As we come to the beginning of a new month, this means many things. A pinch and a punch, a slap and a kick, but also, the Young Designers Markets are on again at South Bank. On the first Sunday of each month, the markets feature some of Queensland’s up and coming talented designers in areas such as fashion, home wares, furniture, artwork and jewellery. The bright and happy stalls prepared by the young, brimming-with-talent designers, are truly a delight for your eyes. If you need to buy a gift for someone, or even to treat yourself, then head to the markets on Sunday 5 August, from 10am – 4pm for an original and exciting new piece. If you are a young designer, then be sure to register and make your start.
A person walking into a bar. The words "sent from my iPhone". A comedian pouring their experiences into a one-performer play. A twisty true-crime tale making the leap to the screen. All four either feature in, inspired or describe Baby Reindeer. All four are inescapably familiar, too, but the same can't be said about this seven-part Netflix series. Streaming since Thursday, April 11, written by and starring Scottish comedian Richard Gadd, and also based on his real-life experiences, this is a gripping, bleak, brave, revelatory, devastating and unforgettable psychological thriller. It does indeed begin with someone stepping inside a pub — and while Gadd plays a comedian on-screen as well, don't go waiting for a punchline. When Martha (Jessica Gunning, The Outlaws) enters The Heart in Camden, London in 2015, Donny Dunn (Gadd, Wedding Season) is behind the counter. "I felt sorry for her. That's the first feeling I felt. It's a patronising, arrogant feeling, feeling sorry for someone you've only just laid eyes on, but I did," the latter explains via voiceover. Perched awkwardly on a stool at the bar, her teary eyes downcast, Martha is whimpering to herself. She says that she can't afford to buy a drink, even a cup of tea. Donny takes pity, offering her one for free — and her face instantly lights up. That's the fateful moment, one of sorrow met with kindness, that ignites Baby Reindeer's narrative and changes Donny's life. After that warm beverage, The Heart instantly has a new regular. Sipping Diet Cokes from then on (still on the house), Martha is full of stories about all of the high-profile people that she knows and her high-flying lawyer job. But despite insisting that she's constantly busy, she's also always at the bar when Donny is at work, sticking around for his whole shifts. She chats incessantly about herself, folks that he doesn't know and while directing compliments Donny's way. He's in his twenties, she's in her early forties — and he can see that she's smitten, letting her flirt. He notices her laugh. He likes the attention, not to mention getting his ego stroked. While he doesn't reciprocate her feelings, he's friendly. She isn't just an infatuated fantasist, however; she's chillingly obsessed to an unstable degree. She finds his email address, then starts messaging him non-stop when she's not nattering at his workplace. (IRL, Gadd received more than 40,000 emails.) Two early details in Baby Reindeer speak to the level of revealing specificity that Gadd has layered into the script; names are changed, clearly, but there's no doubting that this is a personal work that's adapted carefully and probingly from reality. Firstly, Donny spies that "sent from my iPhone" text at the bottom of Martha's endless array of emails, which'd be innocuous in almost every other situation — but he also knows that she doesn't have an iPhone. Secondly, he still accepts her Facebook friend request as his inbox overflows with her often-incoherent thoughts sporting that fake iPhone claim (which is sometimes misspelled, too), Martha's behaviour towards him can't be mistaken for anything but that of a stalker and he finally types her name into Google to discover that she has a history. Martha's harassment spans years, expanding to impact Donny's ex-girlfriend Keeley (Shalom Brune-Franklin, Love Me); her mother Liz (Nina Sosanya, Good Omens), who Donny lives with; therapist and trans woman Teri (Nava Mau, Generation), who he's been dating; and his parents (The Way's Mark Lewis Jones and The Sixth Commandment's Amanda Root) in Fife. About six months in, when he initially reports it to the police in an anxious state — the scene that opens the Netflix show — he hardly receives a helpful response, as part of Baby Reindeer's digging into expectations around masculinity. Donny's own actions, his missteps included, are as much under the microscope as Martha's. So is trauma, dating back long before the show's title was constantly uttered and emailed his way as his unwanted admirer's pet name for him. It was in 2019 that Gadd premiered the stage version of Baby Reindeer at the Edinburgh Fringe Festival, a setting that's also pivotal to the TV iteration. Six years prior, Phoebe Waller-Bridge (Indiana Jones and the Dial of Destiny) did the same with Fleabag, which wrapped up its television run mere months before Baby Reindeer's stage debut. Gleaning that shared path can't prepare audiences for Gadd's tale, though, which reaches further than the mental illness of his indefatigable pursuer, and into abuse, shame and self-loathing. Accordingly, it's worth recalling that I May Destroy You also charted the path from Edinburgh to television, as inspired by a lecture that Michaela Coel (Mr & Mrs Smith) gave at the city's television festival that touched upon her own experiences. Also telling: the fact that Baby Reindeer is shot like it's a horror film (and paced as such). From off-kilter angles and vantages to unnerving closeness, directors Weronika Tofilska (His Dark Materials, and also the co-writer of Love Lies Bleeding) and Josephine Bornebusch (Bad Sisters), plus cinematographers Krzysztof Trojnar (Foresight) and Annika Summerson (Censor), don't let viewers get comfortable for a second. Watching is compelling — compulsive, in fact — but never easy, as befits the story that's being relayed. Unlike most scary movies, this isn't a clearcut tale of an attacker and a victim, at least when it comes to Martha and Donny. Gadd is unsparing in unpacking what motivates Donny's reactions, heart-wrenchingly so, and his regrets. When he asks "why did I freeze?" and "why did I just let it happen?" about a specific incident with Martha, he's also posing questions that beat at the heart of the entire miniseries. As he reckons with himself, doing so with vulnerability and nuance but never holding back, Gadd turns in a remarkably raw performance that feels as emotionally uncomfortable for him, understandably, as it is for the audience to witness. Baby Reindeer's candour extends in all directions, Donny's flailing early comedy shows — anti-humour and props are his thing — and the shattering time spent with an older mentor (Tom Goodman-Hill, Anne) among them, with Gadd brilliant at every turn. Gunning is equally outstanding. The sheer depth of the intricacies to Martha, some sparking terror, others sympathy and more still eliciting everything in-between, are stunningly drawn both in the writing and in Gunning's portrayal. Pressing play on Baby Reindeer means not being able to stop thinking about Gadd, Gunning, Donny and Martha from that second onwards, or about this profoundly and piercingly honest show. Check out the trailer for Baby Reindeer below: Baby Reindeer streams via Netflix.
One moment Dominika Egorova (Jennifer Lawrence) is the pride of Russia. The next, she's being bundled off to "whore school". They're her words, all but spat at the shady uncle (Matthias Schoenaerts) responsible, and they say plenty about Red Sparrow. She's a Bolshoi prima ballerina cut down in her prime by envious colleagues, he's a high-ranking honcho with one of the country's intelligence agencies, and their entire relationship consists of him exerting power over her with a lecherous glint in his eye and no qualms about resorting to violence. Unfortunately, this muddled and murky film is all too happy to follow his lead. With her dancing dreams dashed and the her mother's (Joely Richardson) health insurance under threat, Dominika has little choice but to take her uncle's career advice. After agreeing to meet a suspected traitor and bearing witness to his assassination, her only option is to become a 'Sparrow' — a highly trained spy enlisted to seduce and manipulate using everything at her disposal. When she's subsequently put into the field to procure the name of a Russian mole from an American CIA agent (Joel Edgerton), our heroine is quickly forced to give her new skills a workout. Thanks to Lawrence's typically committed and uncompromising performance, Dominika possesses an indefatigable air and quite the formidable stare. But Red Sparrow isn't an ass-kicking female-driven flick in the vein of Atomic Blonde, Haywire or La Femme Nikita, or even the action spin on Black Swan that it nods to in its name. Nor is it a pulpy revenge story, an icy espionage thriller or a rousing tale of a victimised woman using her feminine wiles not only to survive, but to bring down the system that's stacked against her. Based on a novel by retired CIA operative Jason Matthews and directed by three-time Hunger Games helmer Francis Lawrence (no relation), the film is simply a routine array of predictable twists packaged with a particularly problematic approach. Specifically, there's nothing empowering or entertaining about a movie that constantly wears its heroine down just because it can. Red Sparrow tries to frame its treatment of its protagonist as an example of an entire country's corruption ("your body belongs to the State!" Dominika is told in one of the film's more blatant moments), but that rationalisation fails to convince. At the same time, the screenplay touches briefly on themes ranging from toxic sexual politics to the treatment of women in the workplace, but that social commentary falls flat as well. It's hard to take seriously any statement on the objectification and exploitation of women when your female protagonist spends most of the movie being raped, beaten, pushed around and bled dry, often while naked or close to it. Frequently, it feels like Red Sparrow is putting Lawrence in the same situation as Dominika, using her for the audience's gratification. Still, Red Sparrow does have some saving graces — all of which come courtesy of the film's stacked supporting cast. There's Charlotte Rampling as Dominika's no-nonsense trainer, Jeremy Irons as a slippery Russian general and Mary-Louise Parker doing some excellent drunk acting. A better movie could be made about any of their characters, and mightn't need to include cringeworthy dialogue like "the West has gone weak, drunk on shopping and social media!" As we see demonstrated again and again, that kind of overcooked writing really does speak volumes about this troublesome film. https://www.youtube.com/watch?v=FFpJAIy-cow
All of the taste, none of the seed storage proteins: if you need to eat a gluten free diet, that's all you ever want. And, if you've been craving a few of your favourite biscuits but usually have to steer clear because they don't fit the bill, Arnott's has released new versions of a few well-known varieties. The big one: the Scotch Finger. Last year, the much-loved Australian biscuit maker released the recipe for its original version, but this is obviously even better if you can't consume gluten. The new variety is made with a gluten free flour blend, which uses locally sourced maize, tapioca, rice, sorghum and soy. This one apparently has a sweet base as well, and you can expect both buttery and vanilla tastes. And yes, it still snaps in half — which is perfect for sharing, or for just treating yourself to two smaller pieces instead of eating one big one. That's not the only Arnott's biscuit that's getting a gluten free version, with both Tiny Teddy and Choc Ripple bikkies also receiving the same treatment. For the former, you'll be able to tuck into small, bear-shapped biscuits peppered with chocolate chips. With the latter, expect the usual cocoa flavour, and the same crunchiness. The gluten free range hits stores today, Monday, July 19, and you'll only be able to grab them from Woolworths supermarkets. You'll pay RRP$4.70 per pack, and all three new bikkies have been developed with Coeliac Australia. Arnott's gluten free Scotch Finger, Tiny Teddy and Choc Ripple biscuits will be available from Woolworths supermarkets from Monday, July 19.
Melbourne comes alive in summer. Outdoor bars and restaurants fill up with people taking advantage of longer days, parks and gardens are gloriously green and the city's arts and culture venues host a huge range of events. Yes, you can certainly run away to beaches for spectacular nature-filled getaways. But summer is as good a time as any for a city break — and we've curated the ultimate way to do it in Melbourne, whether you're a first-time visitor or you know the Hoddle Grid like the back of your hand. [caption id="attachment_658995" align="alignnone" width="1920"] Stano Murrin[/caption] FRIDAY Begin your Melbourne city break with a sundowner at Bar Triana. Located within the AC Hotel Melbourne Southbank, this sophisticated bar offers up views over the city alongside a truly impressive selection of gin. Melbourne is known for its world-class arts and culture institutions, but we recommend you dive a little deeper into the city's lesser-known haunts like The Butterfly Club. This cosy theatre, bar and welcoming space is hidden down a CBD laneway. Once you find the entrance, head inside for a smorgasbord of weird and wonderful theatre. Get tickets to whatever is on and go along for the ride — you won't regret it. For something a bit more orthodox (but just as intimate), head to Bird's Basement for an evening of live jazz. Like The Butterfly Club, you shouldn't worry yourself with what specific artist is performing — just book a table and let the music sweep over you with a cocktail in hand. SATURDAY If you're one of those mysterious morning people we've heard so much about, we suggest taking a stroll to The Shrine of Remembrance for spectacular sunrise views. Take your time wandering around this incredible space and look out over the city, watching it wake up and come alive. From here, head to the shops and grab your picnic essentials before nabbing what is arguably one of the best barbecue spots in all of Melbourne. On the edge of the Royal Botanic Gardens and right on the Yarra River, you'll find a host of free-to-use barbecues overlooking Melbourne's skyline, and is an ideal spot to soak up some sun. If you're looking escape the sun, you won't need to go far. This spot is conveniently located right by Melbourne's celebrated arts precinct where you'll find all kinds of brilliant things to do. See an exhibition at the National Gallery of Victoria or catch a matinee at the Arts Centre, Melbourne Theatre Company or Melbourne Recital Centre. For a pre-dinner drink, make a beeline to The Westin Melbourne's Lobby Lounge. Settle in to a plush club chair in this grand Collins Street space as you indulge in an aperitivo — and maybe a dozen oysters — before dinner. On the menu? Clever and creative Modern Australian at Lollo, a welcoming culinary space with a menu overseen by celebrated chef Adam D'Sylva. Lollo draws inspiration from Melbourne's multicultural heritage to serve up globally inspired dishes that showcase local and seasonal produce. [caption id="attachment_711646" align="aligncenter" width="1920"] Josie Withers for Visit Victoria[/caption] SUNDAY Start your Sunday off by catching the tram to the South Melbourne Market. Grab a coffee from Pieno di Grazia and a freshly baked croissant from Agathé Pâtisserie before browsing the aisles featuring wares from local makers and producers who have made this bustling market a unique destination that highlights the city's diversity. Once you've eaten and shopped your way around the market, hire a bike from the AC Hotel to have one last Melbourne jaunt. Take to The Capital City Trail for a cycling journey that winds past Melbourne's most iconic landmarks. You can attempt the full 30 kilometres or just do a portion of the trail — whether that's Southbank to Burnley Gardens, Moonee Ponds Creek to the Melbourne Exhibition Centre or Abbotsford to Parkville. Whichever you choose, it's the perfect way to end your Melbourne city break. Looking to make the most of your next city break? Find your home away from home with Marriott Bonvoy. Book your stay not at the website. Top image: Dmitry Osipenko (Unsplash)
If you dote over your vinyl collection with obsessive passion — or even if you just casually collect whichever albums you happen to come across whenever you're in your local record store — then you probably have one Saturday in April permanently marked on your calendar. That'd be Record Store Day, the annual celebration of ace music, a beloved format and the shops that trade in both. Sadly, RSD has been postponed in 2020 due to COVID-19 restrictions. Instead of its usual timeslot, the huge vinyl event will now take place in June. But that doesn't mean that your record pile has to remain static for the next couple of months, with record companies banding together for a huge vinyl sell-off: The Great Australian Warehouse Sale. Across the weekend of Saturday, April 18–Sunday, April 19 — when RSD was originally scheduled — music aficionados will be able to snap up vinyl galore, plus CDs, DVDs, cassettes and even books as well, via indie record stores. Record companies such as Universal, Sony, MGM, Warner and more will be diving into their vaults, clearing out their warehouses and making as much stock available as possible, while individual shops will also be adding their own spin to the fun. Because we now live in social-distancing times, you'll be able to pre-order your purchases — then either have them posted or delivered to you, or, if and where stores are open, drop by to pick them up. For further details — including a rundown of what'll be available, and which stores are taking part — head to The Great Australian Warehouse Sale website.
What's the deal with trivia nights based on pop culture commodities? They're awesome, that's what — and they're here to stay. This week, it's Seinfeld's turn. The show about nothing has inspired an evening about everything that made its nine-season, 180-episode run so great. Round by round, the fun unravels at the Flying Cock, in what marks their first large-scale trivia night. Think of it as Festivus coming early for those who think they know every conceivable detail about the hit '90s sitcom — and about Jerry, George, Kramer and Elaine. The gang at Man vs Bear trivia will put your affection to the test, potentially covering everything from soup to sponges, puffy shirts to Pez dispensers, and even the parade of famous faces that played Jerry's girlfriends. Yada, yada, yada — you get the picture. Of course, the bar will also be serving their usual array of drinks, in case those pretzels make you thirsty.
Brisbane's already-hefty list of burger joints is scoring a new addition thanks to the 50s- and 60s-inspired Slim's Quality Burger. The chain initially opened in New South Wales back in 2022, serving up a classic-style and retro-influenced menu like it's operating in America seven decades back. At the time, if promised more stores around the country, too. Come September, the brand is following through on those national plans, making the leap to the Sunshine State with two stores. Slim's debut in the River City will also see the chain notch up a few firsts: its first drive-in and drive-thru diners, and its first to offer a breakfast menu. Adding a meals-on-wheels component is the latest step in Slim's ode to Americana, as already splashed through its vintage-leaning aesthetic. Think: banquettes in cherry read, neon signage, chequerboard flooring and classic light fixtures. Queenslanders will need to head to Kippa-Ring and Slacks Creek at a yet-to-be-announced spring date to satisfy their burg urges at stores with nose-in parking surrounding the eateries — and views into the open kitchen from your vehicle, too. You'll also be able to order from behind the wheel via QR code. Hanging out in the carpark afterwards like this is Grease? That's up to you. Slim's hails from a trio with knowledge of the burger business, with Michael Tripp, Nik Rollison and David Hales all boasting past ties to the Noosa-born Betty's Burgers and Concrete Co. On this venture, they're pairing burgs with old-school ice cream sundaes, and the whole old-school vibe. This chain is all about a lean menu of options made with simple but quality ingredients. Burger-wise, customers can choose between original, cheeseburger, a double and a triple, plus 'the works' burgs, all made with angus beef — and variations of the above with bacon. There's also four different chicken varieties, including with crispy fried or grilled chook, and a veggie option using a plant-based patty. Sides focus on fries either with sea salt, loaded with cheese and grilled onion, or also featuring maple-smoked bacon. As for those sundaes, they come in hot fudge, salted caramel and strawberry flavours. And to wash it all down, there are spiders — because plonking a scoop of ice cream in some soft drink never gets old — plus post-mix soda from the fountain, and chocolate, vanilla and strawberry thickshakes. For those keen on an early-morning Slim's fix, the breakfast offering will span bacon and sausage burgs, steak and egg burgs, works burgs, veggie egg and cheese burgs, hash browns, chia pudding with strawberries and nut-free granola, a full coffee lineup, freshly squeezed orange juice and more. "Our breakfast menu is designed to offer a great start to the day the Slim's way. We believe Queenslanders will love our unique take on these classics," says Slim's chef Greg Engelhardt. Slim's Quality Burger will open at 2/407 Elizabeth Avenue, Kippa-Ring, and also in Slacks Creek, sometime in September — we'll update you with an exact date when one is announced.
