tom Everett Scott, 13 Reasons Why) about his future, the tabloid attention and the fake love affair he's supposed to be in with his co-star (Katherine McNamara, The Stand). When Finding You lets its two leads simply spend time together, it benefits from their warm rapport. When it bundles in every complication it can think of, it veers from being blandly predictable to needlessly contrived and convoluted. For whatever misguided reason, Baugh favours the latter over the former, all served up with a soundtrack that couldn't be more stereotypical if it just repeated the word "Ireland" over and over again. 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; and May 6. You can also read our full reviews of a heap of recent movies, such as Nomadland, Pieces of a Woman, The Dry, Promising Young Woman, Summerland, Ammonite, The Dig, The White Tiger, Only the Animals, Malcolm & Marie, News of the World, High Ground, Earwig and the Witch, The Nest, Assassins, Synchronic, Another Round, Minari, Firestarter — The Story of Bangarra, The Truffle Hunters, The Little Things, 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 and The Perfect Candidate.
DJ, gonna burn this goddamn beach right down — although not literally, of course. But 15,000 partygoers will be murdering the dance floor at an iconic coastal spot thanks to a headliner that's having a helluva moment right now: Sophie Ellis-Bextor. She's just been announced at the top of the bill for the 2024 Sydney Gay and Lesbian Mardi Gras' Bondi Beach Party. In 2023, when the first WorldPride ever held in the southern hemisphere took place in Sydney, it brought with it an openair club on the sand from afternoon till evening. A massive 12,000 folks went along to dance by the water, with Pussycat Dolls lead singer Nicole Scherzinger headlining. In 2024, on Saturday, February 24, Ellis-Bextor will do the honours while everyone is rediscovering their love for 2001's 'Murder on the Dancefloor' thanks to Saltburn. It's the first of two trips Down Under for the British singer this year, as she's supporting Take That on their Australian and New Zealand tour in October and November as well. Ellis-Bextor's discography also includes vocals on Spiller's 'Groovejet (If This Ain't Love)', plus her own 'Get Over You' and 'Hypnotised', all of which she gave a spin on her last visit to Australia in 2022. Then, she headlined Summer Camp in Sydney and Melbourne, and also played Brisbane's Melt Festival. At Mardi Gras 2024's Bondi Beach Party, Ellis-Bextor will be joined by the previously announced Slayyyter, Jay Jay Revlon, Lagoon Femshaymer, Corey Craig, Tyoow, Mama de Leche and Beth Yen. The waterside event sits on a jam-packed festival lineup that also spans Adam Lambert, CeCe Peniston and Ultra Naté at the ten-hour, 10,000-capacity Mardi Gras Party at Hordern Pavilion. Sydney WorldPride's Ultra Violet is returning for a second year of celebrating LGBTQIA+ women; gender-diverse celebration Hot Trans Summer will take place on floating venue Glass Island; the ivy Pool Bar is back; and, from there, the list goes on and on, across 17 days, 100-plus events, and with more than 150 performers helping put on a show. Something that's sadly no longer on the bill is Fair Day, which has been cancelled for 2024 due to bonded asbestos being found in the mulch at Victoria Park. [caption id="attachment_940887" align="alignnone" width="1920"] Jake Davis[/caption] Sydney Gay and Lesbian Mardi Gras' Bondi Beach Party 2024 Lineup Sophie Ellis-Bextor Slayyyter Jay Jay Revlon Lagoon Femshaymer Corey Craig Tyoow Mama de Leche Beth Yen [caption id="attachment_940884" align="alignnone" width="1920"] Cain Cooper[/caption] [caption id="attachment_940885" align="alignnone" width="1920"] Gabrielle Clement[/caption] Sydney Gay and Lesbian Mardi Gras 2024 runs from Friday, February 16–Sunday, March 3, 2024. For more information, or for tickets, head to the event's website. The 2024 Bondi Beach Party is happening from 2pm on Saturday, February 24. For more information, head to the event's website.
Botellón's leafy Graceville corner is ripe for a lazy weekend afternoon, especially when it has the feast to match. With that in mind, the team is bringing back its beloved Paella Sunday for a special session from 12–3pm on Sunday, June 8. For $35 per person, Head Chef Matt Woodhouse will cook a massive serve of chicken and chorizo paella before your eyes. Plus, you'll also tuck into fresh seasonal salad from Ramarro Farm, along with charred sourdough and house-made churros. As for the drinks, expect another Spanish classic as sangria jugs — red, white or rosé — are available for $60. Combine this feed with the restaurant's sunny al fresco area and the good times should flow effortlessly. Supported by live music throughout the afternoon, this lively celebration of Spanish cuisine is a great way to make the end of the week an easygoing one. Bookings are available through the website, but walk-ins are welcome.
