When there's all that vino to drink, no one really needs another reason to book in a holiday to the Barossa. Still, a towering new six-star hotel smack bang in the middle of the vineyard is certain to catapult the South Australian wine region to the top of your must-visit list. That's what's coming to the famed Seppeltsfield winery, as first announced back in 2020 — and the $50-million, 12-storey spot has just gotten the official tick of approval. Given that the Oscar Seppeltsfield has only just received that planning go-ahead after a period of community consultation, don't go backing your bags just yet — it isn't set to open until 2024. But it'll make one helluva impressive spot to visit when it does start welcoming in wine-loving guests, and also give the Barossa a new landmark. Named after winemaker Oscar Benno Seppelt, the hotel will be surrounded by century-old bush vines — and every room will feature a private balcony so that you can soak up that view. Speaking of spots to slumber, there'll be 71 rooms in total, including penthouses and suites. Also included: a fine-dining restaurant, private dining room, boardroom, fitness studio, day spa and infinity pool. And, to literally cap it all off, a top-floor viewing deck with 360-degree views over the region will sit on the highest level. Just think, after hitting up a bunch of cellar doors, sipping local vinos and eating lots of cheese, you can come back and have a dip in the pool, peer out over the vines from a great height, then sit down for more wine and a white-tablecloth dinner. If you're looking for indulgence, this is it. Designed by Adelaide-based firm Intro Architecture, the towering 12-storey design was inspired by wine barrels and is set to bring a modern edge to Seppeltstfield, which is one of Australia's oldest wineries and was lauded as one of the top 50 vineyards in the world in 2019. The new hotel also looks a lot like La Cité du Vin in Bordeaux, also one of the world's most prestigious wine destinations. Construction on the Oscar is expected to start this year. And yes, it's destined to become a tourist attraction. It's anticipated that the hotel will bring in an extra $90 million in tourism dollars, and also drive an increase in both Aussie and international visitors, within the first five years of opening alone. "The Oscar Seppeltsfield will complete the grand vision of our tourism master plan — to be the most desirable epicurean destination for tourists worldwide. A national icon for South Australia, a Sydney Opera House for the Barossa," said Seppeltsfield proprietor and Executive Chairman Warren Randall. Oscar Seppeltsfield is slated to open at Seppeltsfield Winery's Great Terraced Vineyard, Barossa Valley, South Australia, in 2024. For more information, head to the winery's website.
Finally, a chance to engage in some recreational thievery without that annoying little issue of being in contempt of the law. The Art Series Hotel has extended a general invitation to the public to swing by and steal its artwork right off the wall, as part of their freshly launched competition, 'Steal Banksy'. The promotion was inspired by the authentically illegal activities of a group of vandals who attacked a city wall in London with an angle grinder in 2007, pocketing a slab of concrete baring a Banksy design entitled 'No Ball Games'. The group subsequently sold the stolen artwork on eBay for 20,000 pounds. The act in turn inspired a further series of artwork by Banksy, including the 'No Ball Games' image currently hanging on the wall of a Melbourne hotel. In a nod to this rebellious ingenuity, the Art Series Hotel invites you to book a room between December 15 and January 15, and attempt to steal the artwork without being caught. If you're successful, they'll let you keep it. Perhaps not the most ethical message ever to be projected in a marketing campaign, but it does sound like a lot of fun, and definitely in keeping with Banksy's trademark anti-authoritarianism. Update: The Banksy gets stolen. A second artwork is up for grabs.
As demonstrated by various creative ventures around the world — like Chicago's recent Saved by the Bell-themed pop-up diner and New York's summer museum dedicated to ice cream — people love niche. The internet loves niche. We all die over niche. The latest art show to pop up in London was also pretty niche — so niche that it couldn't even physically be enjoyed by humans. It's an interactive exhibition for dogs. Running for two days last week in London, Play More was the world's first interactive exhibition purely for canines — and, needless to say, the ultimate puppy porn situation. Designed by British artist and inventor Dominic Wilcox, the show was a collection of contemporary paintings, multimedia pieces and installations with which the dogs could interact. There was a massive dog bowl-shaped ball pit (filled with brown balls that resemble dog bikkies), a digital frisbee game and — our favourite — an open car window simulator that recreates the feeling of riding with the window down while a fan wafts happy dog smells like raw meat and old shoes into their adorable windswept faces. Some of Wilcox's own work was on display, along with other artists' creations. Was this made purely for the internet? Well, yes. The exhibition is actually an activation for UK insurance company More Than, who commissioned Wilcox to create a collection of works that would encourage their owner to spend more time with their pups. Either way, we're sad to have missed this glorious doggo day out. Via Dezeen.
Since 2016, the British royal family's ups and downs haven't just played out across newspaper headlines. They've also fuelled Netflix's hit drama The Crown. If you're fond of the streaming platform, regal intrigue and combining the two, then you're obviously a fan of the series — and you can now lock Wednesday, November 9 in your diary for your next date with the show. If this sounds familiar, that's because it was announced a year back that viewer would need to wait until November 2022 to watch season five of the series; however, Netflix has now revealed the exact premiere date. In focus in this batch of episodes: the royal family in the early to mid-1990s, including the breakdown of Prince Charles and Princess Diana's marriage. As the series is known to, it's shaking up its cast with this leap forward. After starting out with Claire Foy (The Electrical Life of Louis Wain) as Queen Elizabeth II, Matt Smith (House of the Dragon) as Prince Philip and Vanessa Kirby as Princess Margaret (Pieces of a Woman) in its first two seasons, which aired in 2016 and 2017, the series returned in 2019 with Olivia Colman (Heartstopper), Tobias Menzies (This Way Up) and Helena Bonham Carter (Enola Holmes) in those roles. Plus, it added Josh O'Connor (Mothering Sunday) as Prince Charles — and, in season four in 2020, Emma Corrin (Misbehaviour) and The X-Files icon Gillian Anderson joined the cast as Lady Diana Spencer and British Prime Minister Margaret Thatcher, respectively. When season five premieres in a few months, Downton Abbey, Maleficent and Paddington star Imelda Staunton will don the titular headwear, while Game of Thrones and Tales from the Loop's Jonathan Pryce will step into Prince Philip's shoes — and Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. Also, Australian Tenet, The Burnt Orange Heresy and Widows star Elizabeth Debicki plays Princess Diana, with The Wire and The Pursuit of Love's Dominic West as Prince Charles. Netflix also dropped its first sneak peek at The Crown's fifth season as part of Tudum: A Netflix Global Fan Event — the streaming platform's big unveiling of everything set to hit your queue in coming months. The first teaser does indeed focus on Charles and Diana, and the tension between them as their separation is announced. Season five will arrive two months after Queen Elizabeth II's death in early September, and following a pause in the show's production afterwards. News around the show's fifth and sixth seasons, which'll follow the monarch into the 2000s, has changed a few times over the past few years. At the beginning of 2020, Netflix announced that it would end the royal drama after its fifth season. Then, the streaming platform had a change of heart, revealing it would continue the series for a sixth season after all. The first teaser for The Crown's fifth season is only available as part of Tudum: A Netflix Global Fan Event, at around 20 minutes in — you can check it out below: The Crown's fifth season will hit Netflix on Wednesday, November 9. Images: Keith Bernstein / Alex Bailey / Netflix
In news that'll come as little surprise given Melbourne's status as Australia's coffee heartland — and its predilection for complete coffee snobbery, too — a barista from the Victorian capital has taken out top honours at the Australian Specialty Coffee Association (ASCA) National Coffee Championships. Anthony Douglas of Axil Coffee Roasters has nabbed the title of Australia's National Barista Champion for 2022. Douglas beat out scores of other Aussie hopefuls in the annual competition, which was held at North Melbourne's Meat Market last month. His winning offering on the day consisted of an espresso, a milk-based coffee and his own coffee-based signature drink — a concoction featuring pomegranate and feijoa syrup, a juniper reduction, barhee dates and honey. Your morning latte's got nothing on that bad boy. [caption id="attachment_869967" align="alignnone" width="1920"] Anthony Douglas[/caption] The newly crowned coffee king will now go on to represent Australia at the World Barista Championship, which is happening at the Melbourne Convention and Exhibition Centre from September 27–30. It's been seven years since Australia last claimed glory in the international competition, when Ona Coffee's Sasa Sestic was named World Barista Champion in 2015. Douglas has been in the coffee industry for 12 years, and names two-time National Barista Champion Dave Makin as his boss and mentor. Catch the World Barista Championship at the Melbourne Convention and Exhibition Centre from September 27–30. Axil has a swag of cafe locations across Melbourne — find your local by jumping to the website. Top Image: Fahmi Fakhrudin via Unsplash