Valentine's Day is just around the corner and we at Concrete Playground can think of no better way to celebrate the painful plethora of schmaltz to come than with a hilarious collection of love declarations gone awry, thanks to the miracle of autocorrect. Damn You Autocorrect, the collector of texting fails, have compiled ten of their favourite Valentine's Day autocorrect blunders, proving that despite the efficiency it provides the modern lover, texting away your affection is not necessarily the best way to keep your relationship afloat. Via Mashable Image byCalypsoCrystal.
It isn't every year that the Cannes Film Festival awards its coveted top prize to a movie about having sex with — yes, with — a car. That year was 2021, and that winner was French thriller Titane. Topping such a pick might seem difficult but, when it came time to hand out the 2022 Palme d'Or, the prestigious fest gave the gong to a brutal social satire with a queasy, hilarious, cringe-inducing and utterly impossible-to-look-away-from 15-minute-long projectile vomiting scene. Bodies don't just expel substances from their mouths in Triangle of Sadness' unforgettable and easily most talked-about sequence. Seasickness strikes, what's inside has to come out however it must (and ASAP) and, because that's a situation that strips away all class and power dynamics, there's no longer any hierarchy on the film's ultra-luxurious yacht setting. The scene just might be Swedish filmmaker Ruben Östlund's most awkward and stunning of his career — and that's saying something for a writer/director who actually topped himself by nabbing the Palme d'Or for Triangle of Sadness, given that he also won the same accolade for his art world-skewering previous film The Square. Getting the one-percent heaving up their dinner for a quarter-hour is only one part of Östlund's smart, scathing and supremely entertaining latest feature. Following two models and influencers, couple Carl (Harris Dickinson, See How They Run) and Yaya (Charlbi Dean, Black Lightning), Triangle of Sadness explores the world of fashion, the lavishness of extreme wealth and being stranded on a deserted island. In the process, it ponders beauty as a form of currency and actively tears down the rich — but it's equally savage towards everyone, bank balance be damned. Östlund is fascinated by human behaviour, after all, and the social contracts by which we all live. Indeed, his current sail through such loaded, complicated and comically ripe terrain not only follows 2018's The Square but 2014's exceptional marriage-in-crisis black comedy Force Majeure. [caption id="attachment_884231" align="alignnone" width="1920"] Olivier Vigerie[/caption] Östlund loves scratching away at how people react in heightened situations, and examining what that says about everyday life. He adores unpacking societal expectations, too. Indeed, for his next movie, he's heading to a long-haul 17-hour-plus flight, then taking away the passengers' main source of entertainment. The in-the-works flick is called The Entertainment System Is Down, in fact, and Östlund describes it as "once again a behaviouristic study, comical and tragic, about being a human being — and about contemporary times when we have become so addicted to these screens, and taking that away from us". Talking with Concrete Playground via Zoom, he's visibly excited about putting a new batch of characters through the wringer. That glee is palpable in Triangle of Sadness as well — including when everyone is vomiting. With the film now in Australian cinemas, Östlund also chatted through his fascination with alluring worlds, pop culture's present obsession with eating the rich, all that blowing chunks and shooting for a history-making third Palme d'Or. ON TEARING INTO SOCIETAL CONVENTIONS WITHIN ALLURING WORLDS "I think if I go back to my upbringing, my mother was a primary school teacher and she was talking a lot about sociology with me when I was a kid. And sociology is, if you are looking at what it actually is, it's very often with human beings trying to deal with social contracts that are broken in some way — or there's an expectation on you as an individual to fit into the herd or things like that, but there's always a broken social contract. For Triangle of Sadness, the reason that I got interested in the topic was I met my wife eight years ago and she worked as a fashion photographer. And I got very interested in the fashion industry and her profession, and I got interested in beauty as a currency and beauty as a possibility to climb higher in society. So, that was the starting point of the idea. Then I came up with looking at these hierarchies first in the fashion world, then in the luxury world, but then also on a deserted island — when you take away the old hierarchies, looking at our behaviour in that context. One thing that I decided when I made Force Majeure was that I wanted to let my films play out in an environment that we like to look upon. So I thought when I made Force Majeure: 'yeah I can spend one-and-a-half hours at a ski resort'. With The Square, I thought: 'yeah, I can watch and make a movie that takes place in the art world'. With Triangle of Sadness, then, it was one plus one plus one: 'yeah, I definitely wanted to watch a movie that takes in the fashion world, on a luxury yacht and on a deserted island." ON GIVING AUDIENCES A DILEMMA — AND DRAWING FROM EXPERIENCE "I always look for a dilemma, so I have a situation that the character is dealing with that has two or more options, but none of them are easy and all of them have consequences — that is basically what a dilemma is. And if you have a dilemma, it's very often easy for the audience to identify with the situation rather than with the character, so they put themselves in the situation. To go back to sociology, we have classical dilemmas that have been used in sociology, for example the Milgram experiment where they had a test person giving electrical shocks to another test person. We can identify with the dilemma, so we also get an understanding of what failure there means morally and ethically. I always look for that. I very often also look for things that I have been dealing with in my own life, because I think that these everyday life dilemmas — where you're maybe not risking anything physically, but were it comes down to the social contract — they tell us so much about ourselves. When it came to Triangle of Sadness, I was trying to find something that I have experienced that I felt was dealing with beauty as a currency, men, women, gender expectations and so on. Then I was reminded of this horrible fight that I had in the beginning of my relationship with my wife, where I could feel it was a minefield — you can step on a landmine any second — and I thought 'I have to include this, this is very, very painful, it has to be in the film'." ON EATING THE RICH — AND POP CULTURE'S FASCINATION WITH THE TOPIC "I have always been a socialist, so I think all of a sudden I'm trendy again — and that's fantastic! But I didn't have a plan of attacking that more now. When I was doing my first feature films, I was more of an arthouse director, I was a little subtle with my concepts, and I was not going straight for what I wanted to tell. But the more free I have become as a director, I have also dared to be more direct. And the setup in Triangle of Sadness lets me do that. But I think that one thing it is important for me to point out is that I have nothing against rich people. Rich people are nice — they just don't like to pay taxes! When I hear 'eat the rich', I see it as meaning attacking the rich. I don't consider myself attacking the rich. I wanted to make a very sympathetic image of rich people — or at least as sympathetic of the rich as everyone else. I want to be equally harsh on all of the different class groups." ON ALL THAT VOMIT — AND GIVING HIS CREW MOTION SICKNESS "I wanted to do a scene where we had a drunk Marxist captain reading from The Communist Manifesto to passengers on a luxury yacht that was dealing with seasickness. I was just fond of the idea — that they are playing around with the microphone system and through the speakers in the cabins, the guests are trying to deal with the vomiting but at the same time they have to listen to this political message. The scene actually started with that idea. When I was shooting it, I also decided that I wanted it to go ten steps further than the audience could expect. I wanted it to get to a point where they felt 'please save them, they have had enough!'. But you know, because I'm so interested in broken social contracts, I thought it was interesting if the captain's dinner on a luxury yacht where everyone knows how to behave, and the etiquette of how they should behave, was in conflict with the seasickness that becomes stronger and stronger. I just love setups like that. It took a long time to edit it. I was editing it for half a year almost before we found the right structure. When we shot it, we shot it in fragments — it was not 100-percent decided when I shot it which place the fragments should have in the whole scene, so that was something that I had to find out when I was editing, and that took a long time. The shooting took place on a gimbal that we could rock, so we could rock the set 20 degrees, which made it very chaotic to shoot. I'm used to being in full control and being able to shoot without having the slightest little sound or anything — being very concentrated — so for me that was a challenge. And actually also, parts of the crew got seasick from the shooting. They had seasickness pills because we were spending 13 days, eight hours every day, on this rocking set. As you can imagine, it was chaos." [caption id="attachment_884238" align="alignnone" width="1920"] Cannes, France. 28th May, 2022. CANNES, FRANCE. May 17, 2022: Ruben Ostlund at the photocall for Palme d'Or Awards at the 75th Festival de Cannes. Picture Credit: Paul Smith/Alamy Live News[/caption] ON WINNING TWO PALME D'ORS — AND DREAMING OF A THIRD "I was definitely not thinking about [winning a second Palme d'Or] when we made the film. I felt pressure because I knew that everybody that put in money into the film expected the film to be in competition in Cannes. When we were accepted in competition in Cannes, I said 'okay, mission accomplished, I have given them what I have promised', so to speak. Then we had a fantastic screening in Cannes. And what happens then is you slowly start to hope for a prize. And when you're invited to the awards ceremony, and the prizes go to other films, and you realise 'wow there's only one prize left'. And then you realise we're going to win the Golden Palm again. The great thing with the second Golden Palm is that it takes away pressure from your shoulders, because then you have shown that the first Golden Palm was actually the right decision from that jury. And what happens after you win two Golden Palms is that slowly a dream is starting — maybe we can win a third one! — because then you would be the only one in the world. I'm sorry, this is what happens. I'm trying to be humble but this is what happens! So the first one, I never dreamt about the second one. When I received the second one, I started to dream about the third." Triangle of Sadness is now screening in Australian cinemas. Read our full review. Triangle of Sadness images: Fredrik Wenzel. © Plattform Produktion.
Not all fresh seafood is created equal. Sure, whatever your local fish 'n' chippery sells was probably caught that day, but it wasn't caught just moments ago. If you're keen on the freshest batch of prawns you can get short of catching them yourself, then head to Shorncliffe. Around Cabbage Tree Creek, you'll hit the payload, trawlers unloading their latest ocean bounty. There's nothing like chatting to the folks that caught your seafood, after all — your meal just might come with a story. Arriving early and taking an esky with you is highly recommended — then, go exploring for the ideal spot to eat your feast. Getting the most out of your fresh batch involves peeling them yourself and devouring them as fast as possible, and whether you head to a park or the pier, you're in the right place to do just that.
Call them hangouts. Call them third spaces, aka the places we gather in that aren't home or work. Call them a spot to spend an afternoon with your date or mates enjoying a few brews. Whichever you opt for, these are the types of locations that Range Brewing keeps giving Brisbane. Rays, a new corner bar in Camp Hill that's welcoming patrons through the door from Friday, October 11, 2024, is the team's latest. Every patch of this city needs a leisurely watering hole where whiling away a few hours with a drink in your hand feels like the only thing on anyone's agendas. Range's founders Matt McIver and Gerard Martin are doing their part to make that dream a reality. They initially set up shop in Newstead, which is where their brewery is based. After that, they hopped over to the city's inner west to open Patio in Rosalie in 2023. Now comes the duo's addition to the Brissie's southside, which was first announced in August. This is McIver and Martin's fourth venue in the city — as well as Range and Patio, they also have The Bethnal, the barrel room and event space next to Range, to their name. At Rays, the inspiration comes from European corner bars. So, the Range team has given Brisbane its version, setting up shop in a Newman Avenue space that catches the afternoon light and, in the process, honing in on the third-place concept. "Rays is our way of helping bring that sense of connection back to the community. Whether you're stopping by for a quiet drink, catching up with friends, or celebrating something special, Rays is a place you can call your own," explains Martin. "This neighbourhood bar is designed for comfort and connection, with plenty of spots to settle in, share a story and feel at home. We've taken the best parts of what people love about Patio and brought them to Camp Hill — like our famous fries and unmistakable tiled tables — but we've also introduced new dishes and decor that we're really excited about sharing with punters," McIver adds. With its mid-spring launch, Rays couldn't have opened at a better time. Of ourse, expect its ten taps to be busy pouring brews through summer and, given Brisbane's usual weather, no matter the season. If you've visited Patio over the past year or so, you'll know the vibe that McIver and Martin are aiming for, and why it has proven such a hit on the other side of town. That said, Rays sports its own look. That tiling? It comes in bright limoncello and electric blue hues, across the front bar, as well as tables indoors and out. If you get cosy at a custom-built booth, you'll also be making the most of the spotted gum timber seating. The mood across the entire venue: playful. And if you're keen to check out Rays during its opening period, it's keeping a 50-50 mix of tables for reservations and walk-ins. Beer isn't the only thing to sip here. The drinks menu also spans seven different cocktails — three of them spritzes — as well as a small range of spirits, plus red, white, sparkling, rosé and orange wines by both the glass and the bottle. As for the food, options include panko-crumbed chicken schnitzel, fish sandos, gildas and eight types of pizzas, plus lamb ribs, halloumi fries, and shoestring fries paired with southern herbs and spices. Find Rays at 4 Newman Avenue, Camp Hill from Friday, October 11, 2024 — and head to the venue's website and Instagram for more details.
For seven decades, Japanese artist Yayoi Kusama has been brightening up galleries around the globe with her dot-filled art work — and bringing smiles to art lover's faces in the process. Come October 1, she'll not only be doing just that; she'll also have her own museum dedicated to her lively geometric designs. Expect circles galore, colour aplenty and pumpkins. Slated to open in Tokyo's Shinjuku, the new facility will become a permanent celebration and showcase of the 88-year-old's inimitable pieces, spreading the vibrant joy across five storeys. According to The Japanese Times, the Yayoi Kusama Museum will feature a collection of her art, including her immersive installations, plus documents and related material. Launching with the inaugural exhibition Creation is a Solitary Pursuit, Love is What Brings You Closer to Art from October 1, 2017 to February 25, 2018, it will host two per year, as well as regular lectures. In what's proving to be a great time to surround yourself with Kusama's art, the news comes in the lead up to her next Australian exhibition, Yayoi Kusama: Life is the Heart of a Rainbow, which heads to Brisbane for four months from November. Kusama fanatics (aka everyone) in the vicinity of Japan rather than Brissie can snap up advance tickets to the Tokyo museum from August 28, for a cost of 1000 yen (around AUD$11). The site will run year-round, opening Thursday to Sunday across a series of staggered entry times. Via The Japan Times. Image: Yayoi Kusama in front of Life is the Heart of a Rainbow (2017) ©YAYOI KUSAMA, Courtesy of Ota Fine Arts, Tokyo/Singapore, Victoria Miro, London, David Zwirner, New York
A small grey moon passes silently through the dark, desolate vacuum of space. No wait, not a moon, a space station. Suddenly from within that manmade menace, a thunderous blast of brilliant green light tears forth, obliterating the planet of Alderaan. Elsewhere, a frail Obi Wan Kenobi shudders and fretfully remarks: “I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror, and were suddenly silenced. I fear something terrible has happened”. Fast forward a long, long time to Tuesday April 7, 2015, and once again, one senses a great disturbance has come to pass, only this time, Harrison Ford and the gang are playing for the other team. In a landmark decision by Australia’s Federal Court, iiNet and several other internet service providers (or ISPs) have been ordered to disclose the names and contact details of almost 5000 of their Australian customers accused of illegally sharing the 2013 film Dallas Buyers Club. If you’re currently sitting there with BitTorrent open in the background, chances are you’re one of the millions suddenly crying out in terror. But just how afraid should you be? ISPs, WHERE SIZE DOES MATTER The first question to ask is: which ISP do you use? Telstra, TPG and Optus were all ignored by the rights holders (at least for now), meaning yesterday's ruling only applies to customers of iiNet, Dodo, Internode, Amnet and Adam Internet. If you’re not with them, you’re not in the firing line. TORRENTING: A SEEDY PRACTICE Note the absence of the word ‘downloaded’ above. This case drew a critical distinction between those who downloaded the film and those who seeded the torrent (i.e., those who made it available for others to download). Since it’s impossible to identify downloaders, the names to be provided by iiNet and the other ISPs will only be of those who “made the film available online to other persons; electronically transmitted the film to other persons; and made copies of the whole or a substantial part of the film”. Put another way, if you downloaded Dallas Buyers Club but never shared it, you’re probably in the clear. But if you did seed it (and that does happen automatically through some torrenting software), what happens next? ROUND 1 TO HOLLYWOOD Nothing for the next 28 days at least, which is how long those ISPs have to appeal the decision. The chance of them doing that, however, seems unlikely given the comments by iiNet’s CEO David Buckingham that: "We're very happy with Justice Perram's judgment and his balanced approach to both the studio's and consumers' rights.” In all likelihood, then, four weeks or so from now there are going to be around 5000 letters sent out across Australia courtesy of the film’s rights holder — Dallas Buyers Club LLC. ON A SCALE OF ZERO TO ALDERAAN, HOW SCREWED ARE YOU? Three years ago, a Minnesota woman was famously ordered to pay $1.5 million in damages for illegally downloading just 24 songs from the internet. The plaintiff in that case, the Recording Industry Association of America, never had any real expectation of recovering the money from her because, of course, money wasn’t the point. Sending a message was why they’d pushed so hard, and the same may be said of Dallas Buyers Club here. With this ruling, both they and the court have sought to declare an end to the age of anonymous copyright infringement in Australia. BUT IT WASN'T ME, IT WAS THE ONE-ARMED MAN! Just because you receive a letter from Dallas Buyers Club doesn't mean you're actually guilty of copyright infringement. All it means is your name and contact details are attached to the IP address that was identified in the sharing of the file. Who was doing that sharing is an entirely different matter: your flatmate, a sibling, a child or even an unscrupulous neighbour who cracked your Wi-Fi password (seriously, was it 'password'?). Proving actual guilt will be an additional hurdle that Dallas Buyers Club will still have to jump for each and every case it pursues. OKAY, I AM THE ONE-ARMED MAN So let’s say, for argument’s sake, you’re one of the names about to be provided to Dallas Buyers Club. The ‘balance’ in the decision that David Buckingham was referring above to centres on two key points: 1. Your names won’t be made public; and 2. Every single letter that Dallas Buyers Club intends to send out must first be shown to, and approved by, Justice Nye Perram. That second point is more significant than it may sound, because it seriously limits the ability of Dallas Buyers Club to use those letters as a means of intimidation, otherwise known as ‘speculative invoicing’. Recently in America, Dallas Buyers Club sent similar letters to US-based infringers claiming they were liable for damages of up to US$150,000, but noted they’d be prepared to settle out of court for US$7000. It’s unlikely they’ll be permitted to do the same thing here, though they will almost certainly seek some level of remuneration for the infringement. CLICK HERE TO DOWNLOAD THE FUTURE Does this ruling mean Australians will immediately stop torrenting? Of course not. Australia is Olympic-level bad when it comes to copyright infringement, with BitTorrent accounting for more than 25% of all internet use in the region, and Australians responsible for a full 11.6% of the worldwide illegal downloads of Game of Thrones season four. Crucially, nobody ever disputes that it’s wrong, but everyone finds their own little way of justifying it. For most, that justification sits squarely in what’s termed 'The Australia Tax' — a consistently unreasonable price disparity of up to 400% between here and the rest of the world on everything from automobiles and electronics to music, software, games and films (here’s lookin' at you, Adobe). Coupled with inexplicable delayed releases (something that proved a financial disaster for The LEGO Movie), Australians justifiably feel they shouldn’t have to pay extra for something they want, only to then unjustifiably download the whole thing without paying a single cent. ARISE A KNIGHT The game changer in all of this will be Netflix, which finally launched here last week. In the United States, it's almost singlehandedly credited with reducing torrenting from 31% of all internet traffic to just 5.65% in a mere six years, and there’s no reason to doubt a similar trend in Australia. Cinemas have also wised up, with Village Roadshow CEO Graham Burke declaring last year that in Australia, “movies will [now] be released day and date with the US. Movies will come out at the same time.” Of course, yesterday’s decision may yet be overturned, but it’s a sure sign of the changing times and it would indeed seem the days of torrenting with anonymous impunity are numbered. That's not to say technology hasn't proven remarkably adept at circumventing any measures to control it, just as this author isn't blind to the fact that the Rebels ultimately prevailed over the Empire. Still, this a war neither side is prepared to back away from, so next time you’re thinking about downloading something, perhaps just ask yourself: what if I'm Alderaan? Formerly an intellectual property lawyer with the global firm Allens Linklaters, Tom Glasson is a writer, film critic and TV presenter best known for his work as host of Australia's daily satirical news show The Roast on the ABC.