On November 3, Palace Centro will become the most magical place in Brisbane, as all nine Harry Potter films grace the New Farm cinema's screens for 20 hours of wizarding wonder. BYO time-turner if you don't think you'll be able to stay awake. Nine films, you say? Yep, this really is a celebration of every Potter-related flick there is, which means the eight movie versions of J.K. Rowling's original seven books, plus the film adaptation of Fantastic Beasts and Where to Find Them as well. Watch Harry, Hermione, Ron and co. spend their first day at Hogwarts, play quidditch, search for the deathly hallows and battle He Who Must Not Be Named. And, then jump back several decades earlier to explore the exploits behind one of their textbooks. The marathon will be a nice little catch-up before the Fantastic Beasts sequel (The Crimes of Grindelwald) comes out later in the month. Kicking off at 11am on Saturday and screening through until the following morning, Potterfest will also include plenty of other Potter nerdery, with dressing up in costume as highly recommended as a pint of butterbeer.
Ask writer/director Sally Aitken about more than a year spent celebrating her documentary about Los Angeles' hummingbirds — a movie that premiered at the 2024 Sundance Film Festival, also screened at SXSW in Austin and Hot Docs in Toronto, then made its way Sydney and Adelaide's film fests as well, and was nominated for an AACTA Award across that journey — and she answers with a sense of humour. "I was about to make a little joke about 'it's like a little hummingbird migrating everywhere'," she tells Concrete Playground. That's a parallel drawn with the utmost of affection, however, as anyone that has seen Every Little Thing and witnessed the immense care that it has for the gorgeous tiny birds in front of its cameras will instantly recognise. "It's amazing," the Australian documentarian also notes about the film's global tour, flitting to Greece, Poland, New Zealand, the UK, the Netherlands, Estonia and Sweden, too, before it opened in Australian cinemas to kick off March 2025. When Aitken turned her lens towards beloved Australian film critic David Stratton in 2017 doco David Stratton: A Cinematic Life, the end result played at Cannes. 2023's Hot Potato: The Story of The Wiggles, the movie immediately prior to Every Little Thing on her resume, screened at the first-ever SXSW Sydney. The last time that the filmmaker peered at nature on the big screen, in 2021's Valerie Taylor: Playing with Sharks, she also scored a Sundance premiere. Together, those four titles paint a picture not just of an Aussie director's success and recognition around the world, or of her versatility, but of her desire to dig into an array of different stories of our humanity. "I like to make films that look at this incredible world through a new lens or through the other end of the telescope," she advises about a recent resume that's spanned appreciating cinema, reappraising ocean predators, the origins of iconic childhood entertainers and now a hotline for hummingbirds. Every Little Thing is indeed about hummingbirds in LA, but it's also about a person who has dedicated decades to tending to the birds' injuries. It was Terry Masear's book Fastest Things on Wings: Rescuing Hummingbirds in Hollywood — a review of it, to begin with — about her Los Angeles Hummingbird Rescue that sparked Aitken's second film of the 2020s about women and their connection with animals. That text was a memoir of its author's endeavours since 2004, but Every Little Thing's personal aspects, stepping through Masear's experiences beyond rehabilitating the smallest mature birds there are as well, is exclusive to the documentary. In interweaving the two, Aitken has crafted a pivotal chronicle of resilience among winged critters and humans alike. Wildlife rescue is a field of highs, hopes, healing and heartbreaks, as the film captures in detail. Existence is for all creatures anyway, great and small, as the documentary also examines. A phone call for Masear, a retired UCLA professor, usually means that a hummingbird in the City of Angels is in trouble. The reality of human life in the Californian city isn't always kind to the American-native species, but Masear unceasingly is. Every Little Thing flutters through her efforts as birds after birds are brought to her door — and as she attends to them in their various stages of need, aiming to get each one back flying over LA in the wild. Cactus, Jimmy, Wasabi, Alexa, Mikhail: they're just some of the hummingbirds that flap in and out, and that Masear treats with the sincerest of compassion. [caption id="attachment_995806" align="alignnone" width="1920"] Jacquie Manning[/caption] Every Little Thing surveys the ins and outs of the rehab process, including syringe-feeding fruit flies to babies as dawn breaks, taking birds through workouts to test their flying capacity, and transitioning them from incubators to aviaries and ideally back into the sunny skies. It explores the characters, feathered and human — and among the former, it is also well-aware that some under Masear's