Australian author Christos Tsiolkas is back with a new novel, Barracuda, sure to get the nation talking. The follow-up to 2008's agenda-setting, TV-destined hit, The Slap, it's an exploration of failure and how to come back from it. Ahead of his sold-out talk at the Festival of Dangerous Ideas, Christos spoke with Marcus Costello about the nature of failure. You're a winner. And you don't have kids. Who are you to talk about teaching kids to fail? Fair call. To be honest I'm very wary of telling anyone how they should lead their lives. The thing is, I believe you can only ever truly talk from your own lived experience. Everyone's failures and, for that matter, everyone's experience of parenthood is unique, so to speak on behalf of anyone else under the pretence that you're all part of a select group [parents] isn't really fair either. That said, you know, maybe because I'm not a parent I can think what's in the best interest of a generation of children, not just my child, my flesh and blood. I can ask the question: Have you come here to learn how to raise your kid to be the best or how to think about what's best for your kid's generation as a whole? I mean, if we care to think about it, the wholesale derailment of the education system by the private sector has failed so many underprivileged children. And yet, my guess is, were they able to afford it, most parents would want to send their kid to a private school, and in so doing, feed the beast. But my talk isn't only about teaching children the virtues of failure. My talk is going to focus on how failure marks a certain adult relationship with Self and the world by way of moments in my life where I feel I've failed and the lacerating but ultimately rewarding experience of atoning for that failure. But if one can atone then it's not true failure; it's just part of an eventual success story, no? I see what you mean. Like, if you flick through any of those in-flight magazines there's always a profile of some celebrity that reads like an elaboration of a Nike advertisement or some dot-com entrepreneur in Forbes talking about how "failure made me stronger". My talk isn't going to be like that. The kind of professional failure I'm interested in exploring isn't so much a book that didn't sell well, but a book I've put out that betrayed my integrity or where I made lazy choices. I feel this way about my second novel, Jesus Man. On a personal level I've failed as a friend, as a son, as a lover ... On a national level, and this is a central theme of my talk, the culture of ruthless materialism and political self-regard that has emerged over the past two generations strikes me as a moral failing. That makes me think of a quote by Po Bronson I found while researching, "Failure is hard, but success is far more dangerous. If you're successful at the wrong thing, the mix of praise and money and opportunity can lock you in forever." Yes! That's so accurate. The seduction of success is something we all need to keep in check because when we step into smaller and smaller social circles it's so easy to fall out of touch with the broader community. How will you feel if your new novel Barracuda flops? Come what may, I feel I've reached a certain point in my life where I know that, for the rest of my time here, writing is what I will do. In that way you're fail-proof. I mean, if you think of yourself as destined to write, compelled by a force greater than commercial success, then you've beat the system. I guess you're right. As an artist it's folly to single out any one work as the mark of failure or success — if you're true to what you do then you see everything you produce as building towards something greater. That said, if Barracuda flops I will be upset, but for other reasons. There are so many people around me who are invested in this book and in my success — I don't want to let them down. Like The Slap your FODI talk is for an elite audience. The sad truth is that if anyone thinks anything of a child being slapped at a BBQ, that marks them as elite. To that end, how dangerous is any idea if you're only talking to those people who actually care to think about ideas? Ah, yes, this is true, and such a hard thing to deal with. I guess I can only hope that what I say will spark conversations beyond the Opera House; that someone will listen to what I have to say and take that message to someone else and the word will filter out that way. I wish I had a better answer to that but I don't. Barracuda is out now through Allen & Unwin. The Festival of Dangerous Ideas is on at the Sydney Opera House from November 2-4. Top image by John Tsiavis.
This could be love: a classic 80s film that's been adored for decades, a new date with the big screen, and a live band and singers bringing its soundtrack to life as you watch. Dirty Dancing in Concert isn't new to Australia, but it keeps returning to tour the country because the movie at its centre is one that audiences can't get enough of. If you're a fan, you'll know which phrase fits: ideally, you'll have the time of your film-watching life. In September and October 2025, Patrick Swayze and Jennifer Grey will dance up a storm in the 1987 romantic drama. While the tour is clearly hoping that you've never felt like this before, that'll only apply if you didn't go to 2022's or 2023's shows. Whether you're a Dirty Dancing in Concert first-timer or returning after seeing it before, you'll not only see the movie — you'll also hit up the party afterwards. Accordingly, as you celebrate one of Swayze's biggest and most-charming film roles, you'll be immersed in the world of the picture from the moment that you take your seat. Although no one will be carrying watermelons or checking into Kellerman's Mountain House in the Catskills, the digitally remastered feature will grace the big screen, its iconic songs will get a workout live, then the musicians will stick around afterwards to headline a party that'll naturally have you singing and dancing. If you're feeling adventurous and inspired by the movie, you might even want to try to recreate the famous lift. Here, nobody will put you or Francis 'Baby' Houseman in a corner — and you'd be just a fool to believe otherwise. Your hungry eyes will soak in Baby's first taste of dirty dancing, her eager rehearsals and her growing infatuation with Johnny Castle, as well as her parents' bitter unhappiness about the entire situation. This blast-from-the-past affair has dates locked in for Sydney, Adelaide, Perth, Brisbane and Melbourne — on Saturday, September 6 at the Darling Harbour Theatre, ICC Sydney; Saturday, September 20 at Adelaide Entertainment Centre Arena; Sunday, September 21 at Riverside Theatre, Perth Convention and Exhibition Centre; Saturday, October 4 at Brisbane Convention and Exhibition Centre; and Thursday, October 9 at Hamer Hall, Arts Centre Melbourne. Around the world, Dirty Dancing in Concert has staged more than 200 sessions so far. Dirty Dancing in Concert 2025 Australian Tour Saturday, September 6 — Darling Harbour Theatre, ICC Sydney Saturday, September 20 — Adelaide Entertainment Centre Arena, Adelaide Sunday, September 21 — Riverside Theatre, Perth Convention and Exhibition Centre, Perth Saturday, October 4 — Brisbane Convention and Exhibition Centre, Brisbane Thursday, October 9 — Hamer Hall, Arts Centre Melbourne Dirty Dancing in Concert will tour Australia in September and October 2025 — head to Ticketek for tickets and further details. Dirty Dancing in Concert images: Zdenko Hanout.
Doppelgängers: they're more than just a science-fiction staple, a key part of Twin Peaks and the reason that plenty of actors keep winning awards. Whether you've been mistaken for someone else, been sent a photo of someone who could be your twin or walked past a painting or snap that could double as a mirror, we've all had one of those moments. If you'd like more — and you'd like to see how your likeness has been represented in the art world — Google's Arts and Culture app can now help. While the app itself isn't new, launching back in 2016, the ability to search by uploading your own selfies — or photos of someone else — is. Users are prompted to take a photo, which the app then compares against its database of art from over a thousand museums and galleries in 70 countries. If one of them looks like you, depending on your expression and hairstyle in the photo, it'll do its best to find it. At the moment, the new feature doesn't appear to be available in all parts of the world as yet, so if you're fond of taking pics of yourself and finding your likeness in the creative world, fingers crossed that it'll be rolled out soon. There's no point snapping away as practice, as the feature will only allow you to upload a newly taken photo. One side effect, once you can try it out: wanting to visit a whole heap of galleries and museums to see your artistic doppelgängers in person. UPDATE: JANUARY 20, 2018: Google Arts and Culture app users in Australia can now access the selfie submission feature. Users should scroll down until they see the "search with your selfie" tile, which will then take you through the steps. Via Mashable.
Winter in Sydney has become synonymous with Vivid, and the first weeks of autumn brightened by news of its plans. This year, the news is more light, more music and more ideas: interactive light art is expanding to Martin Place and the harbour waters, new music event Modulations comes to Carriageworks while the Pixies prop up the Opera House, and the Vivid Ideas program will bury you under the cumulative wisdom of 300 speakers. Vivid Music includes several new initiatives, including a Stephen Pavlovic-curated event, Modulations, at Carriageworks; New Wave club nights at the Seymour Centre and uber-contemporary performances at both The Basement and the Argyle Centre. We're eagerly awaiting the full VividLIVE announcement on March 24, but for now we can tell you that the Opera House will be hosting The Pixies in intimate mode, a groundbreaking ACO-Presets collaboration traversing 42,000 years of music history and 230+ songs, and a DJ-set from Giorgio Moroder (Daft Punk, Donna Summer, Scarface, Top Gun). Meanwhile, Modulations will feature the Pet Shop Boys' epic multi-sensory ‘Electric’ show, as well as an immersive adventure from Fred Deakin (Lemon Jelly), involving music, light, sculpture and interactive technology. Lighting the all-important sails this year is creative agency 59 Projections, who count the London Olympics and the spectacular War Horse among recent works. Last year's projection stars Spinifex are working on the MCA, this time collaborating with artist Jess Johnson, while France's Danny Rose is transforming the facade of Customs House into playable instruments. Even the vessels on Sydney Harbour don't escape a cloak of light. Fifty art installations will grace the hugely popular light walk, including an Aurora Australis; Luke Hespanhol's LOL, beach-ball smiles that laugh with you in Walsh Bay; and one that really appeals to our narcissistic sides, Simon Brockwell's e|MERGEnce in the new Vivid venue of Martin Place. It 3D projection maps your face onto a giant sculpture. While functioning as an umbrella for some massive creative industries events — such as Semi-Permanent and Good Design — Vivid Ideas is still hogging some star speakers for its own signature program. Before I Die artist Candy Chang, viral strategy secret-keeper Sara Critchfield from Upworthy, Antipodium's Geoffrey J Finch, 4D printing leader Skylar Tibbits, American Apparel's Ryan Holiday and street culture juggernauts Joshy D & Mike Giant all feature. As usual, the Vivid Ideas Exchange on level six of the MCA will be the place to let all these thoughts meld. The panels and workshops there will be based around eight 'content clusters', including 'The Future of Work', 'UX IRL' and 'DIY & Maker Culture'. The 18-day festival, named Australia’s Event of the Year in 2013 at the Australian Event Awards, is on from May 23 to June 9. It's kind of staggering how much it's achieved since starting in 2009, last year attracting 800,000-strong crowds and selling 11,000 Vivid-related packages to the international market. Photos of our crazy light shows spread around the world, while Circular Quay restaurants regale with stories of running out of food to serve the swarming masses. For the full program and ticketing information, see the Vivid Sydney website. By Rima Sabina Aouf and Jasmine Crittenden.