First, it was a popular 80s comedy starring Dolly Parton, Jane Fonda and Lily Tomlin. Then, it became a five-season television sitcom led by Parton's real-life younger sister. In 2009, 9 to 5 made the leap to the stage too, because you just can't stop a good story about female empowerment in the workplace. Revived in the West End back in 2019, it's still a huge hit — and now, the stage production will head to Brisbane in March next year. Just by reading the show's title, we know that you already have Parton's catchy song of the same name stuck in your head. Pour yourself a cup of ambition, because that tune isn't going away anytime soon. Indeed, you'd best get ready to exclaim "what a way to make a living" more than once when 9 to 5 The Musical hits QPAC's Lyric Theatre from May 22, 2022. Ahead of its time when it first reached cinemas, this tale of three women who take on their sexist, egotistical and all-round despicable male boss is obviously still highly relevant today. Before #TimesUp and #MeToo, workmates Doralee, Violet and Judy decided to turn the tables by kidnapping their supervisor and reforming their office. Expect the same story in 9 to 5 The Musical, as penned by the original film's screenwriter Patricia Resnick — just with more songs. The Australian version will star Caroline O'Connor (a veteran of the movie version of Moulin Rouge!), as well as Eddie Perfect as the workplace's controlling boss. With Parton herself writing the score — and earning Tony and Grammy nominations for her efforts — expect plenty of feel-good music as well. Although she doesn't appear on stage, the famous country star is still involved with the show, and with bringing it to Australia. Images: Pamela Raith Photography.
Finding somewhere to eat and drink in Brisbane isn't hard, with this city of ours overflowing with restaurants, bars, cafes, breweries, distilleries and even its own inner-city winery. But choosing where to head isn't always as straightforward. Maybe you're just indecisive in general, perhaps you feel spoiled for choice or you could simply want to sample everywhere you can. Enter Kiff & Culture, the new local company that's doing tours through Brissie's food and drink scene. Book in for one of its sessions, and you'll be taken out for a five-course banquet at Southside, with the option of either adding drinks or a wine pairing. Next, you'll hit up Brisbane's City Winery for a guided wine-tasting session. Then, you'll choose between a third stop at Stone and Wood or Granddad Jack's at Albion — for a tasting paddle of ales, lagers and pilot batches at the former, or for gin at the latter. If you live within 50 kilometres of the Brisbane CBD, you'll also get picked up beforehand — and, with collection at around 11–11.30am, lunch at midday and drop off between 5–5.30pm, you'll really be making a day of it. Tickets cost between $195–199, depending on whether you opt for Stone and Wood or Granddad Jack's; however, that covers everything on the itinerary. Friends Drew Campbell and Alex Baker, who went to school together, are behind Kiff & Culture. The pair already ran food and wine tours out of Byron Bay, the Tweed Hinterland and Tamborine Mountain, but launched into Brisbane in late August. "Over the past few years Brisbane's food and drink scene has grown into an exciting array of new experiences with a passion for local produce," explains Campbell. "With domestic borders closing for the foreseeable future, we're providing the opportunity for locals to explore some of the best venues in the city with the luxury of door-to-door service." As of late September, Kiff & Culture has made the leap to the Gold Coast as well — and, if you're a Brisbanite who lives within 30 kilometres of the CBD, you can still be collected from home, driven around the Goldie for the day, and then brought back. If that sounds like your idea of an ace day out, you'll start with a five-course banquet at Rick Shores (with an optional drinks package), then move on to beer-tasting at Balter Brewery, and then hit up Granddad Jack's OG Gold Coast venue to sample pilot batches of the distillery's boutique gins. Kiff & Culture's tours run from Thursday–Sunday weekly. For more information, or to book, head to the company's website.
Whether you're an early riser or perpetually out late with mates, Brisbane is a vibrant city with a jam-packed schedule of exciting to-dos — all year round. Sunlight or city lights, kid-friendly or up-past-bedtime, in 2023 you'll be more than set to explore the city your way. Early bird? Rejoice! You've come to the right place — it is the Sunshine State, after all. Sate your appetite for science with an intellectual festival feed. Be enraptured by song with a stellar calendar of music events. Take to the skies via artistic explorations of our earth's atmosphere in a world-class exhibition. Flock together for storytelling and cultural conversations. See your city habitat transformed by immersive installations that query the lines between art, science, human, nature and AI. There are tours and workshops, parties and playtime — all before the sun sets. Though, they don't call her Bris Vegas for nothing. Bright lights and late nights, baby. It's not the city that never sleeps — but there's more than enough to keep you occupied well into the night. In 2023, expect festivals and innovative cultural events, immersive experiences and guided night tours, groundbreaking theatre and augmented reality landscapes. Explore art, science and the space in between via pop-up installations; catch rare films in an art-gallery cinema; watch an epic opera al fresco; witness light shows and fireworks along the river; and feed your musical appetite at a huge urban festival dedicated to the most exciting, fresh talent in the Australian music scene. Whether you prefer to stay indoors or venture into the darkness, Brisbane will keep the lights on for you. Here, we've compiled a bunch of arty things to do and see in 2023, so that no matter what time you're heading out in Brisbane you're guaranteed to have a ripper time. Read on for all the daytime fun, then flick the switch above and we'll turn down the lights and show you the best events happening at night.
The grilled calamari comes seasoned with lemon myrtle. Warrigal green gnocchi is its pasta of choice. Peppermint gum lamb is one of its signature mains, jaffa mousse with eucalyptus honeycomb sits on the dessert menu, and a beer that pays tribute to mango and macadamia Weis bars is on the drinks lineup. They're some of the highlights at Brisbane's Dapl, which serves up modern Australian cuisine with a focus on native Aussie ingredients, and sits inside Creek Street's Amora Hotel. The revamped five-star site was formerly known as the Novotel, then underwent a hefty revamp to the tune of $30 million, with the hotel itself relaunching at the end of 2023. At the time, it officially unveiled its new guise with a rooftop pool deck with skyline views, a lobby bar pouring cocktails and 296 rooms located over 14 floors. The next step: Dapl welcoming in diners from early 2024. Executive Chef Jamie Renfrey oversees the kitchen, with more than 30 native ingredients taking pride of place in his menu, which is available as à la carte dinner dishes and either two- or three-course set menus. The beverage selection includes that Mango Mac kettle sour beer from Revel Brewing Co, gin and whisky from 23rd Street Distillery, and a range of wine and cocktails. Among the latter, the Tropical Punch combines tropical gin with seasonal tropical fruits, triple sec, prosecco and sugar syrup — and the Citrus Sparkler is made with red citrus gin, limoncello, rosemary and tonic. Dapl's nature and botanical themes aren't just on display in its dishes and drinks. They're literally on display in the decor, too, with designers Cottee Parker overseeing the fitout. Think: a feature wall painted with a leafy scene, earthy hues all round and foliage watermarks elsewhere.
Ninety years is an impressive milestone. To get that far, something's got to be built to last, withstanding everything from war to the whims of fashion. True icons need staying power to endure and earn their place in the hearts and lives of generations of Australians. In 2022, we're celebrating three golden oldies that are hitting this milestone and continue to shape important cultural slices of Australia, from influencing fashion to defining our identity and becoming an integral part of everyday life. At just shy of a century, these Australian icons are still going strong — and, frankly, it's hard to imagine life without them. R.M.WILLIAMS It started with a dream in the South Australian bush. A dream of providing stockmen with a hard-wearing, Australian-made pair of boots of lasting quality. In 1932, Reginald Murray Williams (ol' RM himself) handcrafted the unmistakable elastic-sided boot and changed outback fashion forever. The business quickly took off and in two short years RM opened a factory on Percy Street in Adelaide. People flocked to join his workshop and in 1970 the business expanded again to new digs on Frost Road. From a humble mail-order service to pride of place in city department stores and boutiques across the nation (and the globe), R.M.Williams demonstrated, to the world, the quality of Australian craftsmanship and design. A brand with staying power as strong as its leather, the boots are still crafted right here in Australia at the Adelaide workshop. Fashion trends have come and gone but the heart of the R.M.Williams style and craft remain. No other brand can take you straight from the paddock to the pavement in quite the same way. While the brand has expanded to the entire wardrobe, its soul remains grounded in its boots. To celebrate the success of reaching 90 years in the boot making business, R.M. Williams has released limited-edition Craftsman and Lady Yearling boots as well as Jerrawa belts with special 90th anniversary commemorative trims (and a neat little plaque) — so you can wear a piece of Australian history. SYDNEY HARBOUR BRIDGE It's hard to picture the Sydney Harbour view without this staggering feat of engineering across the water, facing off its equally admired younger icon, the Sydney Opera House. The Sydney Harbour Bridge took almost nine years to construct and the opening ceremony was famously interrupted by a sword-wielding disgruntled royalist on horseback. Ninety years later, it's still a sight to behold and one of the most photographed and instantly recognisable landmarks in the world. Sure it's grey, but that's got nothing to do with age — the colour is a specially mixed paint known as 'Bridge Grey' which is regularly splashed across the frame to give it a fresh coat. There's one for your next trivia night. The Bridge is more than a vital transport link. It's also been the focal point and spiritual heart of Sydney's New Year's Eve celebrations for almost 30 years. It's been the destination of joyous events and notable protests, including holding the Olympic rings and the Walk for Reconciliation within that same year — not to mention the Millennium fireworks featuring Arthur Stace's 'Eternity' blazing across it. Declared a Historic Civil Engineers Landmark in 1988, added to the Australian National Heritage List in 2007 and affectionately called 'The Coathanger', the Sydney Harbour Bridge remains a defining feature of Australian landmarks. AUSTRALIAN BROADCASTING CORPORATION The ABC — known as Aunty — is turning 90 and boy does she look great for her age. She's been a trusted voice in Australia since July 1, 1932, from reporting on wars, commentating cricket, covering elections or keeping us connected during environmental disasters. Starting out as a suite of radio stations broadcasting across the nation 11 hours a day, the ABC has seen us through the advent of television, digital media and now on-demand streaming, never missing a beat. That distinctive wavelength logo — chosen for the use of Lissajous vibration patterns in tuning equipment — was designed by Bill Kennard in 1965. Now, it's the symbol of our longest-running public broadcasting network. The ABC has been an integral part of life for generations of Aussies. Play School has moulded young minds since July 1966 and music has been discovered across Classic FM, Countdown, Rage and triple j. The ABC also has a long history of championing homegrown creators, writers and performers who have made world-class dramas like Cleverman and Mystery Road. From humble beginnings to more than 50 local and four national radio stations, a streaming service and a digital archive of radio, TV and media, the broadcaster has continued to evolve over time to ensure it keep Australians connected. To celebrate the 90th anniversary of the brand, R.M.Williams is giving away 90 pairs of limited edition boots. Learn more about the history of the iconic brand and visit the website.
Twice a year, the Sydney-based Queer Screen team puts together a film festival — because condensing the year's best LGBTIQ+ into just one event is a tricky feat. The first, the Mardi Gras Film Festival, happened earlier in 2020. Now, in this new pandemic-afflicted world, the crew's second fest for the year is heading to your screens. That'd be Queer Screen Film Fest, which runs from Thursday, September 17–Sunday, September 27 — and, adapting to this chaotic year, will largely be held virtually. If you're located outside of Sydney, that's particularly excellent news, as the festival is going national in 2020, too. On the bill: more than 40 feature films, documentaries and shorts, with the majority streaming to your chosen device during the fest period. That means that you can curl up on the couch and watch everything from queer German coming-of-age film Cocoon and Japan-set drama Moonlit Winter to New Zealand rom-com Same But Different: A True New Zealand Love Story — plus cross-cultural romance Breaking Fast, documentary Steelers: The World's First Gay Rugby Club and a heap of shorts as well. For Sydneysiders keen for a night out, that is still an option — at the Skyline Drive-In and the Chauvel Cinema. Hop in your car to see the Jacki Weaver-starring Stage Mother or Aussie classic The Adventures of Priscilla, Queen of the Desert under the stars, or get cosy in the theatre to check out acclaimed doco Welcome to Chechnya. https://www.youtube.com/watch?v=8N0bzQ-qzCg The 2020 Queer Screen Film Fest runs from Thursday, September 17–Sunday, September 27 , with most of its program available online nationally. It's also hosting physical events on Saturday, September 19 and Sunday, September 20 at the Chauvel Cinema, and on Saturday, September 26 at the Skyline Drive-In.
Pizza lovers of Melbourne, this is all the news you need to justify tucking into a slice today. Fans of the Italian staple elsewhere around Australia, here's a reminder to add a delicious destination to your next Victorian trip. For the third year in a row, 48h Pizza e Gnocchi Bar has been recognised as one of the Asia Pacific region's best pizzerias — and Australia's number-one standout — as decided by the experts at the 2023 50 Top Pizza awards. The Melbourne pizzeria with outposts in South Yarra, Elsternwick and Spotswood is no stranger to international praise, having claimed the title of Best Pizzeria in Oceania in 2021's 50 Top Pizza awards, then coming out on top in the entire Asia Pacific in 2022. It was also crowned #1 Pizza in Australia at the Pizza World Championships in 2019. For the 2023 50 Top Pizza accolades, it placed fourth in the Asia Pacific, which also means that it also came first in Australia for the third year in a row. This year's best pizzerias were named at a ceremony at the Italian Institute of Culture in Tokyo, ahead of worldwide rankings being unveiled in September. Last year, 48h Pizza e Gnocchi Bar came in 13th globally, a placing that it's hoping to beat in 2023. Running for the last six years, the 50 Top Pizza awards are chosen by around 1000 experts across the globe, who visit the pizzerias anonymously to judge and rank their offerings. The annual international pizzeria guide names its top 50 Asia Pacific picks based not just on the merit of their slices, but on each pizzeria as a whole, rating the food, drinks, service and overall ambiance. In top spot in the Asia Pacific this year: The Pizza Bar on 38th in Tokyo. In second came Bottega in Beijing, then another Tokyo eatery, Pizzeria Peppe – Napoli sta' ca", ranked third. And, Hong Kong's Fiata by Salvatore Fiata rounded out the top five. A handful of other Aussie venues were also named in this year's Asia Pacific top 50 best pizzerias, including Sydney's Al Taglio (11), Pizza Madre (24), Lil Franki Pizzeria (28), Queen Margherita of Savoy (32) and Gigi's Pizza in Balmain (33); fellow Melburnians +39 Pizzeria (34), Shop225 (37) and Il Caminetto (41); and Maestro Sourdough Pizza in Perth (46). Find 48h Pizza e Gnocchi Bar at 373 Malvern Road, South Yarra; 15 Gordon Street, Elsternwick; and Grazeland, Spotswood. For the full 50 Top Pizza Asia Pacific awards list, jump over to the website. Craving a slice, Melburnians? Check out our top picks for pizza in Melbourne. Top image: Hi Sylvia.