supervision won't make it. This deeply empathetic film sees the hummingbirds in all of their glory, using cameras capable of capturing their super-fast speed, and also peers at Hollywood as they do thanks to bird's-eye view imagery. Crucially, it's as much about what it means to devote your time to another creature, to commit to riding the rollercoaster of their wins and setbacks, and to truly care. After watching Every Little Thing, no one should look at feathered friends above, or at any animal life, in the same way again — and while viewing it, everyone should enjoy witnessing its critters in detail that they've likely never seen before. This is a touching movie, for audiences, those in it and the folks behind it. We also chatted with Aitken about the kindness at the picture's core, the inspiration to bring Masear's work to the screen, the film's personal turns, the extensive editing process thanks to hundreds of hours of footage, its often-breathtaking visual approach, and weathering the act that bird rehab involves both soaring joy and aching sorrow. On Every Little Thing's Year-Plus-Long Journey From Premiering at Sundance to Releasing in Australian Cinemas, Via Playing at Other Film Festivals Around the World — and the Reaction to It "It's so incredible as a filmmaker when you can see, very visibly in these kinds of scenarios like film festivals and in front of cinema audiences, how people are affected by the film. And I don't mean you perversely sitting there waiting for people to clap, or to cry or whatever, but the fact that the film is an emotional film for people. I think that's the affirming part of it, because we set out to make something that would be an invitation and something that would be a work that wasn't necessarily literal — that invited people to these ideas of compassion and kindness in a very beautiful way, with the sunny cinematography and the delicate hummingbirds — and that was supposed to also be about us as much as the birds. To have a film that premieres at Sundance is a thrill. To then be consecutively invited to all of these incredibly prestigious marquee film festivals, and then now to be in a cinema run, that's extraordinary — especially, especially right now, in the marketplace right now, where most of the offer is murdered bodies and people in office doing pretty crazy things. So, yeah, it's lovely." On What It Means as an Australian Filmmaker to Have Your Work Repeatedly Embraced by Festivals Across the Globe, as Aitken's David Stratton, Valerie Taylor, The Wiggles and Now Terry Masear Docos Have Enjoyed "It's funny because all those films are really quite different, but maybe they're also helmed by something that you're not even conscious that you're necessarily reaching for when you're making the film. I am very interested in our humanity. I like to make films that look at this incredible world through a new lens or through the other end of the telescope. So it's a thrill when that work gets invited to any of those festivals that you're mentioning. These are extraordinary environments to see work from all around the world. And I think it just speaks to the fact that we have an industry in Australia that is pretty challenged right now, and we are making work that that is as good, on par, right up there with everybody else — and that feels really good to be part of this global independent filmmaking sector." On Why Aitken Was Inspired to Bring Masear's Work with Hummingbirds to the Screen "Initially, I was sent the review of Terry's memoir and I genuinely thought 'what the heck? A hotline for hummingbirds?'. 'That is really very particular' was my initial thought. The curiosity of that was amazing to me. Not that I'm unaware that wildlife rescue happens, but I just never conceived that somebody would have such a singular focus — that hummingbirds would have this 24/7 helpline. And what on earth did that look like? So it was very much initially a curiosity, and when I read Terry's book, I realised it was so much more than that. The way she writes about the birds, it's very metaphorical. I realised in that moment there was an incredible opportunity to see these birds not just in their cinematic beauty — obviously the visual appeal of this film was always there — but that they could be this carrier of these much bigger philosophical ideas, these universal truths about our humanity. They were like a mirror to us. So I thought 'that is a really interesting film', that possibility, that invitation. It felt to me like this was much more than the story of someone just rehabilitating the hummingbirds that may be in that rehabilitation. It was actually a rehabilitation for ourselves. That was the starting point." On Making Two Films in the Past Four Years About Women and Their Work with Animals, and Their Place Among Aitken's Diverse Filmography Otherwise "It's certainly no secret that I am a huge champion of women's stories — women who are brilliant, women who are badass, women who are dastardly, women who are heroic. I think we can't scream those stories enough. But actually, what was quite funny, especially at Sundance — because Valerie Taylor: Playing with Sharks played at Sundance, and then this just played three years later — so many of the moderators, exactly like you, observed, they say 'oh, Sally was here three years ago with this film about this woman and the natural world, and what draws you to these stories of women?'