Featuring some stunning works that seemingly blend pop art with street art, Teenage Dreams and Drama Queens (the debut exhibition from Scott Hynd) is a vibrant and thoughtful look at the trials and tribulations of modern romance. Taking inspiration from comic books and Lichtenstein-esque melodrama, Scott has created some compelling pieces that are on display this Thursday. Coming from a background in graphic design, the Brisbane based artist has honed his style and incorporated spray paint and enamel to give his work an urban feel. When speaking to Raw Ink Magazine, Scott said this of his work: “I love being able to take an idea from a concept to creation. I love using different elements (such as comics, stencils and drawings) and different materials (such as enamel house paint and spray paint) to create a work that is cohesive and eye catching.” Scott certainly has the eye catching element down pat, and with the tried and true theme of love and lust, he has created a series of work that is also cohesive and thoughtful. Do yourself a favour and check it out.
The last year has seen the resurgence of wines in alternative packaging. Instead of the standard 750mL glass bottle, winemakers are packing their beloved grapes into cans, casks, boxes and Tetra Paks. Wines in cans, which used to be a novelty, have been redesigned, and the quality of the wines inside have increased exponentially. They're a responsible way to drink in a myriad of locations where glass might not be permitted, such as campgrounds, festivals and beaches. Packaging quality wines in vessels like bags and casks also protects the liquids from outside air and other influences for longer, which guarantees a fresher and more consistent glass of wine. The smaller packaging has a secondary benefit, too: portion control. You can drink the wine the way it's supposed to be drunk — a glass at a time — without feeling pressured to drink the entire bottle (for fear it will go off). It's also much easier to transport on road trips. One canned beverage that we fully endorse is Sparkke's #TimesUp sparkling white wine. It's predominantly chardonnay, with equal parts pinot grigio and riesling. The chardonnay gives the wine its structure and body, the pinot grigio some texture and tropical fruit flavours and the riesling creates a nice acidity and length. Sparkke is a for-purpose alcohol company, with 10-percent of sales from each of its drinks going to a different cause. The company has previously given to charities supporting refugees, same-sex marriage rights and climate change. And its latest drink — the aforementioned sparkling white wine — is raising money for the International Women's Development Agency, which works toward achieving gender equality across the globe. To help you separate the fads from the flavoursome, we've picked the best wines (and one sake) in alternative packaging — perfect to pack in the esky for your next camping adventure. SHOPPING LIST 1. Sparkke #TimesUp sparkling white wine, Adelaide Hills & McLaren Vale, 250ml can, $35 for four 2. 2017 Elephant in the Room chardonnay, Limestone Coast, 250 mL can, $4.75 or $18 for four Bursting with peach, guava and melon flavours, interwoven with toasty oak elements, this wine has a fresh acidity on the palate that makes way for a pleasant and dry finish. Pair with your favourite pit-stop chicken sandwiches. 3. 2017 Le Chat Noir Rosé, Gers & Aude Valley France, 250 mL can, $5.70 or $22 for four This wine has everything you want from a rosé — a pale colour and a dry palate. Notes of rose petals and strawberries almost jump out of the can, too. The dryness of the wine is well balanced with fresh berry notes, and it has an almost crunchy texture in the mouth. Take a can with you when you're foraging for fresh mulberries. 4. Kunizakari Tanrei Yuzushu, 1L Tetra Pak, $48 Need a break from wine (for a short moment)? We've got you covered. Yuzu is a native Japanese citrus, and when combined with young-style sake it creates yuzushu (think of it as the Japanese version of Italian Limoncello). The drink works well on its own or paired with the above sparkling for a DIY campfire spritz. 5. 2016 Casale Sangiovese Blend, Tuscany, 3L Bag in Box, $70, available from Giorgio de Mara Fun Wines or at P&V Wine and Liquor The gold standard of wine in a box, this red blend is biodynamic wine in large format. It smells like rich soil after a fresh rain and tastes like cranberries covered in dark chocolate. Perfect for any kind of barbecue/campfire/grilled meat combo you throw at it. Its convenient three litre bag will keep you going for a long weekend, too. The Oeno Files is our new bi-weekly wine column keeping you up-to-date with the latest wine trends happening around the country. Samantha Payne is a Sydney based wine consultant, writer and sommelier who has worked in the industry for over a decade. She travels, both locally and internationally, to chat with winemakers (and occasionally lend a hand in winemaking), write wine lists and hosts wine events. Images: Lucia Braham
Since 2019, Netflix's Dead to Me has contemplated endings — starting with a just-widowed woman trying to cope with losing her husband in a hit-and-run incident. Taking a few cues from 2018 film A Simple Favour, the grief-fuelled dark comedy has twisted its way through plenty of chaos from there, including via the unlikely friendship at its centre; however, the fact that everything comes to a conclusion sooner or later has always hung over the show. When it returns for season three on Thursday, November 17, that notion will remain — and Dead to Me itself will wrap up. Back in 2020, after the second season aired, it was revealed that the show would finish after a third and final run. So, get ready for your last swim through its murders, mysteries and cover-ups. The premise, if you missed Dead to Me when it premiered back in 2019: two women meet, become friends despite seemingly having very little in common, and help each other with their daily existence. From there, however, they find themselves immersed in more than a little murky business. Christina Applegate (Bad Moms 2) plays Jen Harding, whose husband has just died, while Linda Cardellini's (Hawkeye) Judy Hale is the positive-thinking free spirit that breezes into her life. They initially cross paths at a grief counselling session, sparking a definite odd-couple situation — which has evolved to feature secrets, lies, complications and cliffhangers galore across the show's two seasons to-date. Season two ended with a big car crash, in fact — and as well as announcing when Dead to Me would return to close out its story, Netflix has just dropped a teaser trailer for season three. Get ready for a glimpse of Jen and Judy in hospital and unhappy about it, as well as a recap of exactly what's brought them to this point. As for where the story will head afterwards, that'll only be revealed when Netflix drops the third season itself. If it's as easy to binge as the first two seasons, you'll know how the show ends quickly. Created by 2 Broke Girls writer Liz Feldman, Dead to Me marked Applegate's first lead TV role since 2011-12 sitcom Up All Night when it debuted. For Cardellini, it saw a return to Netflix after starring on the streaming platform's drama Bloodline — and she also featured in A Simple Favour, too. Check out the first teaser trailer for Dead to Me's third season below: Dead to Me's third season will hit Netflix on Thursday, November 17. Images: Saeed Adyani / Netflix.
Aussie festival lovers, get your best Queen voice on. It looks like another one’s biting the dust (for a year at least). The Hunter Valley's Gum Ball organisers Matt Johnston and his fiancée Jess have just announced that there’s every chance the event won’t be happening next year. We shouldn’t be too hard on the live music-loving couple, though. After ten years of providing stages for the likes of Jinja Safari, Ed Kuepper and Turin Brakes, they’re going to take some time out to tie the knot. “What I do want to tell you is that excitedly Jess and I are getting married early next year,” Johnston said. The statement begs the obvious question: why not kill two birds with one stone and get hitched at Gum Ball, in front of thousands of loyal festival fans? Not the plan, apparently. All might not be lost quite yet, however. Johnston did suggest the possibility of outsourcing the organisational frenzy to another party. “No exact plans have been made... as yet,” he explained. “Though, there is a bit of a desire to go on an extended holiday at a time that would otherwise be peak Gum Ball preparation time. “Perhaps we can source someone to help us make it all happen... The thing is you can’t do this event in halves and, as has been the case for the last ten years, you can’t really expect to have much downtime when you take it on.” If this, combined with Sound Summit’s recent hiatus announcement, has you crying all the rivers, don’t despair entirely. After all, Matt and Jess aren’t leaving us totally high and dry – PigSty in July is coming up on July 5. And, given Gum Ball’s popularity, it’s highly likely to be back on the festival calendar come 2016. Via TheMusic.com.au.