Be nice to each other. It's a simple, sensible message that we're all guilty of forgetting sometimes, but every now and then a film pops up to remind us. Wonder is the latest, based on the book of the same name. The movie spends its running time with 10-year-old Auggie (Jacob Tremblay), his family and his friends. Born with a facial deformity and still sporting considerable scars after corrective surgery, the home-schooled Star Wars and Minecraft fan just wants to be an average boy. Understandably, he isn't too keen on finally attending classes with other kids — and facing their stares, questions and inevitable teasing. As The Elephant Man and Mask did before it, Wonder steps through the encounters that follow as Auggie interacts with the world. From bullying to peer pressure to hearing his only friend talk about him behind his back, it's the usual list of struggles. Auggie's mother Isabel (Julia Roberts) and father Nate (Owen Wilson) worry but offer encouragement, while his teenage sister Via (Izabela Vidovic) tries to lend a helping hand. Among Auggie's classmates, some taunt, such as popular kid Julian (Bryce Gheisar). Others are cautiously friendly, like scholarship student Jack (Noah Jupe). It's Wonder's willingness to look beyond Auggie that endeavours to set it apart — and helps it avoid becoming a run-of-the-mill disease-focused weepie (though that fate never feels particularly far away). In chapters narrated by other characters, we learn that everyone has insecurities, fears and woes, as the film drives home the idea that we all deserve love and affection. Wading through troubles at home, navigating first relationships, being forced to give up on your dreams, and coping with death are just some of the situations covered. As such, faulting the movie's intentions is impossible. As it tells Auggie's tale and others, the film shines a spotlight on society's troubling willingness to judge rather than help — a topic particularly relevant in today's political climate. A word of warning, however: if you're not too fond of having your emotions plucked like a harp, then you might say this family-friendly effort has too much obvious sentiment. The movie's thesis of kindness over cruelty is not only thoughtful and important, but as warm as its imagery. Still, at times it can feel as though the script is working through a checklist of every sappy cliche imaginable. In the film that results, there's rarely a moment that doesn't tell viewers how to feel. That's hardly surprising given that director Stephen Chbosky previously helmed The Perks of Being a Wallflower — a movie that telegraphed its emotional intent in much the same way as Wonder, albeit with teenage outcasts instead of a lonely boy. Here, with Room's Tremblay doing such an impressive job of balancing Auggie's bravery and vulnerability, the overt button-pushing is even more unnecessary. Wonder might tell its audience to trust, care and be kind to each other, but it'd help if it trusted them to embrace it's own core messages without quite so much poking and prodding. https://www.youtube.com/watch?v=8GHGHhucqJQ
It's been more than two decades since Brisbane's CityCats first started powering up and down the Brisbane River — and now more than 21 vessels are in operation. Come late 2019, the city's fleet will get a new member, its first double-decker 'SuperCat'. Brisbane City Council has announced that the $3.7 million catamaran will set sail by the end of next year, complete with 16 seats on its upper deck, clear viewing panes below the handrail so that you can get a better look at the scenery, and bigger windows in parts of the lower cabin for the same reason too. If you've ever wanted to lounge around on a CityCat, this one will also have table and lounge seating options. And, if you're running out of juice, it'll feature USB charging ports as well. Deputy Mayor Adrian Schrinner compared the SuperCat to London's double-decker buses — they're not quite the same, but the council is clearly hoping that it'll become a tourist drawcard. "London is famous for its double-decker buses — what better way to see Brisbane than from our double-decker SuperCat," Schrinner said. The new vessel isn't the only upcoming addition to the city's water transport network, with Brisbane also set to score a new inner-city terminal at the Howard Smith Wharves. While the precinct will begin to open in stages from next week, it'll boast its own $12 million CityCat stop from sometime in 2020. That'll bring the total number of places to hop on board between St Lucia's University of Queensland to Northshore Hamilton to 26. The new SuperCat will launch onto the Brisbane River in late 2019. We'll let you know when it's ready to ride.
UPDATE, June 29, 2022: Midsommar is available to stream via Netflix, Google Play, YouTube Movies, iTunes and Prime Video. In the dark, sprawling house at the centre of Ari Aster's Hereditary, nightmares flourished in even the safest of spaces. In the writer-director's sophomore release, Midsommar, devilish deeds and diabolical forces thrive in lush meadows dappled with unrelenting Swedish daylight. Once again weaving a maze of death, trauma, family, secrets, strange sects, unnerving rituals and eerie altercations, the acclaimed filmmaker is clearly fascinated with specific themes and motifs. He has a type, even with the evident change of location and colour scheme. And yet, Aster can't be accused of making the same movie twice. Watching on as a group of Americans encroach upon a secret Nordic community near the North Pole, joining their celebrations during a once-in-a-lifetime festival, Midsommar dives into a whole new world of terror. Crucially, it thrusts the horror genre's lingering malevolence out of dim rooms and musty corners, and into the fresh, vibrant, perennially sun-drenched air. Midsommar commences with the passing of loved ones, in what's become the director's typical fashion. That Aster has already established an authorial pattern just two movies into his feature-filmmaking career (across less than two years) speaks volumes. Midsommar doesn't seem like a rehash, nor like he's filtering his past hit through the somewhat similar The Wicker Man or Kill List. Instead, it feels as if Aster is finding new ways to unpack ideas that keep devouring his mind and soul. Through the grief-stricken Dani (Florence Pugh), he gives the bone-rattling pain of mourning the most distraught face he can, his committed new lead matching Toni Collette's turn in Hereditary for intensity. Then, he pushes his bereaved protagonist much, much further out of her comfort zone. Tagging along with her barely caring boyfriend Christian (Jack Reynor) as he accompanies his college friend Pelle (Vilhelm Blomgren) back to the close-knit commune where the latter grew up, Dani is an interloper twice over. The frat boy-ish Mark (Will Poulter) is visibly unhappy that she's joined their trip and, though fellow anthropology student Josh (William Jackson Harper) offers her kindness, it's obvious that she wasn't initially part of the group's plans. Of course, like their unwanted guest, this motley crew of self-absorbed men don't quite gel at their destination. They're met with hearty smiles, plastered across the faces of serene Swedes who wear white cotton from head to toe, sport floral headdresses and spend their afternoons tripping on mushrooms, but the visitors still stand out. And the more time that Dani, Christian, Mark and Josh spend with the Hårga, as Pelle's pagan community is known, the further they become entrenched in the summer solstice festivities. While it begins with feasts, ceremonies, love runes and laced drinks, disappearances, ominous maypole dances, deaths and worse soon follow. A film steeped in loss, Midsommar is also a movie as much about belonging as longing. The agony and uncertainty someone feels when they don't fit in, and the contentment that springs when they're welcomed with open arms, courses through the picture's veins. Tied to both is Aster's favourite sensation, with dread the movie's emotional baseline. Wherever and whenever he can, the filmmaker layers his sights and sounds with anxiety and apprehension — and with fear and foreboding on top. Unease ripples across the Hårga's leafy haven like a slight but quickening breeze, as made all the more disquieting by the long, wide shots favoured by returning cinematographer Pawel Pogorzelski, and the needling, string-heavy refrains that mark The Haxan Cloak's stirring score. Once again, Aster has crafted a work of commanding control and startling technical precision, each element carefully calculated to disturb viewers with maximum effect. Midsommar is also a work of meticulous pacing, a factor that has more of an impact than might be anticipated. As anyone who has experienced it knows, mourning is a process of waiting for time to tick by, and for soul-crushing sadness to fade from a searing flame to a bearable simmer. Likewise, relishing the joys of feeling safe and wanted also hinges upon time — although, in that situation, no one ever wants their bliss to end. Starting patiently then working up to a frenzy, Midsommar packs much into its 147-minute duration, but mirroring these feelings of grief and of comfort just might be its most devastating achievement. With that in mind, Dani is torn in two conflicting directions, simultaneously wishing her ordeal would finish and hoping that it keeps branching into eternity. Reynor's largely dazed and confused Christian feels the same way, but for his own reasons given that their relationship keeps snapping and straining towards its breaking point. The duo are distressed and drugged, yet they're also caught in the commune's thrall, and Aster asks his audience to share their sentiments. It's easy to do as the director asks, unless you're squeamish. A hallucinatory horror trip that doesn't hold back on its deranged imagery, Midsommar is a glowing, sinister dream. It couldn't look more alluring and idyllic, all while exposing festering miseries and inescapable woes. Every inch a sunlit nightmare, it shocks by bathing its dark heart in gleaming brightness, and intoxicates even as it repeatedly unsettles viewers to their core. https://www.youtube.com/watch?v=_I9ZeUWXI2s
How do stories from the past change when you're telling those stories with new technology? The artists featured in Experimenta Recharge explore this question, as well as how knowledge might be communicated to new generations through cutting edge media. Media art is naturally multidisciplinary and experimental, and the variety of art forms featured in this exhibition — photography, sound art, animation, film, robotics and electronic sculpture, to name a few — make for an intensely stimulating sensory blend. Several works have been commissioned specifically for the exhibition, including a 3D-printed take on 19th century portraiture by Australia’s Cake Industries (Simulacrum 2014), a sound and mixed-media installation piece by German artists Korinsky (RL2000, 2014), and Australian artist Svenja Kratz’s sculptural mix of synthetic materials and cancer cell DNA (The Contamination of Alice, 2014). Experimenta Recharge’s opening night on 25 August features live performances by Michelle Xen and The Neon Wild, with the exhibition continuing until 4 September and then reopening as part of Brisbane Festival from 8 to 26 September. Image: Khaled Sabsabi. ‘70,000 Veils’ (installation view, RMIT Gallery, Melbourne) 2014. 100-channel digital video, 100 LCD monitors, 3D glasses, sound dimensions variable. Image courtesy RMIT Gallery and Experimenta Media Arts. © the artist.
UPDATE, December 23, 2022: The Batman is available to stream via Netflix, Binge, Google Play, YouTube Movies, iTunes and Prime Video. When The Batman begins (not to be confused with Batman Begins), it's with the slaying of a powerful Gotham figure. A shocking crime that scandalises the city, it leaves a traumatised boy behind, and couldn't be more influential in the detective-style tale of blood and vengeance that follows. But viewers haven't seen this story before, despite appearances. It isn't the start of pop culture's lonesome billionaire orphan's usual plight, although he's there, all dressed in black, and has an instant affinity for the sorrowful kid. Behold the first standout feat achieved by this excellent latest take on the Dark Knight (not to be confused with The Dark Knight): realising that no one needs to see Bruce Wayne's parents meet their end for what'd feel like the millionth time. The elder Waynes are still dead, and have been for two decades. Bruce (Robert Pattinson, Tenet) still festers with pain over their loss. And the prince of Gotham still turns vigilante by night, cleaning up the lawless streets one no-good punk at a time with only trusty butler Alfred Pennyworth (Andy Serkis, Long Shot) in on his secret. As directed by Dawn of the Planet of the Apes and War for the Planet of the Apes' Matt Reeves, and co-scripted with The Unforgivable's Peter Craig, The Batman clocks something crucial about its namesake and the audiences that watch him, however. The caped crusader's every move stems from his inescapable grief as always, but no one has to witness its origins yet again to glean why he's become the conflicted protector of his anarchic city. Instead, here he's overtly anguished, upset, broken, broiling with hurt and working his way through those feelings in each affray — a suave, smooth and slick one-percenter playboy in his downtime, he isn't — and it's a more absorbing version of the character than seen in many of the past Bat flicks that've fluttered through cinemas. Why so serious? That question is answered quickly. Also, badging Pattinson's turn in the cape and cowl 'emo Batman' is 100-percent accurate. It's meant to be, because violence isn't just about experiencing or inflicting pain, but also about processing the emotions stirred up. Apply the label to The Batman's unrelentingly dark and rainy aesthetic as well and, once again, it suits. Lensed with such an eye for the absence of light by Australian cinematographer Greig Fraser (a Dune Oscar-nominee) that he's painting with the shadowiest of shadows, this is a grimmer Batman than Christopher Nolan's trilogy, moodier than Ben Affleck's stint, and gloomier than the Michael Keaton, Val Kilmer and George Clooney-starring movies (not to mention the upbeat and campy 60s TV series that gave us the Batusi). Like teen shows, the tone of any given Batman entry reflects the surrounding times, and the tenor here is bleak, bruised and battered. Call the prevailing batmosphere cinema's own bat-signal and that's oh-so-fitting, too. Batman is bruised and battered himself in The Batman. He flinches when jumping from skyscrapers in his winged batsuit, grimaces upon impact and sports contusions beneath his mask before that. In spurts of Taxi Driver-style narration — where he could be one of screenwriter Paul Schrader's lonely men wrestling with the world (see also: The Card Counter) — he seethes about his self-appointed task, past and the state of Gotham, exposing his psychological scars as well. That doesn't change when a serial killer who dubs himself The Riddler (Paul Dano, Okja) and must love David Fincher movies (Seven and Zodiac especially) commits The Batman's opening murder, the first in a chain targeting the city's elite. This other angry mask-wearing vigilante is also waging a war on Gotham's corruption, and leaving puzzles to be solved along the way — with Batman assisting police lieutenant Jim Gordon (Jeffrey Wright, The French Dispatch), and being aided by nightclub waiter-cum-cat burglar Selina Kyle (Zoë Kravitz, Kimi) in turn. What makes one man's angst-riddled quest noble but the other's deranged? As The Batman broods over that conundrum, the line between its titular figure and The Riddler is the finest it has perhaps ever been. Reeves isn't interested in another hero-with-a-sob-story spin on Batman, but in surveying the tragedy that seeps through his grimy and dank rendering of Gotham — yes, even dimmer than in Joker — and plotting the choices that spirit its abandoned residents towards either improving or destroying the city. The longer he chases The Riddler, via altercations with crime kingpin Carmine Falcone (John Turturro, Severance) and club-owner Oswald 'The Penguin' Cobblepot (Colin Farrell, The North Water), the more that Bruce/Batman flies parallel to his new foe. Selina slinks along a similar route, too, as coloured by her own history — plus the missing friend she's desperate to find, which is what connects her with Batman to start with. This many different Batman films and shows in, it isn't easy to make the Dark Knight an entrancing and surprising character again — Christian Bale did, Affleck didn't — but Pattinson's casting is exceptional. Since he stopped visibly sparkling in the Twilight saga, his role choices have been near-impeccable as Cosmopolis, The Rover, Maps to the Stars, The Lost City of Z, Good Time, High Life and The Lighthouse have shown, and The Batman slides seamlessly into his enviable recent resume. There's soulfulness and tension to his portrayal of the Gotham crusader's inner turmoil, not just matching the Nirvana's 'Something in the Way'-meets-'Ave Maria'-soundtracked mood of melancholy, but also rippling in every glance, glare, step, jump and thrown fist. There's also a deep-seated intensity; a willingness to play both Bruce and Batman as weird, awkward and unsettled; and a welcome lack of boundaries between his character's two personas. Reeves hasn't just scored a pitch-perfect lead, though. At just a batwing's flap shy of three hours, his film comes packed more convenient plot developments than necessary, but it has time to cement the savvy Kravitz among the most memorable versions of Catwoman — and to refreshingly play up her sexual tension with Batman. It also ensures that the quietly commanding Wright, hypnotically unhinged Dano and prosthetics-laden Farrell all have room to shine, though The Penguin is hardly a big player. It gives the latest Batmobile a helluva revved-up entrance and breathlessly thrilling car chase, and lets wide-framed, rhythmically choreographed action scenes roll long so that viewers feel the toll they wage on the movie's main man. Spotting everything that influenced The Batman isn't an enigma, of course, and The Riddler would be thoroughly disappointed. But the way that everything is spliced and shaken together, and the mood — and it's definitely a mood — makes this weighty, heavy, sublimely shot, excellently cast, always-engaging blockbuster feel new, and all things Batman with it.
So far in 2016, it seems that Brisbane has gotten a little Carrie-d away. Hot on the heels of embracing Stephen King's creepy classic in musical form, the city is being treated to an anniversary screening of the original film version. Yes, the titular teenager is back on the big screen — and we don't mean in the recent remake everyone should probably just forget. Forty years after it first made viewers feel like they'd been caked in blood themselves, the Brian De Palma-directed effort is back for one night only. You haven't really understood how hellish high school can be until you've seen this. Of course, the film is only the beginning, because a session like this isn't just an ordinary trip to the movies. To make the occasion extra special, attendees are encouraged to get creative when it comes to costuming, with "prom horror" the theme. Yes, a king and queen will be crowned. Yes, you should avoid sitting near or standing under any ominous looking buckets.