. And the truth is that I make films about all kinds of things. I do true crime. I do music. I do all sorts of stories. So what I would say was 'well, fun fact, between Playing with Sharks and Every Little Thing, I made a small film about a small group called The Wiggles'. And actually the crowd, who are American by and large, they all cracked up laughing because it's so incongruous, right? This story about this childhood band in the midst of these films about ourselves and the interconnectedness with the natural, amazing, wonderful, miraculous world that we live in. But I think it's the same thing as what we were talking about before: it's finding a story that you think you know and telling this totally different story about that thing. So whether that's about sharks and the demonisation of sharks, and actually seeing them through the eyes of a woman who's quite literally been playing with them since the 1950s; or whether that's seeing the most well-known yellow-, purple-, red-, blue-clad characters that we see every day or every week on our breakfast television, and suddenly seeing them not in those colours, but seeing them as an incredible, incredible story of chasing your dreams, and this audacious idea of school teachers making it to Madison Square Garden; or whether it's hummingbirds, which in America are ubiquitous, they're just in everybody's backyard, and actually seeing them as these kind of magical fairy creatures — it's that same idea. It's just taking these things and putting a whole new lens on them, and telling a really hopefully cinematic, emotional story in the process." On How Every Little Thing Also Became About Masear's Personal Story "So it is really an act of faith, making a documentary. She says in the film she doesn't trust easily. That is true. What is also true is that when I read her book, her book doesn't talk about her personal story at all. Her book very much deals with the hummingbirds that she has looked after in the last 20-odd years, and it takes a few of those very memorable hummingbirds and explores the stories of how she came to care for those birds and what happened to those birds through rehab. That's essentially what the book is talking about. So the book is very much about her and the work with the rehabilitation. But it's this funny thing when you're making a film, especially a film that is observational — and documentaries on that kind of film, you're a very small crew. You're very, very tight. You're very intimate. And you're all signed up to this unknown adventure, because it's not like a drama. I always joke, I always think this is so much harder because we don't have a script, you don't have paid actors, you're not able to write your way out of the scene. You're actually filming real life. But she became increasingly comfortable. I'm very transparent in the way that I work. I like to tell people what my intention is, and also share my own vulnerabilities. I don't know how it's going to work out. Certainly that's not a statement that's not confident, but it's saying 'we're all in this together' — and I think that's very disarming for people, and certainly for Terry. She felt like she was among people who really valued her work, and so of course she started to trust us. And then so what actually happened is that she started opening up about her personal life — and of course, as soon as she did that, that was amazing, because so much fell into place in relation to some of the motivations for why she does the work that she does, or what might inspire her to do this work in the first place. So while that all happened, I also then, when I got into the edit with my brilliant, brilliant editor Tania Nehme [Monolith], I didn't want to make a film that was completely didactic. And so, like I said before, it was really an invitation. I wanted to draw this idea of Terry's biography, but to do it still in this lyrical, poetic way that just revealed the layers of her biography as we moved through the rehab process." On the Challenges of Editing, Including the Difficulties of Whittling Down the Footage and Deciding Which Hummingbird Stories to Tell "You are not wrong: the edit is absolutely the challenge, the moment that you go 'oh my god, I think I need to go and open a florist shop. Can I do it? It's really hard. How can these tiny birds be so goddamn heavy?'