Dodging peak hour traffic, avoiding unmindful pedestrians and negotiating road rage - all the while exposed to the elements - are part of a day's work for the average city bicycle courier. With this in mind, Renault has put together the 'Twizy Cargo'. First presented in concept mode at the Frankfurt Motor Show 2009, and now on the market, it's a one-seater electric car with an over-sized boot, designed to make urban delivery easier, faster and safer. Sharing the convenience associated with a bicycle, with its small size enabling parking in the tiniest of spots, the Twizy also offers a seatbelt, an airbag and a sealed cabin. In other words, protection from the weather and from crazy drivers whose legal access to a licence remains a mystery to us all. Plus, it's super cheap to run. The boot has a 180-litre capacity and can handle weights of up to 75 kilograms. It might not be able to take an elephant, but it can certainly handle more than a party's worth of pizzas. And the doors open to a blissful 90 degree angle. So there's no more trying to prop the door open with your leg while juggling boxes and keys. Two versions of the Twizy Cargo are currently available. The granny-style 'MA L6e' has a maximum speed of 45 km/hr and is selling for $US10,433; while the more rock-starrish 'MB L7e' can handle speeds of up to 80km/hr and retails at $US11,337. Both require a Renault-rented battery, which comes in at about $US65 per month. [via PSFK]
World-renowned masterpieces such as Michaelangelo's David have established the blank human canvas as an artwork. However, a recent series of Naturist tours has artist Stuart Ringholt taking this to the next level by not only appearing naked himself - but requiring all tour participants to also turn up in the flesh. This tour has already taken place at Tasmania's Museum of Old and New Art and Melbourne's Australian Centre for Contemporary Art. At such tours, Ringholt has allowed guests to gain a new perspective on existing works by viewing them in a new context where getting kitless is mandatory. Importantly, these tours have taken place outside of the standard venue opening hours, so there is no fear of outsiders or general creepers peeking in. Hypochondriacs will be relieved to know that you can keep your sneakers on, but it might be hard to choose a pair that will match the rest of your outfit. Ringholt's art has long been equally confrontational and controversial. In one of his performance pieces, the aptly-titled Embarassment, Ringholt placed himself in some red-faced situations. These included one instance where he walked in public with toilet paper hanging from his pants. Other pieces have documented a period of his life in the mid-nineties where he suffered from a drug addiction and subsequent psychotic episodes. Sydneysiders will now have a chance to experience Stuart Ringholt in all his naked glory when he conducts these tours at the Museum of Contemporary Art on 27-29 April, 2012. Bookings for these sessions open on 1 March, and enthusiasts would be wise to get in early after the high demand in other Australian cities. These will be open to adults only. Birthday suit up.
On the cusp of a sun-filled scorcher of a summer, it’s hard to imagine going as long as three months without seeing the sun. But it’s precisely this seasonal phenomenon that Norwegian designers Christine Istad and Lisa Pacini have responded to, creating a travelling circular sculpture whose warm-coloured LED light mimics the absent sun. Three metres in diameter, the glowing core of SUN changes in hue, moving from sunrise to sunset tones. The design is portable and adaptable, capable of being freestanding on a base or hung on a wall as an installation. The sculpture was transported by cruise ship and pick-up truck around Norway, bringing illumination to darkened cities starting from Tromsø in the country's north and ending in Bergen. The project most recently journeyed as far as London, where it made an appearance at London Design Festival as part of the 10th anniversary of the annual 100% Norway exhibition run by the Norwegian Embassy, Norwegian Design Council and Norwegian Ministry of Foreign Affairs. Each year the exhibition showcases the best and brightest from Norway’s art and design world, with this year’s special focus being light. Via DesignBoom
With a network of cycling trails that extend the length of the country, New Zealand has recently positioned itself very squarely at the forefront of cycling destinations around the world. And the South Island alone has more fantastic trails than spokes on a wheel, allowing you to discover the stunning and varied scenery that makes cycling in these regions a joy. While there are challenging trails for the bona fide bikers, if you're more into checking out the scenery at a leisurely pace with the wind in your hair and enough breath to chat with your companions, here are some suggestions that don't involve downhill-heart-in-your-mouth type adventures. Here are five scenic cycling trails suitable for, well, pretty much everyone. QUEEN CHARLOTTE TRACK, MARLBOROUGH The 70-kilometre Queen Charlotte Track has long been a favourite hiking trail for locals and tourists alike because of its spectacular beauty, the many accommodation options along the way — camping, bed and breakfast and high-end resorts — and because of the bag-carrying service offered. Though the track was purpose-built for cyclists and walkers, it's a single track, which means that it can be a bit rough in places. Also, you'll need to look out for tree roots, rocks and mud if it's been raining. But don't let that put you off, cycling through native beech forest, stopping in at the many tiny bays along the way and getting up close to New Zealand's fauna is an unforgettable experience. Cycling the whole track can take up to three days, with a boat ride at the end to take you back to Picton, or you can pick and choose sections to easily do in a day. ST JAMES CYCLE TRAIL, CANTERBURY The St James Cycle Trail passes through St James Station, near the alpine spa village of Hanmer Springs. Now a conservation area, this land was one of the largest operating cattle and sheep stations in New Zealand for almost 150 years. The total length of the trail is 64 kilometres, and it offers incredible vistas including mountain peaks, rivers, high-country lakes, alpine meadows, subalpine beech forest and grassy river flats. While this is a mixed grade track and some sections could prove slightly challenging, it's a great way to get a real appreciation for New Zealand's outback. If you have limited time, there are some shorter options within the trail. And with its proximity to Hanmer Springs, what could be better than a soak in the hot springs once you've conquered the cycle trail? CLUTHA GOLD TRAIL, OTAGO The Otago Central Rail Trail was one of the South Island's first great cycle trails — it follows 152 kilometres of the old gold mining railway and is the track everyone talks about. But, there are other neighbouring trails well-worth considering. Slightly shorter at 73 kilometres, the Clutha Gold Trail is a one-way track that starts at the Lake Roxburgh dam and runs through the heartland of rural South Island, along steep gorges, through an old tunnel and ends up in the gold mining town of Lawrence. The track itself is smooth and allows for easy riding, but there are enough ups and downs to work up an appetite for some handmade chocolates and pastries from The Lawrence Mint on the main street of Lawrence. While it's beautiful all year round here, in autumn when the leaves change colour, this trail brings a whole new meaning to the gold in its name. GODLEY HEAD, CANTERBURY With mellow flowing trails and amazing views over Christchurch and Lyttelton Harbour, this half-day ride is super close to Christchurch and an easy way to get a great view of the city. The single track shared with runners and walkers will take you up along the crest of an ancient crater rim and across tussocky grassland towards the headland and the remnants of WWII gun emplacements. There is also the option here to take the Anaconda and do a bit of downhilling if you so desire. On a good day, you can look north along the beach to see the Kaikoura Range. OPARARA VALLEY, WEST COAST About an hours' drive from Westport in Karamea is the entry point for the South Island's West Coast and the Kahurangi National Park — New Zealand's second largest National Park, which features a wide range of landforms and ecosystems you'd be hard pressed to find anywhere else. Here, 27 kilometres of old logging roads have been revamped into the K Road Track — and it feels a lot like the set of Jurassic Park. The verdant nikau palms and towering rimu trees make it easy to believe that this area was once the stomping ground of giant moa and other now-extinct species. Keep your eyes peeled for wekas, one of New Zealand's flightless birds. It has brown plumage and is about the size of a chicken — and trust us, it's super cute. Start planning your trip to New Zealand's south with our guide to the South Island journeys to take here.