When Matt Murdock (Charlie Cox, Kin) and Wilson Fisk (Vincent D'Onofrio, Dumb Money) first sit face to face in the debut episode of Daredevil: Born Again's initial season, they do something that neither has ever been fond of with the other: agree. Daredevil and Kingpin are no more, they both confirm, under threats going both ways should that statement ever stop proving accurate on either's part. Murdock has his legal career to focus on. Fisk is running for mayor of New York City. Murdock will hold Fisk to account, though, if he's anything but above board in his new role running the Big Apple — and Fisk, campaigning with a strong anti-vigilante message, will respond if Murdock slips into Daredevil's red costume again. Murdock and Fisk are back. With the characters dating back more than half a century, so is one of the comic-book realm's greatest rivalries. It's been a decade since the first streaming series to follow their battle on the small screen premiered and also seven years since it wrapped up, with Netflix's Daredevil spanning three seasons from 2015–2018. While that show wasn't part of the Marvel Cinematic Universe, its successor definitely is. Joining Disney+'s small-screen catalogue after WandaVision, The Falcon and the Winter Soldier, two seasons of Loki, Hawkeye, Moon Knight, Ms Marvel, She-Hulk: Attorney at Law, Secret Invasion, Echo and Agatha All Along, Daredevil: Born Again is a new beginning for its namesake and his nemesis, then, but it also honours its television past. Grey areas not only come with the territory in this fierce feud — they aptly apply to its latest TV date. Consider this a fresh start, yes, as well as a sequel. The MCU has been working towards bringing Daredevil and Kingpin's friction into the fold for a few years now, officially announcing Daredevil: Born Again in 2022 much to the delight of fans, then beginning to put that plan into action elsewhere across the franchise. So, viewers have already seen Murdock in Spider-Man: No Way Home and She-Hulk: Attorney at Law, Fisk in Hawkeye, and both in Echo. As those appearances have been popping up and piling up, giving the pair their own series again has journeyed along a winding path due to a creative overhaul partway through. Consider Daredevil: Born Again a show with history, too, in multiple ways in front of and behind the camera. Boasting a connection with Marvel's small-screen tales at Netflix courtesy of The Punisher (which sat alongside not just Daredevil, but Jessica Jones, Luke Cage, Iron Fist and The Defenders), screenwriter and TV producer Dario Scardapane joined Daredevil: Born Again during that shake-up, taking over the reins as showrunner. One of his key tasks: finding the right balance between continuing the story of the Netflix show and taking this new chapter for Murdock and Fisk in its own direction. He was certain that moving forward couldn't mean never looking backwards. He also felt strongly that two more beloved characters needed to be a part of the series. Karen Page (Deborah Ann Woll, Queen of the Ring) and Franklin 'Foggy' Nelson (Elden Henson, Killers of the Flower Moon) weren't originally featured in Daredevil: Born Again — and if that seems unthinkable, that was also the case for the Trauma, The Bridge and Jack Ryan alum now calling the shots. [caption id="attachment_994610" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Scardapane said he wouldn't take the gig without Karen and Foggy, in fact. "I'm a true Italian in form. I have a tendency to make bold statements that may or may not be 100-percent accurate," he tells Concrete Playground. "The thing is, when I went in and talked to them, those two characters had been missing from the original, the first iteration. And unfortunately, in having them referenced but not seeing them, there was something missing in terms of that bridge between seasons. And then I also think that one of the most-interesting characters in the Marvel world, that has not been given as much room to just rock, is Karen Page. I just think that's a fantastic character. I'm super interested in the relationship she has with Matt Murdock. I'm interested in that family of three that you see, and when there's a loss in the family, what happens. So it was, yeah, it was a little extreme to say 'I'm not going to take it unless I get to do this', but it seemed that it was absolutely integral to telling the tale and bringing us into this new version." "And we wanted to do it," notes Sana Amanat, one of Daredevil: Born Again's executive producer — and not only an MCU veteran thanks to Ms Marvel, but a comic-book editor who co-created Kamala Khan on the page. "I think we realised it as we were watching the material. We're like 'this feels like there's something missing'. The heart of the show was missing, and we were all just very simpatico," she advises. "Dario has this phrase, he says 'yes, and' a lot, which I love — because it makes for such a rich collaboration. We wanted the same thing for this project — very much so," Amanat continues. Adds Scardapane: "and it was funny, I think I wasn't there, but I think probably in that, when you had the opportunity to kind of stop, slow down and take a look, it must have felt like 'oh, somebody's missing'. Like there's an X-factor there." As Daredevil: Born Again's nine-episode first season keeps establishing, Daredevil's past ties couldn't remain more crucial to the series, even in a narrative that sees Murdock confront a new future — and, in what proves an engrossing character study not just of its eponymous figure but of his main adversary, in a show that faces the similarities between Daredevil and Kingpin, and how those commonalities drive their obsessions with each other regardless of whether either will admit it. We also chatted with Scardapane and Amanat about that dynamic, as well as how crucial Cox and D'Onofrio are individually and together, knowing what to build upon from Netflix's Daredevil, how working on The Punisher and Ms Marvel helped them prepare for Daredevil: Born Again, and more. On Finding the Right Balance Between Continuing the Story of the Netflix Show and Shaking Things Up Sana: "I think it was quite important, first of all, for us to pay respect to the material that was there before. We really believed in it and we really loved it. The challenge for us was making sure that it was familiar, yet it was charting a new course. We didn't want people to feel like they needed to watch everything — they needed to be able to step in at the first episode and know everything that you needed to know. And I have to say, really a lot of credit to obviously Dario and our writing team, and Justin and Aaron [directors Justin Benson and Aaron Moorhead, who also worked on Moon Knight and Loki], who told us everything you needed to know in those first 15 to 20 minutes. I think also visually, stylistically, again there is a lot of references pulled from the old show, but we tried to do something new and fresh also to make sure that New York felt real, and that there was also stylistic pops that took into account his sensory experience — Matt Murdock as someone who is blind with heightened senses. So that combination, I think, really made it feel like a Daredevil that was in its new course and new chapter, and hopefully it feels exciting and thrilling and bold for folks coming in. We hope that you guys really see the love that we put into it." Dario: "And then when I came in and saw what they had, it was like 'this stuff is really, really, really cool'." Sana: "Yeah." Dario: "But it needs a bridge. It needs something that takes you from the past, from the end of the Netflix show, into what we're doing now. And that was really a large portion of the job, in terms of giving audiences, — and fans like myself of the old show — a touchstone, and then taking them somewhere new." On How Crucial Charlie Cox and Vincent D'Onofrio Are — Not Just as Daredevil and Kingpin Individually, But in Bringing That Rivalry to the Screen Together Sana: "They're so absolutely pivotal. I feel like they are these mythological figures. They are larger than life. When you see them step on set as Daredevil and as Kingpin, you see the presence that Charlie and Vincent have and what they bring to these roles. So there's no other question for me — I mean, those are those characters. And that diner scene in itself, at the opening of 101, said everything that you needed to know about the entire series, about their prowess as actors — and through Dario's incredible writing, and Justin and Aaron's great, great directing. It's just an amazing combination." Dario: "And you were right when you say that the two of them together are more than the sum of their parts." Sana: "Yeah." Dario: "And that's what's so fun about working with and writing for two characters that have such a rich history. There's the history that the characters in the comic book have. Then there's the history that that Charlie and Vincent have, having done this now for about ten years. So when you get in a room to do a scene or write a scene for them, you have the weight and the joy of all that history, and these two actors who know it so well." Sana: "Yeah, it feels like the years of storytelling is building to an intense character drama about these two characters — and honestly, how similar they are. They might be different, but they're pretty similar, too." On Daredevil: Born Again Being a Character Study That Highlights the Commonalities Between Daredevil and Kingpin — and Why That Makes Them So Obsessed with Each Other Dario: "They're both carrying duality. That's what's funny. You have a character or person that is Matt Murdock and Daredevil. You have a person that is Kingpin and Fisk. And those are constantly interacting and constantly bouncing into each other, and bringing out the worst in each other at times. And this whole saga, for lack of a better word, this is what it's all about: this dance, this fight between Kingpin and Daredevil. What are the ripple effects it has into the world? What are what these two people's obsessive need to bang heads? What does it mean for everybody and everything in a city around them?" Sana and Dario, in unison: "It's hard to come to terms with your violent nature." Sana: "Truly, they both have a very complicated and similar relationship to violence, and that is something that is really intriguing to show." On Deciding Which Elements to Continue From the Netflix Series — and Where to Stand Apart Dario: "It's really funny — that's a great question, and there's kind of a litmus test for all of it. There's so many people. We're all bringing everything we can to being custodians of this character. When something's right, you literally feel it. And when something's off, you feel it. So in the same way, if I write something for Vincent that just doesn't feel right, he's like: 'hold on, try this'. And when we build a storyline that just doesn't feel on-story — we discarded a few for season two that just didn't feel like what we wanted to do. And the thing is, is that we've taken almost everything that was started over the course of those three seasons, because there's so much in those three seasons, and we've just put it into a context of seven, eight years later and a bigger conflict because Fisk is now, he's the system." Sana: "There's also just us as fans being like 'oh my god, we love this from the old show." Dario: "Gotta do it. Gotta do it." Sana: "We've got to do it. So that's our litmus test. Like Bullseye — you know, we love Bullseye." Dario: "You were like, very early on 'so, we've got to do a oner'. I was like 'yes, we do'. There was no, especially with the two of us, there's very little like 'oh, no, that's not the show'." Sana: "100 percent. We're usually on the same page, which is awesome." Dario: "Yeah." On What Scardapane Learned From Making The Punisher and Amanat From Ms Marvel That Helped with Daredevil: Born Again Dario: "Now wouldn't that be a team-up." Sana: "Oh my god, that'd be awesome. It's like The Last of Us — but yeah." Dario: "You go first." [caption id="attachment_994625" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Sana: "What did I draw on for this? I mean, ultimately the biggest thing for me — obviously the joy of filmmaking and creating and storytelling is just unmatched, and for me, I've been lucky enough to do it at Marvel for so long. It is about the people that you work with, making sure that they feel heard, that they feel like they're bringing their best — and that we're all creating the same thing together, we're all collectively building just this beautiful tapestry of a very hopefully powerful story. And to me that's the same in any genre that you work on. And if you're lucky enough to work with such great collaborators who can help you bring this vision to life, my job really is to help draw the best out of everyone we're working with to be able to tell the best story that we possibly can. And that is the delight, the delight of my job." [caption id="attachment_994626" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Dario: "The takeaway from The Punisher for me, really — and I will say I had two, for lack of a better word, two great teachers on that job in Jon Bernthal and Steve Lightfoot — was you're writing something that is incredibly dark, incredibly gritty and incredibly violent, but you're always trying to find the humanity inside it. And you're always — when you watch some of Steve's writing, and when you watch some of Jon, what he does with the character — you're always trying to find the heart. And I definitely brought that as best I can to Daredevil. In and amongst all the punching and broken bones and mayhem, you want to find the heart and soul of these characters. You want to really feel." Daredevil: Born Again streams via Disney+. Daredevil: Born Again stills: Giovanni Rufino, courtesy of Marvel Television. © 2024 MARVEL.
Everything in its right place: when Thom Yorke takes to the stage Down Under in spring 2024 for his debut solo tour, performing songs from across his four-decade career, that's how Radiohead fans will feel. The English musician has announced a six-date trip to Australia and New Zealand, on his first jaunt this way since the band that he's synonymous with last made a visit in 2012. Yorke has four Aussie and Aotearoa cities on his agenda in October and November, and he's going big at each of them (no surprises there). The Everything tour will kick off at Wolfbrook Arena in Christchurch, then hop to Spark Arena in Auckland. When he makes the leap to Australia, Yorke will play two evenings each at the Sidney Myer Music Bowl in Melbourne and the Sydney Opera House Forecourt in Sydney. [caption id="attachment_959883" align="alignnone" width="1920"] Michael Avedon[/caption] Yorke aficionados elsewhere across Australia and NZ, this does indeed mean that the tour is leaving you high and dry for local shows — so we foresee a trip in your future. The singer whose voice echoed through Radiohead's 'Creep', 'The Bends', 'Just', 'Karma Police', 'Paranoid Android' and more will be busting out select tunes from the band's catalogue. He also has three studio albums as a solo artist, so expect tracks from them to also get a whirl. And, his film score and soundtrack work — see: Suspiria, Motherless Brooklyn, Peaky Blinders and Confidenza — will also pop up. [caption id="attachment_959885" align="alignnone" width="1920"] Raph_PH via Wikimedia Commons[/caption] Before the Everything tour, Yorke has been hitting the stage with The Smile, which also features fellow Radiohead alum Jonny Greenwood plus Sons of Kermit's Tom Skinner. The Smile's second album Wall of Eyes dropped in April 2024. Of the Sydney Opera House shows, the venue's Head of Contemporary Music Ben Marshall said this "this is historic. I'm ecstatic to announce the long-awaited Opera House debut of one of the greatest musicians of our time". "A multi-award-winning artist, Thom Yorke rose to cultural and critical acclaim throughout the 90s with his boundary-pushing reimagination of contemporary rock, and has soared through recent years with a plethora of wildly innovative solo and collaborative creative projects. Yorke will bring his hauntingly existential lyrics, inimitable falsetto and rapturous arrangements to the Forecourt for two nights only," Marshall continued. [caption id="attachment_959886" align="alignnone" width="1920"] Glenn8881 via Wikimedia Commons[/caption] Thom Yorke: Everything Australian and New Zealand Tour Dates 2024: Wednesday, October 23 — Wolfbrook Arena, Christchurch Friday, October 25 — Spark Arena, Auckland Tuesday, October 29–Wednesday, October 30 — Sidney Myer Music Bowl, Melbourne Friday, November 1–Saturday, November 2 — Sydney Opera House Forecourt, Sydney [caption id="attachment_959887" align="alignnone" width="1920"] Popcornfud via Wikimedia Commons[/caption] Thom Yorke is touring Australia and New Zealand in October and November 2024, with Australian tickets on sale from 10am AEST on Wednesday, June 5 and New Zealand tickets on sale from 11am NZST on Monday, June 10. Head to the tour website for more details. Top image:Raph_PH via Flickr.
Three short years ago, Lefty's Old Time Music Hall changed Caxton Street for the better. If there was one thing the strip of bars, pubs and restaurants needed, it was a late-night hangout that made patrons feel like they were stepping into another world away from fancy seafood eateries, football crowds and the shadow of a stadium. Consider that feat achieved and then some, which is quite the significant endeavour. And consider Lefty's Third Birthday Bash the time and place to make your appreciation known. Just think — if there's cake on offer, we can only assume it'll be made out of green apples. Papa Pilko and The Binrats, Betty Smokes & The Forgetaboudits, Sahara Beck, P.C. & The Biffs and The Empresarios will all be doing their part by playing some tunes, and the venue itself will be adding a popup boilermaker bar and barbershop to their usual spirits-fuelled shenanigans. That just leaves you with the task of showing up, having fun, dancing up a storm and drinking all the apple-flavoured whiskey concoctions you can handle.
Whether it's opening a sprawling art museum, taking over a 400-year-old castle, turning old oil tanks into a digital waterfall or bringing waves of light to Melbourne, teamLab's digital installations are never less than dazzling. The term definitely applies to the interdisciplinary collective's latest venture, too, with teamLab: A Forest Where Gods Live transforming Japan's Mifuneyama Rakuen Takeo Hot Springs into its latest awe-inspiring artwork. Currently on display on Kyushu, the third largest and most southern of Japan's islands, A Forest Where Gods makes the most of its huge site. Created in 1845, and featuring gardens, shrines, forests, rocks and caves, the hot springs stretch across 500,000 square metres — within which teamLab has placed 21 installations, all playing with light, colour and movement as the group's eye-popping attractions always do. In Mifuneyama Rakuen Takeo's bath house ruins, visitors can watch flowers, people and water particles dance across huge megaliths, and feel like they're wandering through a place where time has stopped in the process. Or, over at the hot springs' pond, you can see the water's surface come to life with koi and boats, the former reacting to the latter. Other highlights include floral displays blooming repeatedly on a 5.5-metre-high moss-covered rock, a digital waterfall falling on a shrine, lights fading and glowing across a valley of azaleas, butterflies fluttering through underground ruins, and multicoloured bulbs brightening up cherry blossoms and maple forests. And, it wouldn't be a teamLab site takeover without cups of tea filled with digital flowers, or without a sea of rainbow-hued lamps — both floating on a lake and suspended from above in spiral patterns. The interactive exhibition is split into two parts, with The Nature of Time running from 11.30am–sunset, and Earth Music & Ecology kicking in from sunset–10.30pm. The daytime element has a greater focus on Mifuneyama Rakuen Takeo's existing wonders, while the evening session lets teamLab's shine under the night sky. Whichever you're keen on, if you're going to be in the vicinity and want to head along, you'll want to book a ¥500–1400 (AU$6.95–19.55) ticket in advance — unsurprisingly, teamLab's gorgeous work is always popular. https://www.youtube.com/watch?v=nmCaGTKxy54 teamLab: A Forest Where Gods Live runs until November 4, 2019 at Mifuneyama Rakuen Takeo Hot Springs, Kyushu, Japan. For more information, visit the exhibition website. Images: teamLab.