. You definitely have these moments where you think 'what?', and the volume of the footage was a big part of that. Terry takes so many calls through the season, and of course we captured as much as we could, but it's really a process, an iterative process. And so we got into the edit suite, and the one clear thing that I remember discussing with Tania was that our task in the edit was really to make the smallest things feel giant, to feel epic, to feel the stuff of grand cinema. So with that aspiration in mind, it was really just a process of working and working our way through the volume of footage. And then some of the characters, they reveal themselves to you. Jimmy is hilarious. Cactus is vulnerable. Alexa and Mikhail are thwarted love. In the mix of things, we wanted these characters to — in a way — be this mirror to the human experience as much as they were their own individual heroes, or are their own individual heroes, in the film." On Capturing Stunning Footage of Birds Known for Their Super-Fast Speed, and Pairing It with a Bird's-Eye View of Los Angeles "Right from the beginning, it felt like a film that had all of this visual potential. So if you've seen a hummingbird in real life, you know that they are incredibly fast — and magical. They look like fairies. They just whip in, they kind of come up and look at you, and then they whip off again. But the way that Terry wrote about them was very metaphoric, like I was saying. So I wanted to reach for a visual style and a visual treatment that was really replicating the way that Terry sees the birds — and the way that she sees them is otherworldly. So in the same way that a hotline for hummingbirds is quite specific, there is also a cinematographer whose specialty is hummingbirds. That's also pretty specific. So her name is Ann Johnson Prum [Terra Mater] and she lives in America. She is American. And she's an expert cinematographer with a camera called the Phantom Flex. The Phantom Flex is a camera that shoots at an incredibly high frame rate — it goes up to 1000 frames a second. And what that means is that when you film footage at a high frame rate, you can then really slow it down. So from the beginning, we wanted to lean into this idea of being able to enter into the hummingbirds' realm and not just be in our human limited sensory experience of them. And the other thing is that we have also two other cinematographers in the camera team, two Australian DPs, Dan Freene [Skategoat] and Nathan Barlow [a Valerie Taylor: Playing with Sharks alum]. And so we leant into cinematic time lenses, and that gave us macro lenses. So that gave us an ability to be really close to the birds — so close, in fact, that at times you can see their eyelashes. I mean, who knew that hummingbirds have eyelashes? So it was a huge challenge, but we really wanted to meet that challenge in order to make the birds feel worthy of this big-screen treatment, because they are worthy of a big-screen treatment. And it's really quite trippy, actually, when you know that a hummingbird is quite literally the size of your little finger, and then you're looking at it on a giant cinema screen — it's quite trippy, the experience for the viewers. So I was quite interested in playing with all of those ideas." On Every Little Thing's Crew Coping with the Casualties in Masear's Line of Work — as Newcomers to Facing It — But Ensuring That This Is a Film of Hope "That's a really perceptive question. And we were talking before about that intimate relationship — absolutely, of course, every time you make a film about whatever subject, it changes you or it affects you, not only because you're learning new things, but because you're working with, encountering, engaging with, being trusted with other people's experiences and their stories. So I found the whole experience incredibly moving. I think that, at the same time that I was in the edit — and Tania and I worked incredibly closely together. The shoot is very intense, you have the whole team, but when you're in the edit, it's really just the two of you. And the algorithms didn't make this film. It's a film that really, really does come from the heart, and it's exploring things that aren't always talked about or aren't always obvious. So to circle back to your first question, which is about the reaction, it's hugely affirming when people respond to that because it tells you that that need is there in all of us to have these stories about what is good in our humanity, what is kind, what is empathetic in a world that's actually constantly cynical — and constantly telling you that people are bad and politics is awful, and the world is existentially threatened with climate change. When you are in this news cycle, which is a horror show, when there's a story that comes along that reminds you that humans are resilient, imaginative, kind and empathetic, that's a good news story. And it's not like a Pollyanna good news — as you say, birds die. Life is tragic. Life is unfair. Life is awful. But the message, I suppose, in the film is that what matters is how you respond to that and the compassion that you put in when you're engaged in life. And I just thought that was such an extraordinary idea, along with the idea that if you take the time to get on bended knee for something that is so small, that's a giant act of your own humanity. I just thought that was such a strong, compelling call to arms for all of us, for how we can be — we can just be better." Every Little Thing opened in Australian cinemas on Thursday, March 6, 2025.