The end of the year is fast approaching, and with it the time to start making lists. 2017 has been a tough one on a number of fronts, but fortunately we've had movies to see us through. Over the past 12 months out critics have sat through hundreds of hours of motion picture magic, from blockbuster space operas to critically acclaimed indies, surprising local gems and more. After much reflection, they've put together the following list of the ten best films to hit screens in Australia since January. If you missed them in theatres, make it your mission to seek them out. If you've seen them already...well, see them again. 10. THE BEGUILED With The Beguiled, Sofia Coppola won a directing gong at Cannes, making her the first woman in more than 50 years to do so. After catching the film ourselves, it's easy to understand why. An immaculately shot Southern gothic thriller, the movie takes place in an all-girls boarding school during the dying days of the American Civil War, where life is suddenly thrown into turmoil by the arrival of a wounded Yankee soldier. Seething with sexual tension, and surprisingly funny, The Beguiled also benefits from an absolutely stellar cast, with Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell all operating at the top of their game. – Tom Clift 9. GOD'S OWN COUNTRY God's Own Country isn't a film that romanticises the Yorkshire countryside where it takes place. Rather, it's a film that gets down to the nitty gritty, the blood and the sweat, the rain and the isolation. It's also a film that leaves your heart hurting: a love story between a young farmer Johnny and a visiting worker from Romania. Johnny is an angry, binge drinking man who hasn't come to terms with his sexuality — but when Gheorghe arrives, this all changes. In his directional debut, Francis Lee has made a film which captures beautifully the minutiae of falling for someone (sharing a cup of noodles, making each other laugh), as well as Johnny's painful internal struggle at letting something good into his life. This movie will have you wanting to hug someone, hard. – Kat Hayes 8. THOR: RAGNAROK In a movie-going year — hell, a movie-going decade — that has been defined by the adventures of caped crusaders, one superhero movie in 2017 stood out above all the rest. Helmed by New Zealand indie director Taika Waititi, Thor: Ragnarok was an unexpected curveball from the Marvel Cinematic Universe, and one that was long overdue. Yes it's got the action and the super-powered team-ups and the vague, ominous references to Infinity Stones. But the thing that makes this movie such a delight is Waititi's quirky, self-deprecating, distinctly Kiwi sense of humour. Chris Hemsworth gets the chance to work out his comedic muscles, while Mark Ruffalo, Tom Hiddleston and universe newbie Tessa Thompson are at the tops of their games as well. This is the kind of film you get when studios are willing to take risks with their flagship franchises. Let's hope the rest of Hollywood was paying attention. – Tom Clift 7. WAR FOR THE PLANET OF THE APES At a glance, War for the Planet of the Apes might seem like little more than another monsters-versus-men, CGI-driven blockbuster. Instead, what it delivers is a sensitive, intelligent and profoundly moving war drama to round out one of the most surprising and imaginative trilogies of all time. In the vein of Terrence Malick's The Thin Red Line, this is a film about the quieter dimensions of combat; the internal conflicts, family tragedies and moral ambiguities that can harden and darken the soul. Boasting special effects of extraordinary realism, the film's leads – all of them computer generated – are no less human than the humans they fight, allowing us to wholly indulge in a Shakespearean saga full of heartache, betrayal, courage and redemption. – Tom Glasson 6. THE FLORIDA PROJECT If every filmmaker looked at the world in the same way as Sean Baker, we'd be living in a much kinder and more empathetic place. In The Florida Project, his follow-up to the critically acclaimed Tangerine, the director heads to the spot most commonly associated with Disney World, only to turn his focus to the families living day-to-day in the low-rent hotels nearby. When rebellious six-year-old Moonee (impressive child actress Brooklynn Prince) isn't running around the purple-hued Magic Castle she calls home — and cheekily annoying manager Bobby (an awards-worthy Willem Dafoe) in the process — she's watching her mother Halley (Bria Vinaite) do whatever it takes to get by. Clear-eyed in its depiction of their troubles and struggles, yet affectionate and exuberant as well, this chaotic kid's-eye view of life on the margins is tender, tragic, humorous and openhearted all at once. – Sarah Ward 5. THE BIG SICK If you haven't already, put your pajamas on and snuggle up on the couch to watch The Big Sick. It's a cute, tight, funny film that follows an intimate narrative between two star-crossed lovers. Kumail Nanjiani (playing himself) meets Emily (Zoe Kazan) and things look great, until life throws two fairly significant hurdles in the way. The first: the expectations of Kumail's religious parents. The second: a mysterious illness that threatens Emily's life. We won't give too much more away, other than to say that what follows is both funny and genuinely sweet. Moreover, the story is based on Kumail's real-life romance with his wife. Nawww. A rare rom-com that was a hit with viewers and critics alike, this movie has it all: cross-cultural romance, modern dating scenarios, and probably the best performance of Ray Romano's career. – Imogen Baker 4. ALI'S WEDDING Part of what makes Ali's Wedding so enjoyable is the fact that it's all just a little bit silly. But to be clear, we mean that in a good way. Writer-actor Osamah Sami's take on the rom-com from an Australian-Muslim perspective is a bit ridiculous, yes, but it's also warm-hearted, deceptively smart, and hits you right in the feels. Playing on that near-universal desire to live up to our parents' expectations, the film is as incisive and important as it is funny and fun, while the whole cast does a great job (although Don Hany and Helana Sawires are the undeniable highlights). Once you get to the scene where they perform a musical about Saddam Hussein at their Melbourne mosque, you won't look back. You're along for the ride, and a surprisingly touching one at that. – Kat Hayes 3. CALL ME BY YOUR NAME It's easy to fall in love with Call Me By Your Name on sight. Full of the kind of sumptuous visuals that director Luca Guadagnino (A Bigger Splash) is known for, the 80s-set effort proves a gorgeous piece of filmmaking from its opening frames. That said, it's the movie's sun-dappled dalliance that will really make you swoon, as Guadagnino follows the blossoming romance between 17-year-old Elio (Timothee Chalamet) and grad student Oliver (Armie Hammer) over the course of a sweltering Italian summer. A seductive and sensual queer romance, and a pitch-perfect account of yearning and desire — one that features an emotionally intricate turn from Chalamet in particular — Call Me By Your Name is the film that stories about first love will be judged against for many years to come. – Sarah Ward 2. MOONLIGHT No wait, we meant La La Land! Actually, no, Moonlight. Warren Beatty's debacle notwithstanding, this was absolutely the deserving winner of the most recent Best Picture Oscar. A sensitive, imaginative and deeply affecting coming-of-age tale set in the poor neighbourhoods of Miami, Barry Jenkins' film tells the story of a boy becoming a man and discovering his sexuality in three distinctive chapters – each of which boasts a performance of extraordinary nuance by Alex Hibbert, Ashton Sanders and Trevante Rhodes respectively. With sumptuous cinematography by James Laxton, Moonlight delivers an almost impossible fusion of visual splendour and unsparing emotion, in a film that lingers long in the memory after the credits have rolled. – Tom Glasson 1. GET OUT There's no denying that Jordan Peele's Get Out was one of the most unexpectedly provocative and entertaining films of 2017. A white woman (Allison Williams) takes her black boyfriend (Daniel Kaluuya) upstate to meet her parents for the first time. It's a ripe setup that paves the way for a tense and twisting mix of genuinely terrifying horror, savage dark comedy, and timely social commentary. Its technical credentials are similarly impressive: it's beautifully shot, phenomenally acted and boasts a genuinely satisfying ending. Not to mention the fact that Williams' involvement gave us a chance to exorcise some of our Girls-related rage. – Imogen Baker
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.
When we say that you should look down on the Gallery of Modern Art's latest exhibition, we're not being critical. The way that Limitless Horizon: Vertical Perspective wants you to gaze at it is all there in its name. Well, rather, the viewpoint it adopts is trumpeted in its title: the vertical, the vertiginous and the vertigo-inducing. In a series of pieces focusing on urban and rural landscapes alike, this free showcase examines the way that we explore our environment from a vertical perspective. Expect a collection of works that'll make you feel like you're floating at a great height or staring off into the sunset — or, in an array spanning historical paintings from China and Japan, Indigenous Australian art, war time aerial photography, video art, prints and more, both. The exhibition runs from August 26 to March 25, with a screening program joining the line up in March 2018. Image: EZAWA, Kota; Germany b.1969; Earth from moon; 2006 Colour aquatint on paper; ed. 27/35. 51.3 x 57.5cm. 29 x 37cm (comp.) Acc. 2008.308. Purchased 2008 with funds raised through the Queensland Art Gallery Foundation Appeal.
From the crime antics of Murder on the Orient Express to the slow TV phenomenon that was SBS' The Ghan, lengthy train journeys have chugging across our screens over the past year. If watching folks make a long trip in a locomotive has you wanting to hit the rails yourself, you'll soon have a new luxury Australian option: the Great Southern. Set to embark on its maiden journey in December 2019, the Great Southern will cross the country from Adelaide to Brisbane — and vice versa, of course. The trek up north will take three days and two nights, while the return leg will occur over four days and three nights. If that seems like a considerable amount of time, that's because this kind of trip isn't just about getting from A to B. It's also about taking in the scenery and the general experience. Passengers departing from Adelaide will stop at the Grampians National Park, then hop off again at Canberra, and also enjoy the northern New South Wales coast on their way to Queensland. For those boarding in Brisbane, dining by the beach in northern NSW awaits, as does a day in the Hunter Valley and Newcastle, plus some time at the Twelve Apostles. The latest venture by Great Southern Rail, the Great Southern will be comprised of 28 carriages and two locomotives, with up to 214 guests able to take each journey. It doesn't come cheap — starting at $1649 per person — but that price does include your food and wine onboard, any dining that takes place off the train, and all of the off-locomotive experiences across the multi-night the trip. As you'll clearly be sleeping on the train, that's also included. Great Southern Rail also operates Australia's other two long-distance train treks, The Ghan (which runs from Adelaide to Darwin) and and the Indian Pacific (which journeys from Sydney to Perth). Tickets will go on sale on Monday, December 3, with the Great Southern's first season taking to the rails between December 6, 2019 and January 27, 2020. It'll operate 16 departures over that period, should you be looking for a different kind of getaway across the summer of 2019–20. Image: Great Southern Rail.
As warmer weather starts to make its presence known, including an unseasonably hot September patch in Sydney and Brisbane, we're all clamouring for our favourite cooling devices. Fans, air conditioners, pools, any patch of water you can find, frozen drinks, boozy icy poles, all the ice cream you can handle: if it can combat the heat, even for a brief instant, it's a spring and summer staple. Imagine, however, just slapping on a temperature-regulating smartwatch rather than camping out under your aircon or getting comfy in a paddling pool with an esky filled with cold beverages. Or, in addition to all of the above. That's the idea behind the Aircon Watch, a device two years in the making. It claims to offer a reprieve from feeling too warm — or, in winter, too cold — by sending hot or cool signals to the wearer's brain through its special pulsating wrist strap. If you're a little skeptical, that's understandable, though the folks behind the watch point to the instant cooling effect that running an ice cube over your wrist can have — as well as a 2012 research study by Stanford University, which used a cooling glove to indicate that heat exchange can occur through the extremities. And if you think it sounds like a winning idea, you're not alone. Currently running a Kickstarter campaign, the Aircon Watch has already reached its funding goal more than 26 times over. At the time of writing, it's still accepting backers for 18 more days, with the watches expected to start shipping in December. Image: Aircon Watch.