Most families have road-trip stories and vacation tales embedded not only in their memories, but in their lore. Cherished holiday moments, whether joyous, chaotic or everything in-between, help cement the picture of who a brood is beyond the bonds of blood. So too does recalling those getaways in frequently wheeled-out anecdotes. This is all true for the Hammar family, which spent every summer during now-journalist, TV presenter and writer Filip's childhood heading from Sweden to France. With patriarch Lars behind the wheel, they'd venture for a stint of fun and sun — plus Lars whipping up ratatouille in the kitchen — at Beaulieu-sur-Mar in the French Riviera. Plenty of families talk about recapturing that magic years later. Some make the same pilgrimage again. For Filip, taking Lars back to the spot between Nice and Monaco, driving there in the same type of orange Renault 4, staying in the apartment they always did, and re-orchestrating some of treasured incidents and instances, wasn't just about nostalgia, however. That's an undeniable aspect of the trip captured in documentary The Last Journey, but so is rekindling the now-octogenarian Lars' lust for life — which was flagging after retiring from his beloved job as a teacher after 40 years and biding most of his time in an armchair at home, with his energy, physical and emotional alike, waning. Co-directed with Fredrik Wikingsson, who Filip has collaborated with professionally for a quarter of a century, the film that chronicles the Hammars' new south-of-France jaunt is now Sweden's highest-grossing doco in history. "We didn't expect this," Filip tells Concrete Playground about the reaction to the movie, which premiered in March 2024 in Swedish cinemas, was selected as the Scandinavian country's submission for the 2025 Oscars' Best International Feature category, and opens in Australia on Thursday, February 27, 2025 and in New Zealand on Thursday, March 6, 2025. Included in that sentiment: the response to the film as it has played well beyond Filip, Lars and Fredrik's homeland. "This was just a small, small project that we thought would be very domestic in a way," Filip continues. "Yeah, this is incredible for us," adds Fredrik. With Fredrik also travelling to Beaulieu-sur-Mar with Filip and his father, this is a deeply personal picture. A son trying to help his dad reclaim his zest for living was always going to be — even if the travelling party hadn't had to navigate setbacks such as Lars' hotel-room fall, which results in a broken bone, a hospital stay and almost calling the whole thing off. But as specific to the Hammars as the whole endeavour is, as filled with recreated moments for Lars and Filip, and as layered with minutiae from their family's experiences, The Last Journey also achieves the holy grail of personal filmmaking: ensuring that such an individual quest is always movingly universal. Again, road trips and fondly remembered holidays, tales about them, nostalgia and wanting to recapture family glory days are familiar to almost everyone; however, The Last Journey resonates well beyond the obvious, and long past the broad strokes. While they mightn't have when they were starting work on the movie, Filip and Fredrik — as they're known in Sweden, including via TV shows such as Sunday Party with Filip and Fredrik and Breaking News with Filip and Fredrik — understand this as filmmakers. Their documentary charts their French trip, plus Filip's journey to accept his dad's ageing and his grappling with mortality, through Filip's eyes, but its guiding forces now know that their viewers will see themselves in every Hammar family-centric detail. [caption id="attachment_991498" align="alignnone" width="1920"] Margareta Bloom Sandebäck[/caption] There's a moment in the film in France, in the apartment that he visited yearly when he was a boy, where Filip comments that being there now feels like being in a museum — and that the memories of his dad from past holidays are everywhere you look. There's so much in that statement about the way that we adore and look back on memories and experiences with our loved ones, as there is in the film. Indeed, amid The Last Journey's efforts to recreate key memories for Lars, and its commitment to not shying away from tough moments, Filip's words and the sensation they describe — a feeling that viewers will be able to recognise instantly in their own lives — perfectly sums up the entire documentary. That's an immense achievement for a movie that its directors were "very nervous about this being a very personal, small story that maybe nobody would give a shit" about, as Fredrik advises — even if they did come to realise that for audiences, "when you watch the film, you probably sit and think about the stuff you did with your parents when you grew up and the places you stayed at," Filip notes. Digging into the reaction to the doco, exploring why it's so relatable, unpacking that museum-like sensation, stepping through Lars' seemingly reluctance at various stages, examining why it was so crucial to include difficult moments, uncovering what Filip learned along the way: that's all a part of our chat with Filip and Fredrik as well. On Filip and Fredrik's Journey with the Film So Far, Including Notching Up the Highest-Grossing Swedish Documentary in History Fredrik: "First and foremost, we were very nervous about this being a very personal, small story that maybe nobody would give a shit, because it was just like maybe people will think 'good for you, good for your dad, you made a trip, why should we care?'. And especially abroad, that's even crazier. But the reactions from so many people, we got emails and text messages and stuff of people having seen the film and made their own versions of this journey. Like going to Italy with their 97-year-old grandfather, having one last beer at his favourite restaurant, or a smaller, more reasonable version — 'I just went to a museum with my mother' — and that whole almost-movement has been incredibly rewarding." Filip: "I think that when you start out, when we had this idea — this started out as just me and my dad going on a trip without cameras, when me and Fredrik started talking, 'maybe we should document this somehow'. And we decided to do that. I'm not sure it's a good idea if you start thinking about 'will this resonate?'. Of course you ask yourself those questions, like 'what's the story here?', but I don't think we understood how well it would resonate with people. Because this was my sort of issue — I felt like 'this is me, this is my dad, I want to reverse time, I want him to be the guy he used to be'. I think we underestimated how common that is in a way, how people could truly relate to this. And first off, we discovered that 'hey, they can relate to this in Sweden' — and then we started slowly to screen it outside of Sweden, and then you realise that 'hey, this is a very universal thing'. I mean, it's not that we're stupid. We knew that some people would relate. But I think it's really common now where you don't want your parents to get old, because it also makes you aware of your own mortality. And you also love your parents. So it's a very universal story, I think." On the Movie's Museum Comment, How It Sums Up the Film and How We All See Our Memories in Spaces That Are Important to Us Filip: "Thank you, first of all — that was just something I improvised. It just came." Fredrik: "Yeah, yeah." Filip: "I think people could relate to that as well. I remember, just a while ago, I went down to an apartment, my grandad's apartment — that's not in France, that's in Sweden — and I opened the door and immediately the smell was the same, and I immediately see my granddad was sitting there in his oversized bathrobe in the mornings, whatever. So there are several museums, because you associate places with certain things and memories. And I think that for everyone, like Fredrik talks about — I mean, in the beginning of the film, I talked about that last bend. We drive down to France and my dad always said 'kids, this is the last band. Then we arrive in our paradise'. But Fredrik had his own paradise. You probably had your own paradise. And those are museums, I guess, for all of us. So that's also one of the reason I think you can relate, because when you watch the film, you probably sit and think about the stuff you did with your parents when you grew up and the places you stayed at." On the Quest to Help Lars Recapture His Lust for Life — Even with His Seeming Reluctance About the Journey at Times Fredrik: "I've known Filip since the mid-90s and I've known Lars for as long. And he knows me well, and we love each other. We had a very, very small crew — and I think there is a part of him being a teacher for 40 years, a very beloved teacher. And he was he was beloved because he was also a performer. He was one of those like Robin Williams in Dead Poets Society-type teachers. So I think in a way, I think the camera for him was like a return to performing again." Filip: "That's true. You never said that before." Fredrik: "So even though it could be strange to be on-camera for a person who's not used to it, he was such a natural, if you want to call it that. Also, I think the camera made Lars listen better, because he has all kinds of diagnoses, so he is not the greatest of listeners. But everything, because of the camera, because we filmed everything, the tempo was really slow, and I think he just loved being seen and heard because he hadn't been that for a while sitting at home." Filip: "Some people perceive it as him being reluctant, and that's true at times, but also everything, I try to with my mum, I want her to greenlight everything first. She really approved of this idea. She felt he has to do this. She's there with him every day, and if you're depressed, like my dad is, you rather say 'no' than 'yes' — because you are worried, that's just part of it. We wouldn't, of course, have pushed him if he said 'no, no, no, no, no'. We wouldn't have done it. Or if a doctor would say 'this is not possible'. But I know my dad good enough, my mum knows her husband good enough, to understand that, well, you need to convince him — and sometimes you just need to tell him 'Lars, this is what you've got to do', because we knew that he would enjoy this. There were times when he's worried, of course, because he's lost a lot of self-confidence maybe. But he also enjoyed it. Even Fredrik knows this, because he'd seen my dad throughout the years. You can see when he suddenly tells the story about the parrot, when he starts remembering stuff that happened during the heydays of his life on the French Riviera, he smiles. He loves this. He forgets that he's depressed." On the Importance of Recreating Pivotal Moments From Lars and Filip's Family Holidays — and Managing to Pull Them Off Fredrik: "I think this trip could have been only sunsets and beautiful dinners, and having a good lunch with some great French food, but for us that would not do justice to who Filip's dad is. He is original, and the way he looks at France is not like the typical Eat, Pray, Love bullshit, which is all like the good food and stuff." Filip: "Fredrik sometimes calls this film 'an Eat, Pray, Love for smart people'." Fredrik: "Occasionally. But we wanted this to be a fun trip for him, and we wanted it to be like a reverse bucket list, if you will. Instead of doing things he never did before, let's make him — and for god's sake also let Filip, because he wanted this as well — experience the greatest moments of their lives together, and maybe that could reignite his zest for life. It didn't really work out that way, but I think it made the movie better. And also I think that it made the journey more memorable for him." Filip: "Instead of having him experience new things, like 'oh, my dad wants to swim with dolphins' — for some reason that's always on top of a lot of people's lists. It's hanging in there for decades. It's still there — for him, I think we knew that it's better. It's like you get a ticket to your own museum. Let's do this. And I think that was the key to why it felt, for us, relevant to make this film. And also, this is a film about a good human being — but like Fredrik said, then if it could be only like sunset sand great talks, what's good? There's an edge to this film as well that we're both proud of, and I think it's a funny film, and I think those moments we want him to re-experience are obviously not your average moments. It's like having him retell a pretty shitty story about Harry Belafonte, but he loves that story, and it was part of our summers when he tells this story about Harry Belafonte. And I think that's important for the film. Otherwise film could have become quite ... " Fredrik: "Predictable, I guess." Filip: "Yeah, I guess — and bland, like nothing. There is an oddness to it. But still a relatability. Because you probably have that story in your family when your dad is about to — and 'okay, here we go again, he's going to tell this story'. So we all have our Harry Belafonte stories in our families." On Knowing How Crucial It Was to Share the Tough Turns Along the Film's Journey Fredrik: "You never plan for those. When Lars claims, Filip's dad claims, that he makes the best ratatouille in Europe — and every summer, he made that once every summer, and that was the highlight of his summer, spending hours in the kitchen — so of course we wanted that to happen again. And when you plan that as a co-traveller and also filmmakers, you have an idea, 'this is going to be a beautiful scene, one last ratatouille'. And then when you realise quickly that 'oh my god, he can't even cut through the vegetables anymore because he's too frail', your first instinct is panic, to feel like 'oh whoa, this is not what we planned'. But after a while, if you embrace the truth of the moment, which is 'okay, this is a different Lars now, and maybe this means something for this whole experience' — then, if you include that in the film, which we of course did, it becomes more true, and I think even more relatable. Filip: "This film plays a bit, I think, like a feature. It's a doc, but it could just as well almost been a film based on some book or a script or whatever. But what we love is, talking about whatever plot points, that scene, we didn't see it coming. It was just like 'hey, have dinner'. But we realised that, wow, me being desperate — I can't, I don't remember this hardly — how desperate I am trying to find a sharper knife because I really want my dad to be able to cut through that eggplant. That's a very surprising plot point, but that is probably the scene where I give up, or where I come to terms with my dad's age. 'Hey, he's not going to be the same again'. It's hard to write that. That's why I love making documentaries. It's a scene that would have been hard to come up with if you just fantasise. On What Filip Learned on His Trip with His Dad and Fredrik — and From Making a Documentary About It Filip: "It sounds like it's a film about my dad, like his last journey, but I think the person that makes the biggest journey is definitely me. Because I think I really come to terms, or I finally just come to terms, with 'okay, my dad is not going to be who he once was. This is who he is now. But please, Filip, enjoy this'." Fredrik: "Embrace it." Filip: "And embrace it. This chapter in his life and in our lives together also has a silver lining. So I think that has really, truly changed me. And I think maybe people can relate to that as well. Or if you haven't really come to terms with that, maybe people will. And now me and my dad's relationship is better. Before this, every time I called him, I really pushed him. I told him 'come on, stop being depressed, show some fighting spirit' or whatever. Now I feel like 'okay, it's fine. Let's complain, if you want to do that. Then we can talk about other things'. Because I think he felt the pressure before to sort of perform to make me happy, by saying 'no, I'm really trying, Filip'. So that is good. There's a moment in the film where he says 'I hope you're not disappointed with me', and that sort of reveals a lot how, I guess, a lot of parents feel — how they feel like 'oh, I want to be someone else because my kids want me to be who I once was'. I think that's sad. When I think about that line, I think that changed me in a way. 'Of course, I'm not disappointed in you, dad. You can be whoever you want.'" The Last Journey opens in Australian cinemas on Thursday, February 27, 2025 and in New Zealand on Thursday, March 6, 2025. Filip Hammar and Fredrik Wikingsson are in Australia for preview screening with Q&As on Sunday, 16 February at Sydney's Hayden Orpheum Cremorne, and on Tuesday, February 18 at Cinema Nova and The Astor Theatre in Melbourne.
A perfectly made cocktail is one of life's simple pleasures, though the process of whipping up creative beverages is far from simple. A moment on the lips is the result of minutes of hard work at a minimum, not to mention the time spent concocting recipes, perfecting them and shopping for ingredients. In short, unless you're a professional mixologist, it's not always something you can replicate at home. Enter The Mixery, the new Australian service that knows we all like drinking cocktails, and that we all often have the plonk, but not the rest of the requirements or the know-how. Delivering everywhere across the country, the subscription-based outfit brings monthly boxes to your door, filled with almost everything you'll need to mix up 12 delicious beverages. We say almost, because they're stocking you up with the items you won't have — including three recipes, plus enough bits and pieces for four drinks of each — while relying upon you to provide your own alcohol. To make things simple, each delivery focuses on one type of tipple, with The Mixery's first box showering the love on gin. Cocktails such as the spicy Earl the Grey, herb-infused The Basilisk and refreshingly floral Rosed Up on the menu, aka stellar spring drinks. Those eager to imbibe can order boxes on a one-off basis, or sign up for an ongoing shipment for $40 per month plus a $5 monthly delivery fee. A party box is also on offer, with prices starting at $70. It features a big enough stash of ingredients to make either eight or 15 of each cocktail — as well as an 'easy mix' option, which means you can just throw everything into a jug, add booze and stir. For more information about The Mixery, visit their website.
Whether through Lewis Carroll's words, via Disney's original animated movie or thanks to the recent, colourful live-action flicks, Alice in Wonderland has long earned a place in audiences' hearts and minds. At The Stamford Plaza's next themed event, the classic tale will also secure a place in fans' stomachs. A decadent Mad Hatter's High Tea will do that. Across four weekend dates that no one will want to be late for, the CBD venue is putting on eight wondrous sessions, taking place from 10am–12pm and 2–4pm on April 13–14 and 20–21. The appropriate decorations will transport attendees down the rabbit hole (aka into the hotel's Grand Ballroom), with a balloonologist and caricature artist on hand to help. But, given that the celebrated story is filled with snacks that scream 'eat me' and drinks adorned with 'drink me', the food and beverage spread is the main attraction. Each two-hour sitting starts with a lolly and marshmallow buffet decked out with popping candy, a chocolate fountain, jelly and an edible garden (and yes, the latter is of the dessert, not salad, variety). Next, you'll tuck into sweet and savoury bites that include treacle and white chocolate scones, Cheshire Cat-themed cookies, jam tarts, carrot cupcakes, egg and chives-stuffed mini brioches, and mushroom and lamb parcels. Drinks-wise, expect appropriately labelled beverages asking you to drink them, of course, plus tea and coffee. Dietary requirements can be accommodated by notifying the Stamford when booking, with attendance costing $69.50. Given the theme, and the fact that this is open to all ages, it's best to make like the white rabbit when it comes to securing your spot, as this will sell out.
If there's a trend everyone can get behind, it's books about kick-ass ladies doing kick-ass things. Harry Potter's Hermione Granger and The Hunger Games' Katniss Everdeen have been leading the charge of late — but they're in good company. From Jane Eyre and Hester Prynn to the modern-day characters getting our feisty hearts a-pumping, the heroine is an enduring part of literature for a reason. Discover more as Sarah Waters, Jane Caro, Kate Grenville and Sophie Hannah discuss the hows and whys about the women readers have grown to love, laud, obsess over and idolise — as well as address the ways in which characters and writers can help us be the heroines of our own existence.
Studio Ghibli has become a household name for its stunningly delightful, beautiful and moving films, and rightly so; however, it isn't the only source of wonderful Japanese animated cinema. Everyone should know this in general, but fans of Your Name and Weathering with You should feel it in their shimmering hearts, because director Makoto Shinkai's past two movies have been that astonishing — and deservedly proved huge international successes. Shinkai's list of gems doesn't start with that pair of flicks — it also includes The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words — and it certainly won't end there, either. Indeed, come November this year in Japan and sometime in 2023 elsewhere around the world, the acclaimed filmmaker's new movie Suzume no Tojimari will start enchanting and entrancing cinemagoers. From the just-dropped latest trailer, which also has an English-subtitled version, Shinkai looks to be in familiar territory. In other words, just the animation and art direction alone is spectacularly and breathtakingly gorgeous. Every detail-filled frame of his films could easily sit on a wall — and from this sneak peek, Suzume no Tojimari continues the trend as it follows the titular high school girl and a mysterious young man, who team up to travel through otherworldly gates as disasters start to strike around Japan. If Weathering with You had you dreaming of a Tokyo getaway — or reminded you of past trips, because its renderings of the city are that realistic yet also bewitching, like capturing a glorious memory in animation — then expect the Suzume no Tojimari trailer to have you yearning to travel further afield in Japan. (Obviously, the swoonworthy scenery in the full film itself is certain to amplify that feeling approximately 75,000 times when the movie hits the big screen.) Also part of the fun, as doors keep opening up in Japan's "lonely areas people have forgotten": talking cats, swirling red clouds and scampering chairs, just to name a few of the trailer's highlights. As they did with Your Name and Weathering with You, Radwimps are providing Suzume no Tojimari's soundtrack. Check out the English-subtitled version of Suzume no Tojimari's trailer below (and the Japanese version, too, if you prefer): New trailer of "Suzume no Tojimari" animated movie by Makoto Shinkai (Your Name), with english subs.https://t.co/PLYHnS4g3t pic.twitter.com/vU0V3usSbN — Catsuka (@catsuka) September 28, 2022 Suzume no Tojimari opens in Japan on November 11, 2022, and is expected to release elsewhere around the world in 2023 — we'll update you with a release date Down Under when one is announced.
A skating session that's all about exercise — and sometimes rolling freely — Rollerfit finally arrived in Brisbane a few years back. It's still going strong in 2025, and it still wants you to go for a spin. Once a week, you can hit the rink at the PCYC Lang Park at Suncorp Stadium in Milton, including if you're a beginner just learning to skate. If this is the first time you've ever even thought about living out your Whip It or Xanadu dreams, don't worry — you're covered. The all-levels classes take place on Sundays from 1–2pm. Rollerfit also operates at New Farm State School, hosting dedicated beginners sessions at 4pm on Sundays. Dropping in costs $28, or you can take that down to $20 if you plan to visit regularly and sign up for a 20-class bundle. Five- and ten-class passes are also on offer. If you don't have your own wheels, you can rent them for an extra $5 per session. Rental covers sizes 5–13, and it's a first-come, first-served kind of deal. Images: Susie Yang.
To many, playwright and poet Oscar Wilde is the man who realised the importance of being earnest and showed the world the picture of Dorian Gray. But he was also the author of a particularly scandalous letter, telling a former lover of his pains and regrets from his jail cell. Wilde's famous correspondence was named De Profundis, which, aptly, is Latin for "from the depths". That's where his uncompromising account of his suffering and sexuality sprang from, and that's where Brian Lucas's brand new one-man adaption is certain to as well. Such raw material can only inspire an equally explicit performance, in a contemporary theatre adaption of a classic literary work never before seen on stage. It may be based on Wilde's torment in 1897, delving into the ultimate tabloid fodder of the time; however, this bold and powerful piece speaks to issues of discrimination, inequality and public humiliation that remain strikingly relevant today.