Pushing ladies to the front, welcoming them on-stage to discuss their fields of expertise and their experiences, and exploring a broad range of topics that are relevant to women: that's been the aim of Sydney Opera House's key feminist festival since 2013. From its inception, All About Women has dedicated a day to focusing on female voices, fittingly popping up around International Women's Day each year. Of course, it's never been possible to confine everything there is to talk about to one single day, so 2022's fest is expanding. When next March rolls around, All About Women will mark its tenth festival — and it'll hit double digits and broaden its footprint in tandem. To celebrate, Sydney Opera House's Head of Talks & Ideas Chip Rolley and First Nations legal academic, broadcaster, filmmaker, writer and Distinguished Professor Larissa Behrendt OA, the event's co-curators, have amassed an impressive range of speakers to participate in talks, panels, performances and workshops. The big focus: bravery, allyship and collective responsibility. One of the must-attend sessions of the 2022 fest, which'll take place between Saturday, March 12–Sunday, March 13: current and former Australians of the Year Grace Tame and Rosie Batty, who'll appear together publicly for the first time. In a session to moderated by author and political commentator Jamila Rizvi, they'll chat through the title they've both shared, including its challenges and opportunities. [caption id="attachment_837696" align="alignnone" width="1920"] Jacquie Manning[/caption] Another of All About Women's key talks will feature American Bad Feminist and Hunger writer Roxane Gay in conversation with writer/actor and Gamilaroi/Torres Strait Islander woman Nakkiah Lui, discussing their personal experiences of racism and misogyny. Other highlights include a session on the story of 'Kate', who posthumously accused federal MP Christian Porter of sexual assault; an exploration of consent, featuring lawyer and author Bri Lee, writer Lucia Osborne-Crowley, and advocate for sexual assault law reform Saxon Mullins; a conversation with Distinguished Professor Aileen Moreton-Robinson, Goenpul author of Indigenous feminist text Talkin' Up to the White Woman; and a panel discussing the everyday of disabled parenting curated and led by Eliza Hull, whose anthology of stories by disabled parents, We've Got This, will soon be published. [caption id="attachment_837698" align="alignnone" width="1920"] Jacquie Manning[/caption] The rest of the lineup also features an opening night gala headlined by poet and contemporary dancer Tishani Doshi, who'll perform Girls Are Coming Out of the Woods; writer, historian and podcaster Yves Rees hosting a panel that imagines a future without gendered expectations; Fight Like A Girl, Boys Will Be Boys and How We Love's Clementine Ford giving a secular sermon on love; a panel on the fate of women in Afghanistan now the Taliban has taken back control of the country; a session highlighting veteran ABC journalist Laura Tingle; and a panel showcasing next generation First Nations voices. While the festival is going ahead in-person for Sydneysiders, it'll also live-stream to viewers both around Australia and worldwide — because this top-notch program, and the subjects it covers, can't be confined to either one day or one place. All About Women 2022 will take place on Saturday, March 12–Sunday, March 13 at the Sydney Opera House. Livestream tickets and event multipacks are on sale from 9am AEDT on Thursday, December 16, with single-ticket pre-sales starting at the same time — and general public tickets available from 9am AEDT on Friday, December 17. Top image: Prudence Upton.
If it's a big blockbuster franchise, it stars Harrison Ford, and it debuted in the 70s or 80s, then it's always coming back to the screen. In 2008, before Star Wars: Episode VII — The Force Awakens and its sequels, as well as Blade Runner 2049, that actually first proved true for the Indiana Jones series. Alas, Indiana Jones and the Kingdom of the Crystal Skull wasn't the adventure saga's best effort, but that isn't stopping it from coming back for another go. Cue the fifth Indy flick, aka Indiana Jones and the Dial of Destiny — and yes, Ford is donning the famous hat once more. Hitting cinemas in late June 2023, Indiana Jones and the Dial of Destiny heads back to the 60s, and uses the Space Race between the US and the Soviet Union as a backdrop. And, it serves up two different looks at Ford, as the just-dropped first trailer shows: Indy in the film's present day and Indy in the past, with the movie using digital de-aging technology. Harrison Ford? Check. Dr Henry Walton 'Indiana' Jones Jr's famous headwear? Check again. That whip? Yep, check. A tale that includes Nazis? Just keep checking those boxes. And yes, the famous John Williams-composed theme tune gets a whirl in the first sneak peek, because it wouldn't be an Indy movie otherwise. Indeed, the icon takes care of the whole score again. The archaeologist's latest outing will bring in a few changes to the series, however. Firstly, Steven Spielberg isn't in the director's chair for the first time ever, handing over the reins to Logan and Ford v Ferrari's James Mangold. And, George Lucas doesn't have a part in the script, either with Mangold co-scripting with Ford v Ferrari's Jez Butterworth and John-Henry Butterworth. Cast-wise, expect the return of John Rhys-Davies as Sallah, as well as a heap of new faces. Fleabag's Phoebe Waller-Bridge looks set to keep Indy in step, playing his goddaughter, while Antonio Banderas (Official Competition), Mads Mikkelsen (Fantastic Beasts: The Secrets of Dumbledore), Thomas Kretschmann (Das Boot), Toby Jones (The English), Boyd Holbrook (The Sandman) also feature — alongside Shaunette Renee Wilson (Black Panther), Oliver Richters (The King's Man) and Ethann Isidore (Mortel) . When it crusades across the big screen, Indiana Jones and the Dial of Destiny will arrive a whopping 42 years after Raiders of the Lost Ark, 39 since Indiana Jones and the Temple of Doom and 34 since Indiana Jones and the Last Crusade. Check out the trailer for Indiana Jones and the Dial of Destiny below: Indiana Jones and the Dial of Destiny releases in cinemas Down Under on June 29, 2023. ©2022 Lucasfilm Ltd. & TM. All Rights Reserved.