Here's something that sounds like a dream: free tunes by the beach over three breezy spring days. In 2021, that was meant to become a reality thanks to new Gold Coast music festival Springtime; however, as has happened to plenty of events, the pandemic intervened. This year, however, the fest will finally launch — across the weekend of Friday, September 2–Sunday, September 4. Yes, last time you spent a couple of days hanging out in Surfers Paradise, enjoying the beach and bars, and listening to a live soundtrack by the shore, you might've been attending Schoolies. Obviously, that isn't the only event attracting people to the Gold Coast. And at Springtime, the price is clearly right — although there are some ticketed sideshows. On the agenda: a lineup led by Skegss, Thelma Plum and Hermitude, spanning 25-plus acts in total, taking over both beachside and streetside spaces around Surfers. There'll be multiple stages, including in outside spots and at sideshow venues, with Sneaky Sound System, Alex the Astronaut, JK-47, Skunkhour, Haiku Hands, Ninajirachi and Teen Jesus & The Jean Teases also among the bands on the bill. If you're planning to make a weekend of it, the lack of entry fee means you'll have more cash to splash on a hotel room. With Australia's tourism industry taking a hit over the past couple of years or so, enticing music lovers to the Goldie for a three-day getaway is obviously one of the fest's aims. Again, some sideshows will be ticketed, though — the details haven't been announced yet, but you might want to factor that into your plans. As for who you'll be seeing when, Hermitude and Sneaky Sound System are headlining the Friday, Thelma Plum is doing the honours on Saturday, and Skegss on Sunday. The Gold Coast Music Awards will be part of the fest as well — as will celebrating spring's arrival just by soaking in the location, obviously. Also on the bill: an interactive installation by performance makers Shock Therapy, The Cleaners, which involves a giant slingshot and paint-filled balloons that attendees can use to create havoc. (You might've seen and enjoyed it at Splendour in the Grass back in 2018.) And, a pop-up skate plaza will connect the fest's two beach stages, and give Australian and New Zealand skaters plenty to navigate around SPRINGTIME MUSIC FESTIVAL 2022 LINEUP: FRIDAY: Hermitude Sneaky Sound System JK-47 Peach Fur DVNA Buttered Girl & Girl VICES Sh#t Shirt Disco + triple j Unearthed Winner SATURDAY: Thelma Plum Skunkhour Ninajirachi Haiku Hands IVEY Ebony Boadu Hauskey Aodhan Saint Lane EUCA Fletcher Giv & Latour (Elsewhere DJs) Samin & Lotnic (Elsewhere DJs) Lily Papas Gold Coast Music Awards SUNDAY: Skegss Alex The Astronaut Teen Jesus & The Jean Teases The Lazy Eyes Teenage Dads The Oogars South Summit Just Jessie Geniie Boy Updated August 31.
If you're a fan of the British version of The Office, you'll know what we mean when we say David Brent: Life on the Road is almost unwatchable, but still worth a watch. This big-screen sorta-sequel follows Brent (Ricky Gervais) around as he gives his music career one last shot. Set a dozen years after The Office, Brent is now a sanitary products sales rep who invests a huge amount of his pension money in touring himself, his session band and his incongruous (but very much appreciated) young rapper friend Dom (Ben Bailey Smith) around on a self-made tour of Slough and the surrounding counties. The resulting 95 minutes rapidly deteriorate into an awkward hellscape puppeteered by Gervais' masochistic desire to make the audience squirm. While it's no Oscar winner, fans of The Office, and Gervais in general, will still find plenty to enjoy. Whereas the OG David Brent was built on classic British humour, modern day Brent is a more international flavour and slightly more palatable for it. Some of the gags are far too obvious, most of the ancillary characters might as well be cardboard cut outs with looks of disgust on their faces, and the narrative is just a series of exponentially embarrassing moments. In truth, the superficiality of the narrative is almost a relief, since Brent definitely doesn't have enough depth as a character to carry the plot for the length of an entire feature. True to form, the most excruciating moments aren't Brent's absurd stage antics or his terrible music (including such hits as "Please Don't Make Fun of the Disableds" and "Lonely Cowboy"). Nor are they his creepy and frequently offensive attempts to hit on women, or the ratty little grin that's constantly smeared on his chubby face. Instead, it's the brief but devastating moments when Brent pulls the cartoon mask up and becomes a vulnerable man with no friends. The shots of his tiny apartment, his failed attempts to mingle, the cheesy outfits of which he's so proud and his desperate need to be liked are so real. Too real. The tender heart at the centre of so much bluff is what makes the franchise continue to work. Some of the more depressing elements that defined The Office have been spruced up for the big screen. Gone are the halogen lights, wobbly camera angles and general low-budget vibes. Instead we're served great production to smother the stink of desperation – and honestly, it's a better film for it. Like the series before it, Life on the Road isn't for everyone, but has enough weirdness and insight to age into a cult favourite. https://www.youtube.com/watch?v=2THODznVOt8
Travelling overseas ranks right up there on everyone's bucket list, but the actual travelling part is far from fun. No one loves spending more than a couple of hours on a plane, and no one loves taking multiple flights to get to their destination either. But if you could choose between hopping over to your destination in one leg, or getting a break from being cramped and uncomfortable in the air, which would you opt for? Thanks to advances in aircraft development, ensuring that today's planes are more fuel-efficient over hefty distances, airlines are increasingly making non-stop long-range flights a reality. After Qantas introduced its 17-hour-plus Perth-to-London route earlier this year, Singapore Airlines will be unleashing the world's longest non-stop commercial flight in October: from Singapore to New York over 18 hours and 45 minutes. First announced by the airline in 2015 and confirmed a few months back, the route will be made possible thanks to the new Ultra Long Range version of the Airbus A350 XWB aircraft, which completed its first successful test flight in April. Singapore Airlines now have the world's first Airbus A350-900ULR in its possession, and it'll take off on October 11, with seven more set to be brought into operation shortly afterwards. The planes can travel up to 16,000 kilometres (or 8,700 nautical miles) without refuelling — or, for over 20 hours non-stop — which makes the 15,322-kilometre trip between Singapore and New York possible. They also feature higher ceilings, larger windows, a wider body, as well as quieter cabins and lighting that's designed to reduce jetlag. It's not the first time that the airline has flown direct to the US, with Singapore-to-Newark, New Jersey flights in operation until 2013. The world's current longest route without stopovers runs from Doha to Auckland in around 18 hours, travelling 14,529 kilometres on a Boeing 777-200LR, followed by the Perth-to-London leg. Qantas is keen to beat both the current and the impending record-holders, though, last year announcing plans to fly direct from Australia's east coast to both London and New York by 2022 — and this year advising that their plans are on track, with the airline comfortable that plane manufacturers will create a vehicle that can handle the 20-hour and 20-minute, 16,983-kilometre stint between Sydney and London.
For most of us, being buried alive ranks among our worst nightmares. For Mike Parr, it's his latest performance artwork. Between June 14 and 17, the Australian artist will be interred in a steel container beneath a Hobart street — spending 72 hours underground as part of this year's Dark Mofo. Appropriately titled Underneath the Bitumen, the piece will see Parr take up temporary residence below the middle lane of Macquarie Street in the Hobart CBD from 9pm Thursday through till 9pm Sunday. He'll descend into a box measuring just 4.5 metres by 1.7 metres by 2.2 metres, accompanied by a sketchpad and pencils, meditation stool, bedding, water and other items he'll need to survive. Once he's down there, the road surface will be sealed as normal and traffic will resume, driving over the top. The public will be able to view Parr's 'disappearance' under the street as part of his performance, and afterwards, the capsule he'll spend three days in will remain in place. While the road will be completely patched up after he emerges, concrete will be poured over the chamber once he's out, creating a time capsule filled with everything he's left inside. That stress you're probably feeling on Parr's behalf, well, that's by design. "The anxiety of the artist's disappearance is the point of the piece," states the Dark Mofo website. Underneath the Bitumen has been crafted as a response to two events in Tasmania's history: the transportation of 75,000 British and Irish convicts to the state across the first half of the 19th century, and the waning of Tasmania's aboriginal population afterwards. "To my knowledge, it will be Tasmania's first monument referencing both the Black War and The Convict System," said Dark Mofo Creative Director Leigh Carmichael. "It is a story that is not well known, but is ever-present, just beneath the surface of our contemporary culture. The fact that Mike Parr's work will happen underground, just out of sight, as everyday life continues above it, is clearly no coincidence." This is the third time Parr has been part of the Dark Mofo program, after a 72-hour performance at the historic Willow Court Asylum in New Norfolk in 2016, with an accompanying two-week exhibition afterwards; and a one-hour piece on Bruny Island in 2017, where he was joined by 72 people aged around 70 years for a show that kicked off at 2am. Underneath the Bitumen runs from June 14-17 as part of this year's Dark Mofo in Hobart. For more information about the artwork — and about the festival which runs between June 13 and 24 — visit the Dark Mofo website. Image: Nick D via Wikicommons.