"I find that it takes a while for people to return to themselves after the film." For anyone who's seen The Stranger, writer/director Thomas M Wright's observations might sound like an understatement. For those who haven't yet watched the actor-turned-filmmaker's second feature behind the lens, after 2018's Adam Cullen biopic Acute Misfortune, it may come across the same way. In Australia in particular, the fact that the Joel Edgerton- (Thirteen Lives) and Sean Harris (Spencer)-starring crime-thriller is based on the 2003 abduction and murder of Queensland schoolboy Daniel Morcombe has garnered attention. The Stranger takes its cues from that monstrous real-life case, adapting Kate Kyriacou's non-fiction book The Sting: The Undercover Operation That Caught Daniel Morcombe's Killer; however, it doesn't recreate the crime. It also doesn't depict the victim, or refer to him by name. Everyone has been fictionalised, and there's no violence in the film. Instead, it tracks the enormous police effort to capture a culprit using a criminal gang as a ruse, in what's known as the 'Mr Big' technique. Edgerton plays the incognito cop tasked with befriending the suspect, while Harris is relentlessly perturbing in the latter part. It was Edgerton, also The Stranger's producer, who optioned Kyriacou's text, saw Acute Misfortune and proposed the feature to Wright. The director was initially reluctant, but sticking to the above stipulations was the only way that he could approach the picture, and was willing to. "Those decisions about a complete unwillingness to represent any violence, to represent the victim, to represent those that cared for them — and to centre the film on a fictionalised version of a police operation like the one used in that particular case — those aren't thin acknowledgements," Wright explains. "They're deeply layered considerations that've been placed at the centre of the entire film." In every second, The Stranger feels as carefully and meticulously constructed as Wright's framework suggests — and, by design, dictates. It also feels not just tense but tough, as it should given the story it's interrogating. Debuting at the 2022 Cannes Film Festival, the feature received a seven-minute standing ovation. Now, it plays Aussie cinemas from October 6 before reaching audiences globally via Netflix on October 19. "It's an undeniably different experience," Wright notes of watching The Stranger at home versus on the big screen. "It's an intensely discomforting and very powerful film to invite into your home. For the two hours that the film lasts, I think it will take people into a completely different mindset, into a different psychological realm," he continues, while chatting us through making a movie that's both unshakeably potent and personal. ON WORKING OUT THE BEST APPROACH TO A HORRIFIC REAL-LIFE CASE "Kate Kyriacou's book The Sting, which Joel had optioned, is a non-fiction work of investigative journalism about that specific case. It goes into personal details about the victim, those affected, the other suspects — and I felt that I had no right to represent the victim, that any attempt to represent them would only diminish them and all of their infinite possibilities, and that I couldn't presume to know anything about what that family and those who cared for him went through. So early on, the initial terms for me were: there'll be no representation of the victim of any sort, there'll be no representation of the people who cared for them, there'll be no violence whatsoever in this film. There's an unconscionable way of making this film. There's a morally unforgivable way of making this film. It would not be difficult to create tension in a film about the physical vulnerability of a child, and I wasn't interested to use that space, which is sacred to those real people, for the ease of making a film. So I began to think about these strangers, and that stranger of the title could refer to the perpetrator and that archetypal fear of the stranger in our society — but actually we are a society of strangers. It could also refer to the victim, to their family. Or, to that central figure and all those undercover operatives in the film whose real names we never learn. Or, to all those nameless people, the detectives and searchers at the end of the film who provide resolution for those strangers for them, that family and the victims who've they've never met. It clearly became to me this idea of connection as a society, and of empathy, as the gravity that is going to bind film together. At the time that I was writing it, I live in the inner north in Melbourne, it's where I grew up, it's where my family lives, and there were a whole series of murders of women by strangers, by people they've never met. And it shook the entire foundation of the society — and every state and territory has their own version of these cases that totally shift our perception of safety and of the social contract. They make it feel like a lie or something weak, and it had such an effect on the community down there. It was an outpouring of empathy. And these are just the cases also that have created headlines and achieved large police commitments, and where there has been public recognition. There are so many people out there, and so many crimes that take place, where there is none of that. We still have a woman a week dying of incidences of domestic violence in Australia, and many of those victims go unacknowledged. Of course, I'm not setting out to make a public service announcement in this film, but there are individuals who have to be the first person there, and who give years of their lives, and their mental and physical health, to trying to resolve those incidences of violence." ON FINDING PERSONAL REASONS TO MAKE THE FILM "When we began work on the film, I told everybody that I worked with that I wanted them to find their own reason for making this film — and I wanted them to find a personal reason to make this film. I do think it was a very personal film for all of us who worked on it. Joel said the other day that it was the quietest set he has ever worked on. It was a very tense set because of the seriousness of the material that we're dealing with, and the moral responsibility we felt, and the focus it required of us. For me, it absorbed every waking and dreaming moment of my life for three years, and I felt a tremendous moral responsibility to get it right and make something that we could all stand behind — and that didn't let any of my collaborators down. I'm not talking about the Academy Award-winning producers. I'm talking about the sound recordist and production designer and assistant editors, and everyone with whom you make a film. And also because of the presence my son in the film, because I wrote it for my son to portray Joel's son in the film. In the process of filming, Joel found out that he was going to be a father. That made it intensely personal and emotional for him also, and I watched it change him and shift his entire being. Both Joel and Sean were transformed by the process of making this film. Sean's wife actually saw the film after we'd finished and said that there was nothing of him left in that character, that he was completely absent. She didn't recognise him, and I think she found that really overwhelming and very powerful. I can attest to that as the person that was there beside them the entire time — this was a tense, difficult film to make that just took those central cast, and I include here Jada Alberts in particular, into a place where they really weren't their selves anymore." ON MAKING THE FILM PERSONAL FOR AUDIENCES "Cinema has always been a collective experience, and when films really work, we're simultaneously aware that they're a shared experience but they're also deeply personal. This film, for people who respond to it — obviously not for everybody — gets itself into a very personal place. I think it does that by making itself physical and physically felt. That's why breath was such a key part of the film to me. I wanted to begin with something that made an audience active, even in the most subtle, underlying way, because every part of the film asks that the audience be active in that physical, subjective experience of what Mark [Joel Edgerton's character] is going through. You're trying to tune people to the frequency of the film, to the psyche of the people working on this kind of case. There's a hyper-alertness. It's a film partly about trauma more generally — a film about the fact that those of us who reach adulthood, we come into the world and at some point in time we become aware of the darkness and the unknowable things within it. We have to find a way to be able to reconcile that and continue to move forward and find meaning, because the thing about violence is that it threatens to strip things of their meaning. It renders things meaningless. So you're dealing with a hyper-alert psychology. It's certainly something that we were actively trying to encourage in the audience. When you set out to make a film, you are trying to show people something they haven't seen before, to get them to feel something they haven't seen before — and, to relate to the film in a different way while understanding it's part of an impossibly deep lineage of stories, and these kinds of modalities of storytelling that are well-established now in cinema." ON AUSTRALIA'S OBSESSION WITH CRIME STORIES — AND STANDING OUT "Even though the film is part of a strong lineage of Australian crime cinema, I just think it sits outside a lot of that work in its intentions. A lot of these kind of films are more realist depictions of people, and head toward a kind of final emphatic act of violence, which often takes place off-screen. That's certainly the case in Snowtown. It's the case in Nitram. It's the case in a film like The Boys. Even though the reason for The Stranger is violence, it's not its subject… It begins in the aftermath of that violence. It's an attempt to make meaning and to reconcile the after-effects of violence on individuals and by extension on society. I think there's a reason that that this genre and these ideas are so prevalent in Australian thinking. It's certainly not limited to Australian film. When you look at our most prominent authors — Richard Flanagan, Chloe Hooper, Helen Garner, Tim Winton, Patrick White — this is a subject that has been grappled with. And in our visual art, and in our music. We return to it over and over again. I think that has to do with an unreconciled relationship to violence in this country, a landscape that has been marked by violence, and that we know that. We can intuit it, but for the main, we don't have a way to unpack that — and it remains there, unresolved." The Stranger releases in Australian cinemas on October 6, then streams via Netflix from October 19. Read our full review.
It's not every day that you get to revisit some of the absolute best queer movies of the past few decades on the big screen, and for free — but that's exactly what's on the bill at the Gallery of Modern Art this month. Between Friday, August 12–Wednesday, August 24, the venue's Australian Cinematheque is diving into the recent history of LGBTQIA+ cinema, all thanks to a program called In Queer Time, which is packed with highlights. The yearning romance of Andrew Haigh's Weekend, which sees casual hookups as more than just a one-night stint of physical attraction, is one such must-see — or must-see-again — flick that's on the program. So too is the iPhone-shot Tangerine, which follows best friends, sex workers and trans women Sin-Dee Rella (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor), and takes place on Christmas Eve. Or, you can check out Xavier Dolan's debut coming-of-age drama I Killed My Mother, aka the film that catapulted the Laurence Anyways and Mommy filmmaker to fame — or jump back a little further to 1990, and to another debut, thanks to Todd Haynes' (Carol, Far From Heaven) Poison. Other standouts include Gregg Araki's The Living End, about two HIV+ positive gay men on a road trip across the US; Lynne Ramsay's haunting page-to-screen adaptation of We Need to Talk About Kevin; documentary The Salt Mines, which follows three Latinx trans women; and sci-fi/fantasy Born in Flames from Lizzie Borden. Films screen on Wednesday and Friday nights, and during the day on Saturdays and Sundays — and, while no one needs a reason to show a lineup of queer greats like this, GOMA is pondering the notion of queer time in each and every film.
Are Nick Offerman and Megan Mullally comedy's funniest couple? Both together and apart, their resumes make a strong case for it. Here's another way to make that call: catching them live onstage together in Australia in their first-ever shared in-conversation session. It's a one-night-only date for the Parks and Recreation co-stars, happening to close out Vivid Sydney 2025. If you're as obsessed with one of the best American sitcoms of the 21st century as everyone should be, you will have spotted a trend at Vivid in the past two years. At 2024's festival, Amy Poehler was on the lineup, also getting chatting. Fingers crossed for Adam Scott or Rob Lowe in 2026. Yes, you should get the bacon and whisky ready for Offerman and Mullally. You should also prepare your ears for some high-pitched laughter. Making your own canoe? If you can, that's an appropriate way to celebrate, too. Taking place on Saturday, June 14, 2025 at the International Convention Centre Sydney, Offerman and Mullally's exclusive Vivid show is called Unscripted & Unfiltered with Nick Offerman & Megan Mullally, and falls into the Harbour City event's Global Storyteller series — which is also bringing Martha Stewart to the New South Wales capital in 2025, was why Poehler was on 2024's lineup, and has also seen The White Lotus' Jennifer Coolidge and Mike White, filmmakers Baz Luhrmann (Elvis) and Spike Lee (Da 5 Bloods), and Australia singer Troye Sivan get talking in past years. Parks and Recreation's on-screen Ron and Tammy Swanson were meant to tour to Australia together in 2016, but Mullally had to drop out due to a scheduling conflict, so Offerman came solo. When they finally make the trip by each other's side, the husband-and-wife duo have everything from their multi-hyphenate individual careers to collaborating as creative and real-life partners to dig into, alongside their LGBTQIA+ and environmental activism. "Megan and I are powerfully chuffed to get back to town for Vivid Sydney, but also to reprise our lovemaking session atop the Sydney Harbour Bridge. Once we have recharged those particular batteries, we'll be thrilled to transfer our slatternly energies to the Vivid Sydney audience," said Offerman, announcing Unscripted & Unfiltered with Nick Offerman & Megan Mullally. "Come for the anecdotes and the burlesque lust in our every turn of phrase, then get stretched out before you get home, because there's gonna be some canoodlin'." "We couldn't let Vivid Sydney take place this year without treating visitors to a masterclass in comedy. Nick and Megan are one of the funniest couples alive, and this conversation is set to be equal parts unpredictable and hilarious. Bolstering Vivid Sydney 2025's lineup alongside lifestyle icon Martha Stewart and the formidable Nigella Lawson, there really is something for everyone," added Vivid Sydney Festival Director Gill Minervini. Offerman and Mullally have also appeared on Will & Grace, Childrens Hospital, Smashed, Somebody Up There Likes Me, The Kings of Summer, Bob's Burgers, The Great North and Party Down together, to name just a few of their shared credits. The Last of Us, Civil War and the upcoming Mission: Impossible — The Final Reckoning are some of Offerman's recent other projects, while Dicks: The Musical, The Righteous Gemstones and Reservation Dogs are among Mullally's. Unscripted & Unfiltered with Nick Offerman & Megan Mullally takes place on Saturday, June 14, 2025 at the International Convention Centre Sydney, with tickets on sale on sale at 9am on Friday, May 9 via the festival website — and presales from 9am on Thursday, May 8 for Stan subscribers Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information. Top image: Emily Schur.
Similar mechanics, new skin: when It's Always Sunny in Philadelphia's Rob McElhenney and Charlie Day branched out from their cult-hit sitcom back in 2020, that was the approach. Co-creating what was then known as Mythic Quest: Raven's Banquet alongside fellow It's Always Sunny writer Megan Ganz — and with McElhenney also starring — they took a comedy formula they knew, loved and excelled at, then swapped out the specifics. If this Apple TV+ series was a video game, rather than being set in the industry that creates them, it'd be the latest workplace-comedy expansion pack. Whether watching The Office, Parks and Recreation and Brooklyn Nine-Nine or Mythic Quest's platform stablemates Ted Lasso and Loot, laughing at the ups and downs of working life means spotting familiar elements, after all, because much about nine-to-five grind is universal. Now streaming its third season, with new episodes dropping weekly since mid-November — and also going by a shortened name since season two — Mythic Quest slots smoothly into its genre. Far more conventional than It's Always Sunny, which smartly and savagely satirises despicable behaviour in, around and tangentially related to a Philly bar, McElhenney and Day's second series unpacks its gaming-industry setting and the attitudes that come with it. Still, the Mythic Quest crew isn't afraid to blow things up and respawn, as it virtually has between season two and three. At the end of 2021's batch of episodes, the eponymous studio fractured, with guru-like founder Ian Grimm (McElhenney) and his Australian lead engineer Poppy Li (Charlotte Nicdao, Content) chasing new challenges by starting another company. Since episode one, Ian has been Mythic Quest's visionary, with Poppy as his righthand woman. And, since the first season charted their troubles with the latest expansion pack for their massively multiplayer online role-playing hit, that relationship has ebbed and flowed. Sometimes, Mythic Quest HQ's general mayhem has been the cause, including the pressures of keeping their popular game profitable and its fans happy. Sometimes, it's been a battle of egos, wills and personalities between Ian, Poppy and their colleagues. In its first few episodes, the show took time to find its groove, but it has kept shining and brightly since it did. The key, including through season two, is that central dynamic. McElhenney plays Grimm as someone drunk on his own idea of himself, not to mention the celebrity and status that's come with his game, as well as the adoration and power. Meanwhile, Nicdao's Poppy barely manages to cope, especially with her confidence in such a male-dominated industry. By sending the pair out on their own at GrimPop, where they're now endeavouring to launch a new title called Hera that's Poppy's creation rather than Ian's, season three doubles down on that contrast between the duo — and, in the process, on the struggle for women in gaming to be given the room they deserve to thrive, lead and shatter the glass ceiling. A gifted coder, as well as the technical force behind Mythic Quest the game, Poppy has always wanted recognition and respect. That's been a running theme in Nicdao's roles over the past few years, in fact, given that the also-excellent ABC iView short-form series Content had the Aussie talent playing a wannabe influencer who desperately hoped her online antics would bring her fame. Nicdao's career dates back almost two decades now, including past roles on The Slap, Please Like Me and Get Krack!n, but she's certainly catapulted to stardom herself after her #Flipgirl days thanks to Mythic Quest. On-screen, though, Poppy's version of seeking the spotlight involves having her own success rather than just always being stuck in Ian's shadow. So, branching away from the title that made their careers but still remaining together, the pair are now meant to be in a true 50/50 partnership. Thanks to that big season-two finale move — which could've doubled as an overall farewell if the show wasn't renewed for both a third and a fourth season — Mythic Quest's current stint contemplates breaking out of comfort zones, embracing new challenges and welcoming fresh voices. Like most of the series' comic stylings, that thematic thread aims to call out the insular nature of gaming and its many imbalances, widening its scope to examine getting something new off the ground rather than toiling for an existing hit. Within the storyline, though, Ian and Poppy are just on a different floor of the same building as Mythic Quest's regular crew. Encounters with neurotic executive producer David Brittlesbee (David Hornsby, Good Girls), his brusk assistant Jo (Jessie Ennis, The Flight Attendant), disgraced ex-finance head (Danny Pudi, Community), and former testers Dana (Imani Hakim, Cam) and Rachel (prolific voice actor Ashly Burch) are still a regular part of their days, and a source of chaos. While a new level awaits for Mythic Quest's characters — including goodbyes to some — the series itself isn't completely in the same situation in season three. It shakes things up in a narrative sense, but understands what has always made the show power up: its well-written and wonderfully cast characters. Indeed, by focusing on Ian and Poppy's relationship, as well as plenty of other pairings within the series, McElhenney, Day and McElhenney still keep finding new depths to explore. Unlikely couples are an old workplace-comedy favourite, and not just because it's easy to wring humour out of stranding opposites together. In a genre already so steeped in the everyday regardless of the kind of business its on-screen figures get their paycheque from, navigating clashing personalities isn't just relatable — it's reality. Rounding up a motley crew, watching them bounce around, seeing how they change and grow — if the characters in It's Always Sunny were actually capable of significant change and growth (and if it suited the show for them to evolve and mature, which it doesn't), then McElhenney and Day's two series would have plenty in common. They still do, of course, including an incisive ability to parody and play around with the whole workplace setup. As Mythic Quest keeps going, it too gets sharper and funnier, and more aware of the flaws that make all of us who we are. It mightn't end up breaking records as the longest-running live-action sitcom ever made, as It's Always Sunny has after 15 seasons (and counting), but pressing play for another astute and amusing round keeps proving easy. Check out the trailer for Mythic Quest below: Mythic Quest streams via Apple TV+.