In news that sounds and feels familiar, and is also sadly not at all unexpected, Vivid Sydney has announced that this year's festival won't go ahead — at all. Last month, the event pushed back its planned 2021 dates from August to mid-September due to Sydney's current COVID-19 outbreak and ongoing lockdown; however, today, Friday, August 6, it has revealed that it's pulling the plug on the light, music and art-filled fest completely until 2022. The 2021 festival had already been pushed from its usual June time slot to August (and then to September), after sitting out 2020 entirely due to the pandemic. This decision to scrap this year's fest is hardly surprising, though. Sydney Fringe Festival, which was also due to take place in September, also just cancelled its 2021 event. And, with Sydney's lockdown now six weeks in, set to run until at least the end of August and also still garnering high case numbers — 291 were identified in the 24 hours to 8pm on Thursday, August 5 — it's beginning to look more likely that other big events might not happen this year either. In a statement, Vivid organisers advised that "the New South Wales Government has made the difficult decision to cancel Vivid Sydney 2021 — but the world's largest festival of light, music and ideas will shine brightly again in May–June 2022. Given the ongoing uncertainty, the decision has been made to cancel Vivid Sydney 2021 to minimise the impact on event attendees, partners, artists, sponsors and suppliers." If you're keen to mark the new dates in your diary, the 2022 event will kick off on Friday, May 27 and run through until Sunday, June 18. Announcing the news, NSW Minister for Jobs, Investment, Tourism and Western Sydney Stuart Ayres said that cancelling this year's Vivid now was the sensible move. "We thank everyone who has contributed to the planning for Vivid Sydney 2021. Of course, it's incredibly disappointing to cancel for the second year, but the most responsible decision was to cancel early, giving everyone certainty and minimising impacts where possible. The health and safety of our community is our highest priority, which is why we're encouraging everyone to get vaccinated so we can get back to enjoying COVID-safe events again soon," he said. Back in July, when Vivid was postponed until September, the Minister had commented that this year's event would only proceed if it's safe to do so. [caption id="attachment_816000" align="aligncenter" width="1920"] Destination NSW[/caption] Vivid 2021 was slated to feature a hefty array of light installations, cultural events, pop-ups and activations, with the full program announced back in May. Alongside Sydney Fringe Festival, a number of big NSW events have now been impacted by the pandemic two years running. The same thing happened with Bluesfest, which was cancelled in 2020, then scrapped a few days before it was meant to start in April this year, and then rescheduled until October — and with this year's Sydney Film Festival, too, which moved to August this year from its usual June time slot, and has now been postponed until November. Vivid Sydney 2021 will no longer take place from Friday, September 17 –Saturday, October 9. Vivid Sydney 2022 is slated to run from Friday, May 27–Sunday, June 18. For more information, visit the event's website. For more information about the status of COVID-19 in NSW, head to the NSW Health website.