Right now, automobile design faces two significantly big restrictions: one, the need for a driver; second, it's got to be safe. Pretty straight forward. However, if tech projections are on the money, we're heading into a future in which neither will be a factor. Driverless vehicles, currently limited to Google experimentation and public transportation, will become ubiquitous. On fully-automated thoroughfares, collisions will be a thing of the past, and design will respond by moving further and further away from functionality and closer and closer to art. London designer Dominic Wilcox is pre-riding the wave. At this year’s London Design Festival, finishing up tomorrow, he's revealed a life-size concept car. Or, more accurately, a mobile sleeping pod. "In the future it will be safer to drive in a driverless car than it will in a manual car," he says. "Therefore we don't need the protection systems that are built into contemporary cars. We can just have a shell of any design." One thing's for certain, you’ll be certain to see it coming. The Stained-Glass Driverless Sleeper Car is a bed on wheels, protected by an egg-shaped dome made of multi-coloured glass panels. They're soldered together and attached to an arched wooden frame. The controls are remote; Wilcox imagines that, like that of Google, his creation will be operated via a distant computer. That, of course, leaves loads of room for sleeping, reading, relaxing and sundry work and leisure activities. To illustrate the potential, Wilcox has simultaneously launched a concept website named taxirobot.co.uk. This allows visitors to select from a variety of driverless vehicles that double as mobile facilities, including a bedroom, an office, a gym, a dining room and even a sun bed that could be programmed to avoid cloudy routes. Via Dezeen.
It's only taken a few short years for the British Film Festival to become a highlight of Australia's busy festival calendar, and their first titles for their fourth year demonstrate why. Fancy seeing this year's Cannes Palme d'Or winner? Or a host of high-profile titles direct from their premieres at the Venice and Toronto film festivals? Or a restored version of the David Bowie-starring sci-fi classic The Man Who Fell to Earth? Well, they're all on the bill. Ken Loach's I, Daniel Blake — which took top honours in Cannes back in May — takes a look at the British welfare system through the filmmaker's usual social realist lens, and ranks among the most highly anticipated of the bunch. It's joined by the high-profile likes of opening night's A United Kingdom and closing night's A Monster Calls. The former tells the true tale of a Botswana prince (Selma's David Oyelowo) who caused a scandal when he married a white Englishwoman (Gone Girl's Rosamund Pike), and is also slated to open the London Film Festival. Directed by The Impossible's Juan Antonio Bayona, A Monster Calls adapts a fantasy novel about a young boy coping with his mother's terminal illness, and features Liam Neeson as the voice of the titular creature. Audiences will also get the chance to see crime-drama Trespass Against Us, which not only stars Michael Fassbender and Brendan Gleeson, but marks the film debut of the Chemical Brothers' long-term visual collaborator Adam Smith. For cinephiles looking for something completely different, rom-com fans can get their fix watching Gemma Arterton and Sam Claflin in Their Finest, from An Education helmer Lone Scherfig. And because all good film fests don't just look forward to future hits but also peer back to the greats of years gone by, this year's British Film Festival has curated a ten-movie tribute to some of the country's enduring cinematic heroes. As well as Bowie proving his out-of-this-world acting abilities, catch Gary Oldman getting his punk on in Sid and Nancy and feast on the epic action adventure that is Highlander. The full program will be released in late September, so expect more ace titles to come. The BBC First British Film Festival tours the country from October 25, screening at Sydney's Palace Verona and Palace Norton Street from October 25 to November 16, Melbourne's Palace Cinema Como, Palace Balwyn, Palace Brighton Bay and The Astor from October 26 to November 16, and Brisbane's Palace Barracks from October 27 to November 16. For more information, visit the festival website.
Just a few short years ago, heading into the office five days a week was the norm — and Brisbane's CBD had the foot traffic (and just general traffic) from Monday to Friday to prove it. But with working from home a necessity during lockdowns, and also now remaining a part of our pandemic-era lives, the inner city isn't as busy and bustling as it once was. Over the past year, a few different initiatives have popped up to entice Brisbanites back into the CBD, including handing out free coffees, offering the chance to win free public transport for a whole year and turning off parking meters. After summer's Omicron wave, the Property Council of Australia, Brisbane City Council and the Queensland Government have teamed up on another: giving away more than $40,000 in prizes, including staycations, beer, dining vouchers, shopping vouchers, free parking and free public transport. Here's how it works: between 1am on Tuesday, March 8 and 3pm on Thursday, April 7, you'll need to go into the CBD on at least ten different days — and you'll need to attend one of several participating buildings and precincts. Then, you'll need to scan in via a QR code. Once you've clocked up ten days of visits, you'll be in the running. Properties involved include Howard Smith Wharves in general, Felons Brewing Co at HSW, The Myer Centre, Wintergarden, The Regent, Central Plaza One and the Riverside Centre. You can also head to a heap of other CBD addresses — spanning plenty of spots on Eagle, Albert, George, Adelaide and Ann streets, among others. [caption id="attachment_812925" align="alignnone" width="1920"] Kgbo via Wikimedia Commons[/caption] Prize-wise, there a multiple layers of goodies, which means multiple chances to win. But, to go in the draw for the major prize — which is worth over $36,000 and includes a year of free parking, a year of free public transport, a year of free beer, an $800 gym membership, a $1100 Neuron scooter pass, a $2000 CBD staycation voucher for Crystalbrook Vincent at Howard Smith Wharves, $2500 in dining vouchers, $1300 in coffee vouchers, $2500 in other food and beverage vouchers, and $3000 in shopping vouchers — you need to notch up those ten daily visits. Or, there are also weekly and daily draws, which you can enter by just scanning in once. On offer: a month of free parking, a month of free public transport, and various coffee and retail vouchers. BNE VIP runs from 1am on Tuesday, March 8 to 3pm on Thursday, April 7. For further details, head to the initiative's website.
A massive Gandhi exhibition is on its way to Melbourne's Immigration Museum. Curated from more than 1000 photos, over two hours of footage, an hour's worth of film clips and 20 audio recordings, the show focuses on Gandhi's role in leading India to independence, as well as his travels in England and South Africa. At the same time, it's a celebration of Indian diaspora all over the world. One of the reasons the exhibition is heading for Victoria is that the state is home to more people of Indian descent than any other place in Australia. "Mahatma Gandhi was an inspirational leader and I'm thrilled that Victorians will be able to enjoy this incredible exhibition," said Victorian Premier Daniel Andrews, who's in India this week checking out the show. It's been at Pravasi Bharatiya Kendra in Delhi since October 2016. "Victoria is home to Australia's largest Indian population and this exhibition is an important way to acknowledge their cultural heritage and build the cultural understanding of India among the wider Victorian community." You'll have until July to head along. The show is just one of many upcoming events celebrating Victoria's Indian connections, following the release of Victoria's India Strategy: Our Shared Future. The Mahatma Gandhi Exhibition will be at Melbourne's Immigration Museum from April to July, 2018.
It's not often you get a group of designers competing to have their work set alight. But then again, being chosen as the creator of that iconic Temple — or, The Man — at Nevada's legendary Burning Man festival is a very unique sort of honour. This year, bragging rights go to Arthur Mamou-Mani from London's Mamou-Mani Architects, whose spiralled structure Galaxia beat out a swag of other entries to become the next edition of the festival's most famed installation. It was selected this week by the Burning Man Arts organisation. The Temple has been a Burning Man tradition since 2000, picking a different large-scale art work each year. Towering over the festival's centre in the temporary locale of Black Rock City, it's inscribed with personal messages from festival-goers and then ritually burned to the ground on the final day. Mamou-Mani's take on the project is an enormous, swirling design, made from twenty triangular timber trusses that form paths into the structure's centre, where there'll lie a huge 3D mandela. Word is, it's inspired by the fictional planet Gaia, from Isaac Asimov's Foundation's Edge series of sci-fi novels, with the architect saying it "celebrates hope in the unknown, stars, planets, black holes, the movement uniting us in swirling galaxies of dreams."
Already one of the most scenic areas in Australia, the Whitsundays are about to give visitors something else to look at — an installation of underwater and inter-tidal art, the first to ever be placed in the Great Barrier Reef Marine Park. Set to be unveiled at this weekend's Whitsundays Reef Festival at Airlie Beach, which runs until August 5, four sculptures will be placed near Langford Reef. They're the creation of local artist Adriaan Vanderlugt, and include a fish, a nudibranch (aka a type of mollusc) and a crab. Size-wise, they range up to 1.8 metres long, and weigh around 300 kilograms. The artworks' purpose — other than celebrating creativity — is to give the region a new attraction, unsurprisingly. "This artwork will provide a new experience for people travelling to the Whitsundays and will help the marine tourism industry recover after Cyclone Debbie," said Queensland Tourism Industry Development Minister Kate Jones in a statement. "Around the world — from the Caribbean, to the Maldives, Spain, Bali and Australia's west coast — underwater art has been used to lure visitors." After the unveiling, the sculptures will be installed in early August, moving first to the beach, then to an intertidal spot and then underwater, all one month at a time. It's an approach aimed to prevent interference and damage, with the project acting as a trial to see how locals and tourists alike respond. Up to six more locations in the Bowen-Whitsunday region may also receive underwater art, with calls for artists now open.