When Hercule Poirot returned to cinema screens in 2017's Murder on the Orient Express, the infamous Agatha Christie-penned sleuth was always going to hang around. Hollywood loves a franchise and, on the page, the fictional Belgian detective has featured in more than 80 tales. Accordingly, a sequel to the Kenneth Branagh-starring and directed movie was always inevitable. Death on the Nile is that follow-up, as once again based on the book of the same name. It's due to hit cinemas sometime in the future — in this COVID-19 world, movie release dates aren't really set in stone anymore, as anyone who has been hanging out for months to see Tenet or Mulan knows — and, as the just-dropped first trailer shows, it trots out the familiar Poirot formula. In the current film series, that means bringing a whole heap of famous faces together in a confined location, dressing them up in luxe threads, interrupting their trip with a murder, then watching the moustachioed detective put his skills to the test. Obviously, here, everyone is on a boat in Egypt. In fact, Poirot is on vacation on a glamorous river steamer when duty calls — in the form of a couple's idyllic honeymoon that's been cut short by tragedy. Branagh is back both on-screen and behind the lens, while this time around he's joined by Gal Gadot, Armie Hammer, Annette Bening, Russell Brand, and even comedy legends Dawn French and Jennifer Saunders. Also popping up: Murder on the Orient Express' Tom Bateman, Game of Thrones' Rose Leslie, Black Panther's Letitia Wright, Wild Rose's Sophie Okonedo, Sex Education's Emma Mackey and Victoria and Abdul's Ali Fazal. Check out the trailer below: https://www.youtube.com/watch?v=tRP57Bz842A&feature=youtu.be Death on the Nile is slated to release in Australian cinemas at a yet-to-be-revealed date — we'll provide exact details when they come to hand. Top images: © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.
You've binged your way through HBO's excellent Chernobyl mini-series. If you're a Melburnian, or you've taken a trip to the Victorian city recently, you may have wandered through a recreation of the exclusion zone around the exploded nuclear reactor as well. Soon, you also might be able to sip shots of vodka from the region — made from grain from the Ukrainian area that has been off limits for more than three decades. The tipple in question is called Atomik Vodka. Brewed by a team of scientists from the UK and Ukraine, it's part of a three-year research project investigating the transfer of radioactivity from the soil to crops grown in the closed-off spot, as well as in the Narodychi District within the Zone of Obligatory Resettlement. (People still live in the latter location, but the land isn't officially allowed to be used for agriculture.) While the grain itself showed some signs, all traces of Chernobyl-derived radioactivity was lost in the distilling process, which inherently reduces impurities — leaving the vodka with the same level of natural radiation that you'd find in any other spirit. The vodka also uses local mineral water, sourced from a deep aquifer below the town of Chernobyl, around 10 kilometres south of the nuclear power station. It's been found to possess chemistry similar to water from limestone aquifers, like the one in the Champagne region of France, and was used to dilute the distilled alcohol to 40 percent. At present, only one bottle of the vodka exists. And, if you're curious about giving it a taste, it's not for sale. But the team behind Atomik hope that will change, and, that after clearing a few legal hurdles, they'll be able to begin a small-scale experimental run of the grain spirit by the end of this year. If they're successful in their efforts, they plan to donate 75 percent of Atomik Vodka's profits back to the affected Ukrainian community. It's also hoped that the research project will assist residents around the exclusion zone by showing that the land is now safe to be used for agriculture, opening up further investment and economic benefits. For more information, visit the Atomik Vodka website. Via the University of Portsmouth.
Sunday session: they're two of the finest words in the English language, particularly if you like ending your weekend in style (and forgetting that you have to go back to reality the next day, even just for a few hours). Thanks to Salt Meats Cheese, they're about to be joined by a few more excellent terms: Aperol Spritz jugs, live music and free pizza. From March 18, that's what's on the menu from 2pm to 6pm every Sunday at their Gasworks and Surfers Paradise stores. Farewell your few days off with a sip, a bite and some tunes — and don't pay more than $35. Yes, as part of the new weekly event, SMC are also serving up spritz jugs for that exact amount. And, it includes whatever type of pizza you'd like for absolutely nothing. Just pick your favourite from their 14 varieties and settle in for the arvo.
"When you've got it, flaunt it," the song goes — and when it comes to Australian movies, filmmakers have taken that advice. What they've got is a stunning outback setting, and they certainly know how to show it off. The latest example: Strangerland. A tale about missing children, arguing parents and the many factors that have caused both states of affairs, Strangerland has plenty of other things going for it. There's the high-profile cast of Nicole Kidman, Joseph Fiennes and Hugo Weaving, for one. There's the simmering mood of melodrama, for another. There's never any doubt, however, that this is a movie defined by its location. The Parker family — pharmacist Matthew (Fiennes), his wife Catherine (Kidman), teenager daughter Lily (Maddison Brown) and younger son Tom (Nicholas Hamilton) — has moved to the country town of Nathgari, laying low and hiding from past troubles. It's the kind of place where the locals know each other by name, and where there's little to do but complain about the heat, which the newcomers do plenty. It's also the kind of place where kids wander and adults wonder, as happens when Lily and Tom disappear into the night, leaving Matthew and Catherine looking for answers. A determined cop (Weaving) investigates the case, his detective work uncovering family surprises, marital tensions and deep-seeded disharmony, while a dust storm complicates his search. A remote town turned ugly and a scenic setting brimming with complexity fuel Strangerland, recalling the likes of Wake in Fright, Picnic at Hanging Rock and Mystery Road. They're comparisons first-time feature director Kim Farrant seems happy to conjure, leaning heavily on the oppressive nature of the landscape as she does. Her film lingers, both lovingly and a little too long, on aerial shots of the rock, dirt and scrub, making the harshness of the Australian desert evident. In fact, postcard-worthy pictures of the nation's interior receive almost as much screen time as the actors. That's not to say that the cast doesn't have much to do, just that they're often dwarfed by their background — and that rings true not just visually but in the story. Kidman carries the weight of past tensions in her performance, one of her best of late, as a woman trapped on several levels. In contrast, Fiennes doesn't fare as well at expressing his character's inner turmoil, leaving his on-screen wife the star of the show. The third point in their tussle, the ever-welcome Weaving, makes the best of a stock-standard part. Indeed, stock-standard describes the majority of Strangerland as it sticks to the 'atmospheric Australian drama' playbook. What sets the movie apart from other efforts, however, is its refreshing consideration of female sexuality — a rarity in films of this and other ilk. It seems that the women at the feature's core have also heeded guidance about flaunting what they've got, their desire and desperation proving gripping viewing. Strangerland is at its most powerful when contrasting Lily's blossoming youth with Catherine's need to connect, and coping with the crises that spring from both. The space between the two is the real mystery unfolding in the outback.
Remember those greasy kebabs you used to order during your uni days? Well, these definitely ain't it. Known for lovingly made Greek food, The Yiros Shop now boasts seven locations across our fair city. If you decided to channel some Lindsay Lohan in Mykonos vibes last night, we would point you towards the wagyu beef yiros, which comes with tomato, red onion, parsley and tzatziki. Or, maybe you're feeling more of the lamb, rocket and feta yiros with fresh beetroot and crunchy walnuts. The best part is, all the yiros come with the fries already stuffed inside, so you'll have a free hand to delete the evidence off your socials from last night. Who knew you were an aspiring Tik Tok star, huh?
The Langham Gold Coast is giving festive season celebrations a coastal twist this year, with a lineup of luxurious Christmas and New Year's dining experiences set against stunning views of the Pacific Ocean. Across Christmas Eve, Christmas Day and New Year's Eve, the hotel's signature restaurant, Akoya, and the Diamond Ballroom will host a series of indulgent celebrations that blend world-class cuisine, premium beverages, and The Langham's signature touch of elegance. Guests can start the festivities with Christmas Eve and Christmas Day buffets overflowing with ocean-fresh seafood, traditional roasts, and decadent desserts, all served in Akoya's chic oceanfront setting. For those looking to elevate their holiday experience, the Diamond Ballroom's Christmas Day lunch transforms into a festive wonderland, complete with a three-hour premium beverage package and live entertainment. When it comes time to toast the new year, Akoya's New Year's Eve Buffet Dinner sets the stage for an unforgettable night by the sea. Expect champagne, a coastal-inspired feast, and panoramic views of the Gold Coast skyline as midnight approaches. Packages start from $195 per person, with complimentary dining for children aged four and under, making it a perfect way to celebrate with family or friends. Whether you're dreaming of a seaside Christmas or a sophisticated New Year's celebration, The Langham Gold Coast offers a festive experience where every detail matters.
Downton Abbey has always been the TV equivalent of a cup of tea: warm, soothing, a tad sugary, but reliably serving up an escape from everyday woes. Airing for six seasons from 2010–15, the 1920s-set British TV series was a hit for many reasons, letting audiences get lost in the soapy intrigue of a lavish Yorkshire mansion chief among them. That, and watching Maggie Smith sling barbs, make quips, and put anyone in their place, a skill that the veteran actor wields oh-so-well. It's been nearly four years between sips, but both the show and its beloved octogenarian are back. They're on the big screen this time around, however this is the epitome of a television movie. It's filled with everyone's favourite characters, hits all of the familiar marks, overflows with slim subplots that get wrapped up before the end credits, and leaves viewers feeling happy and cosy. With the film taking place in 1927, more than a year has passed for Downton Abbey's inhabitants, but it's business as usual at the titular manor. That's until royal news arrives, with King George V (Simon Jones) and Queen Mary (Geraldine James) planning to stop by for a visit. Naturally, excitement abounds among the aristocratic Crawley family and their loyal staff. It's the latter that have to weather the most obstacles, though. Dreaming of attending to Their Majesties, they soon discover that the Crown will be bringing their own servants with them. That's not the Downton Abbey way, of course, and the house's maids, butlers, cooks, footmen and the like won't give up their chance to shine for the kingdom without a fight. There's plenty of story to go around, and plenty of people to navigate the regal antics. Patriarch Robert Crawley (Hugh Bonneville) isn't too fussed, and nor is his wife Cora (Elizabeth McGovern), although that's largely because their daughter, Lady Mary (Michelle Dockery), takes charge. His mother Violet (Smith) is spoiling to confront her cousin Maud (Imelda Staunton), who's also the Queen's lady-in-waiting, about an inheritance. Among the upstairs residents, Tom Branson (Allen Leech) gets the most interesting narrative arc — an ex-chauffeur who married into the family, and an Irish Republican, it's suspected that he may cause trouble during the royal stay. Downstairs, retired butler Carson (Jim Carter) has been asked back for the occasion, much to his replacement Barrow's (Rob James-Collier) dismay. Kitchen maid Daisy (Sophie McShera) isn't quite ready to plan her wedding to footman Andy (Michael C. Fox), and Mary's maid Anna Bates (Joanne Froggatt) is on the trail of a thief. The list goes on, with more than 25 characters receiving substantial screen-time. Penned by Julian Fellowes, like all 52 episodes of the TV show, Downton Abbey takes the more-is-more approach. This cinematic last hurrah is packed with as much as it possibly can manage, which is great news for existing fans, but comes across as rushed for newcomers. No one gets too much attention, no storyline feels particularly important and there's little in the way of tension. The blueprint of each subplot gleams as obviously as the mansion's lavish surfaces, too, even when the movie keeps jumping from one minor drama to the next. Rather than telling a rousing new tale in a fleshed-out fashion, Fellowes and director Michael Engler are more concerned with letting Downton diehards spend a bit of extra time with the well-to-do crew and their kindly subordinates. The pair do just that, however that doesn't mean uninitiated viewers aren't catered for. Nearly two decades after winning a screenwriting Oscar for Gosford Park, actor-turned-writer Fellowes has become the fount of all knowledge regarding English upstairs-downstairs shenanigans — and even when he's keeping things light and slight, the results are enjoyable to watch. As well as possessing an ear for the rhythm of everyday banter among posh and ordinary folks alike, he understands the class clashes between them, plus the similarities that draw them together. He also knows and conveys a crucial fact: that the dynamic between the upper echelons and the help isn't as consigned to the past as it may seem. Downton Abbey is a historical fantasy where scant little changes, but there's a reason that the period program struck such a chord over the last decade. As the political landscape becomes more and more fractured around the globe, the series recognises society's divisions while leaning into comfort, safety and stability in a gentle and unchallenging manner. Comfort, at least visually, might just be an understatement. There isn't much to rationalise Downton Abbey's release in theatres instead of on TV (other than the likely box office windfall, that is), but the lavish costuming and grand set design look a treat on the silver screen. Indeed, other than Smith doing what the program has always tasked her with doing best, the film's imagery is the star of the show. While the rest of the cast perform exactly as they're asked — as is to be expected nine years after the series first premiered — this isn't an actor-driven affair. Really, it's a big hug goodbye in movie form, offering up a huge embrace to eager aficionados and giving a pleasant-enough squeeze to everyone else. https://www.youtube.com/watch?v=GbV8LpEzYgQ
Sometimes you need to wait for the things you love. In Hacks, that's true off- and on-screen. It's been two years since the HBO comedy last dropped new episodes, after its first season was one of the best new shows of 2021 and its second one of the best returning series of 2022 — a delay first sparked by star Jean Smart (Babylon) requiring heart surgery, and then by 2023's Hollywood strikes. But this Emmy- and Golden Globe-winner returns better than ever in season three as it charts Smart's Deborah Vance finally getting a shot at a job that she's been waiting her entire career for. After scoring a huge hit with her recent comedy special, which was a product of hiring twentysomething writer Ava Daniels (Hannah Einbinder, Julia), the Las Vegas mainstay has a new chance at nabbing a late-night hosting gig. Fictional takes on after-dark talk shows are having a moment, thanks to Late Night with the Devil and now Hacks' third season. At times, some in Deborah's orbit might be tempted to borrow the Australian horror movie's title to describe to assisting her pitch for a post-primetime chair. That'd be a harsh comment, but savage humour has always been part of this showbiz comedy about people who tell jokes for a living, which returns via Stan in Australia and TVNZ+ in Aotearoa from Friday, May 3. While Deborah gets roasted in this season, spikiness is Hacks' long-established baseline — and also the armour with which its behind-the-mic lead protects herself from life's and the industry's pain, disappointments and unfairness. Barbs can also be Deborah's love language, as seen in her banter with Ava. When season two ended, their tumultuous professional relationship had come to an end again via Deborah, who let her writer go to find bigger opportunities. A year has now passed when season three kicks off. Ava is a staff writer on a Last Week Tonight with John Oliver-type series in Los Angeles and thriving, but she's also not over being fired. Deborah still sees it as a necessary move, and a push for her protégée to chase her own dreams. Ava feels scorned and betrayed, particularly since she was the catalyst for her mentor ditching the act that she'd been performing at a casino residency for decades, then getting raw and real by sharing stories about being a woman in comedy over that period, reinventing her image in the process. Back in Vanceland (our term, not the show's; Deborah's mansion is sprawling enough to warrant such a name), everything is gleaming without Ava — but Deborah isn't prepared for being a phenomenon. She wants it. She's worked for years for it. It's taken until her 70s to get it. But her presence alone being cause for frenzy, rather than the scrapping she's done to stay in the spotlight, isn't an easy adjustment. She's hardly fond of her new writers (Dream Scenario's Dylan Gelula and Orphan Black: Echoes' Jordan Gavaris), and crowds feeding off her merely standing onstage means that none of her material actually matters. Deborah's life is now unfettered praise and no challenges; as her Estate Manager Josefina (Rose Abdoo, Leo) remarks to her Chief Operating Officer Marcus (Carl Clemons-Hopkins, The Beanie Bubble), the comedian staying up all night rearranging her salt-and-pepper shakers isn't a great sign. Hacks creators Lucia Aniello, Paul W Downs and Jen Statsky — all Broad City alumni, all co-writers, with Aniello also directing and Downs co-starring — were never going to keep Deborah and Ava apart in season three. The reunifying developments: first crossing paths at Just for Laughs in Montreal, then tucking into Tom Cruise's famous coconut cake, then attempting to win Deborah a hosting job that she once almost had and hasn't recovered from losing. With Ava's show on hiatus for three months over summer, she agrees to head back to Vegas to help do whatever it takes. If it sounds like a reversal of season two's finale, that's because it is — instead of Ava being free to pursue her own passions, she's parking them for Deborah's — but codependency has also long been at the heart of this always-astute gem. Although Deborah can't stomach being seen to rely upon someone, Ava has changed her. As for the latter, she can't divorce her own career from the comedy legend. But time away, and also the success of the special that neither could've made without the other, puts them on more-even footing when they reteam. Hacks season three again also explores the other pairings in Deborah's life, including her daughter DJ's (Kaitlin Olson, It's Always Sunny in Philadelphia) festering hurt over her mother's absence in her childhood, and Marcus feeling undervalued and stagnant while running her business empire. Now out on their own, Deborah and Ava's manager Jimmy (Downs, How It Ends) and his assistant Kayla (Megan Stalter, Please Don't Destroy: The Treasure of Foggy Mountain) have their own codependency to grapple with, especially as they work their way through the industry (which is where guest stars such as Blindspotting's Helen Hunt and Knuckles' Christopher Lloyd come in) on Deborah's behalf. Hacks' third season has a comedy roast, where DJ revels in the catharsis of slinging mean words at her mum; a dress from Deborah's treasure trove that Ava describes as "giving Big Bird"; and Mad Men great Christina Hendricks as fellow big-name guest. Its main duo get lost on a hike, navigate a golf trip and weather a chaotic Christmas party. Deborah also admits to feeling the passage of time, as well as the urgency to achieve everything that she's ever wanted ASAP that snowballs with it. The season surveys humour today from high-profile ridicule sessions to cancel culture. It's unsparing about the glass ceiling in late-night TV, as it should be. Along the way, Aniello, Downs and Statsky keep improving their series — and keep proving some of the smartest and funniest writers in the business. Crucially, the pursuit of Deborah's all-time coveted gig takes Hacks into new terrain, ambitiously for the show and the character alike. A sitcom built around an odd couple, the show could've coasted by on its mismatched intergenerational lead twosome. It could've remained a must-see thanks to the excellent performances that the never-better Smart and equally engaging Einbinder bring to their parts, because they're both that magnificent. But while Deborah might've clung to a routine for much of her life, the series hasn't, and it's all the greater for it. If longevity is about taking risks, Hacks makes its latest confident and hilarious claim for a long-haul run. Check out the trailer for Hacks season three below: Hacks season three streams via Stan in Australia and TVNZ+ in New Zealand from Friday, May 3. Read our reviews of season one and season two.