He's hung out in Nevada brothels, suburban swingers' clubs and high-security gaols in Miami. Does Louis Theroux have what it takes to survive Q and As across Australia? We'll find out when the fearless filmmaker, journo and social commentator heads our way this September for a national speaking tour. In his first visit to the Great Southern Land, Theroux will be joining ABC's Julia Zemiro for big chats in Sydney, Melbourne, Adelaide, Brisbane and Perth. You'll be hearing all about how he's survived dens of iniquity all over the planet without losing his sanity or moral sense. He'll also be reminiscing about time spent with a nasty neo-Nazi gang in the United States and recounting his brief stint as a rap god on New Orleans radio. "For me, making my programs is quite a private process," Theroux said. "They are about forging a human connection with people whose lives are at the outermost edge of what we as people experience: the most forbidden impulses, the most frightening lifestyles, the most traumatic turns of events. To get inside the lives of those people — criminals, sex workers, people with mental illness, ultra-committed religious believers — is a kind of high-wire act." Theroux is looking forward to sharing the ins and outs of the filmmaking process with his listeners, while telling all the bizarre stories that didn't make the cuts. In between talking, he'll be screening footage from Weird Weekends, his famous series of one-off investigations and encounters with various celebrities and power brokers. When he and Zemiro are done, you'll have loads of time to ask questions of your own. "In his documentaries, Louis Theroux finds the extraordinary in the ordinary," says Zemiro. "Through patience, stillness and rigour, he reveals so much about human nature. I'm delighted to be hosting this tour and intend to pick up as many tips as possible in the art of interviewing." Image: Carsen Windhorst.
As far as takeaway staples go, fish and chips can seem pretty run-of-the-mill. When all you've really got to work with is a piece of fish and a potato, it's hard to reinvent the wheel. That doesn't stop people from trying, however, and there are some Brisbane restaurants that have a lot to show for their efforts. Whether they attempt subtle variations of the classic combination or just hone a traditional craft to the point of excellence, the restaurants on this list serve up some of the best fish and chips in the city, no dreaded stodge in sight. Fishmonger's Wife Mention The Fishmonger’s Wife to an eastsider and you will be met with coos of approval and appreciation. It has won a spate of ‘best fish and chip shop’ awards on the state and national levels and it’s no surprise. The beer battered fresh king snapper is particulrly good – the batter not too heavy – and reasonably priced for what you get. 6/83-93 Lytton Rd, East Brisbane 4170 Jellyfish At Jellyfish, in addition to oven baked or grilled fish, you can get soda, beer, saffron, curry or gluten free batters, or Szechuan pepper, parmesan, sesame seed, citrus & dill or panko crumbs. For sides, get the chips with malt vinegar or shoestrings and aioli or fried potatoes with smoked jalapeno mayo, and you’re all set for fish and chips by the river. They don’t do takeaway, but why would you want to given the view. 123 Eagle St, Brisbane 4000 The Fish Factory The Fish Factory inspires much affection amongst locals, having successfully weathered rain and fire (literally). Their fresh seafood market is a reliable go to for many. Their cooked takeaway options are similarly dependable. 363 Lytton Rd, Morningside 4170 Swampdog Good for you, good for me, good for the sea: this is Swampdog’s mantra. Make no mistake, eco-consciousness is not a passing affectation at this South Brisbane restaurant – it seems to permeate every aspect of their business. The fish they serve is local and mindfully sourced and their atypical selection of seafood is brought to life through a considered and varied range of dishes. 186 Vulture St, South Brisbane Chumley Warners Being that they are a speciality British-style fish and chips shop, Chumley Warners has a few items in common with O’Connors: deep fried haggis for one. Their battered cod is good, but what sets Chumley Warners apart from other places on this list is their chips – not the crispiest by any stretch, but with an intense potato flavour and a home-style charm (kind of along the lines of Shannon’s Potato Chips van – if you are fortunate enough to have sampled a cup). 8/190 Birkdale Rd, Birkdale 4159 Seafood Tale Seafood Tale is a bit more ‘seafood café’ than traditional fish and chip shop, which is a good idea given Chumley Warners is barely 10 metres away. It differentiates itself through clean, crisp flavours, as far as the nature of fish and chips will allow. A good choice if you like your fish and chips to look and taste a little more wholesome. 15/190 Birkdale Rd, Birkdale 4159 Blue Ocean Seafood Right next door to Flute, the food at Blue Ocean Seafood is in stark contrast to its neighbour. Very highly regarded for their burgers, they also do well with the food for which they are named. The seafood is fresh, the batter very light, and the chips have spent the right amount of time in the deep fryer. 380 Cavendish Rd, Coorparoo 4151 Fish’s Seafood Market Teneriffe favourite, Fish’s Seafood Market does its best to provide a welcoming dine-in atmosphere. Along with the basics they have a broad range of lavish seafood dishes. The basic fish and chips are good of course, but chances are if you visit, you’ll be ordering the hot and cold seafood platter. 110 Macquarie St, Newstead 4006 View all Brisbane Restaurants.