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
As COVID-19 continues to affect daily life in Australia, a whole host of regular activities have come to a pause. For Melburnians, heading to the Australian Centre for the Moving Image's home away from home at The Capitol for Melbourne Cinémathèque's weekly sessions is one such shuttered event, with screenings suspended for the time being — so ACMI and Melbourne Cinémathèque are going virtual. Available to movie buffs everywhere — not just in Melbourne — Virtual Cinémathèque will host weekly sessions from Wednesday, March 25. Cinephiles, folks looking for something to watch in self-isolation and everyone who has exhausted their Netflix queue can expect double bills showcasing both new and old movies, as linked by a common director, performer or theme. The folks at ACMI and Melbourne Cinémathèque will be on curation duty and, where possible, they'll be accompanying each week's lineup with introductions and further information about the films showing — just as Melbourne Cinémathèque usually does at its in-person events. They'll also do their best to pick flicks available on free and easily accessible platforms, so getting your movie fix won't cost you a cent. For details of what's on each week, keep an eye on ACMI and Melbourne Cinémathèque's social media channels. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website.
Sigur Rós are the kind of band you can love even though you can’t understand the language they sing in. Maybe that's why people love them? Who knows - I don’t want to ruin their special aura by questioning it. Regardless of their fans adoration, they’ve actually been on hiatus since 2009. Before they left us broken hearted, Sigor Rós let Vincent Morisset film two of their final shows at Alexandra Palace in London for a documentary and thus, Inni was born. A celebration of the band’s talent and discography, it is equal parts hypnotic and entertaining. This doco was premiered at the 2011 Venice International Film Festival, so it has a high amount of credibility as well. Inni was purposely shot and re-shot in black and white, on 16mm film through different prisms and views in order to create a certain atmosphere that encourages viewers to enter the world of Sigur Rós. The track listing of the documentary also heavily features their earlier work, and partly acts as an introduction to the band. Keeping the atmosphere alive, the only venue in Brisbane to have screenings of Inni is GoMA. They’re also very big on exclusivity, offering only two screenings of this masterpiece and considering they are free, you better not waste any time getting there.
UPDATE, March 18, 2022: Spencer is available to stream via Prime Video. With two-plus decades as an actor to her name, Kristen Stewart hasn't spent her career as a candle in the wind. Her flame has both blazed and flickered since her first uncredited big-screen role in The Flintstones in Viva Rock Vegas but, by Elton John's definition, she's always known where to cling to. After jumping from child star to Twilight heroine and then one of the savviest talents of her generation, she's gleaned where to let her haunting gaze stare so piercingly that it lights up celluloid again and again, too. Spencer joins Stewart's resume after weighty parts in Clouds of Sils Maria, Personal Shopper, Certain Women and Seberg, and has her do something she's long done magnificently: let a world of pain and uncertainty seep quietly from her entire being. The new regal drama should do just that, of course, given its subject — but saying that director Pablo Larraín has cast his Diana well, pitch-perfect head tilt and all, is a royal understatement. Larraín also trusts himself well, making the kind of movie he's made three times now — not that Jackie, Ema and Spencer are carbon copies — and knowing that he does it phenomenally. Both essaying real-life figures and imagining fictional characters, the Chilean filmmaker keeps being drawn to tales about formidable women. His eponymous ladies could all be called strong female leads, but Larraín's features unpack what strength really means in various lights. Like her predecessors in the director's filmography, Diana faces searing traumas, plus ordinary and extraordinary struggles. She scorches away tradition, and values letting her own bulb shine bright over being stuck in others' shadows. Viewers know how this story will end, though, not that Spencer covers it, and Larraín is just as exceptional at showing how Diana's candle started to burn out. The year is 1991, the time is Christmas and the place is the Queen's (Stella Gonet, Breeders) Sandringham Estate, where the Windsors converge for the holidays (yes, Spencer is now prime seasonal viewing). As scripted by Peaky Blinders and Locked Down's Steven Knight, the choice of period puts Diana in one of the most precarious situations of her then decade-long married life, with her nuptials to Prince Charles (Jack Farthing, The Lost Daughter) turning into an "amicable separation" within 12 months. Spencer's focus is on three days, not all that defined the People's Princess' existence before or after, but she can't stop contemplating her past and future. The Sandringham grounds include the house where Diana was born, and those happier recollections — and time spent now with her children (debutants Jack Nielen and Freddie Spry) — give her a glow. Alas, all the monarchical scrutiny simmers her joy to ashes, unsurprisingly. Larraín is one of today's great detail-oriented filmmakers, a fact that glimmers in his approach to Spencer — and did in Jackie, too. Both character studies let snapshots speak volumes about broader lives and the bigger narratives around them, including when poised as "a fable from a true tragedy" as the title card notes here. 'Poised' is one word for this fictionalised imagining of real events, which builds its dramas in an immaculate chamber, lets heated emotions bounce around as it tears into privilege and power, and allows audiences to extrapolate from the meticulous minutiae. Specific tidbits are oh-so-telling, such as the demand that Sandringham's guests hit the scales upon arrival and leaving, their weight gains deemed a sign of how much they enjoyed themselves. Bolder flourishes are just as exacting, like the way the place is lensed to make the Princess of Wales resemble a doll being toyed with in a playhouse, as well as a Jack Torrance substitute trapped in her own Overlook Hotel The Shining-style. Often boldly and claustrophobically ominous in its vibe and visuals, and deliberately so — as equerry Major Alistair Gregory, overseer of every move made at the estate, Timothy Spall (The Last Bus) perfects the eerie mood — Spencer can be called a horror film and the label fits. Terror, distress, contempt and cruelty are all part of Diana's Sandringham experience, the first two emanating from the former Lady Spencer and the latter pair frequently flung her way. This is a slice-of-life biopic as well, obviously, and also a Princess of Wales time capsule thanks to its exquisite staging and costuming. Larraín does leap into lingering memories occasionally, which lets the movie survey an array of its central figure's famed outfits with a keen eye. The appearance of things, be it her crumbling marriage or herself, is the key tenet she's being told to uphold, after all — but the decreed version decided by others, not her own, down to dictating exactly what she's permitted to wear and when. Spencer's nightmare of not being able to be one's self, especially under an unyielding spotlight, sees Diana's inner turmoil manifest in multiple ways. Her bulimia and self-harming speak of tainting appearances, and forcefully; her hallucinations of fellow ill-fated royal Anne Boleyn and her general anxiety make her fragile emotional state plain. She's introduced getting lost en route, then earning ire for being late, rebellious and just someone the Windsors must deal with — and the anguish that Stewart wears like a second skin is given ample origins. Spencer's magnetic lead portrayal is smartly underplayed, though, even as the heft of Diana's evident woes, and fight for survival amid the ghosts of history, fame and expectation, fills rooms. In fact, Stewart is all the more powerful for her fine-tuned vulnerability and introspection than something bigger would've been, as past examples have shown. The Crown has done Diana well so far, but the less remembered about 2013's Naomi Watts-starring Diana, the better. Every technical choice on Larraín's part beams brightly, too — or, if dim, it's by design. Spencer looks the grey 90s British drama picture, with cinematographer Claire Mathon (Portrait of a Lady on Fire) baking in grey tones even when the hue isn't visible. Continuing to do stellar things with tension-dripping film scores, Radiohead's Jonny Greenwood adds this in alongside The Power of the Dog to his recent standouts. Spencer does capture warm moments, including sympathetic rapports with some estate staff (with compelling turns from The Shape of Water's Sally Hawkins and The Green Knight's Sean Harris, both ever-reliable), but it also ensures that the rarity of such exchanges in Diana's life is heartbreakingly clear. The upbeat 80s single "All I Need Is a Miracle" might set a glorious closing note, but this is always an equally bold and sensitive — and enthralling — portrait of England's rose wilting not from the sunlight she craves, but from the royal inferno.
Always wanted to be in a music video but don't play an instrument? Or think your voice might frighten the neighbours away? Here's your chance. Dutch design studio Moniker has created an interactive clip that records the movement of your cursor as you watch. Achieved through crowd-funding and titled Do Not Touch, it's the second Moniker project in a series celebrating the "humble cursor", whose demise may well be nigh, and was designed to accompany 'Kilo', the new single from Dutch folk noir/sleazerock supergroup Light Light. Since its launch on April 16, the clip has racked up over 1 million hits. To be a part of its rapidly growing cast, all you have to do is visit the Do Not Touch site and move your cursor according to the onscreen instructions. You'll have the chance to acknowledge your geographical origins and sexual preference, fight a rather fit female boxer, avoid touching a naked model and play the bass. Your browser records your cursor's movement and the information is uploaded to Amazon S3. Once an hour, the data gained from new visitors is added to the video and an updated version appears. Jonathan Puckey, one of Moniker's three key movers and shakers, told Creative Applications Network that one of the exciting aspects of Do Not Touch is its unpredictability: "We do not know what will happen with this project. Will people care? Will they follow our instructions? Will patterns emerge which we had not predicted? How many cursors will be too many? A thousand? Ten thousand? Fifty thousand?"
If the best solutions solve problems you didn't even know you had, then the growing novelty delivery industry surely ranks among humanity's greatest feats. There we all were, living our lives without even contemplating sending eggplants, glitter or evil fortune cookies to someone — or nicer items, such as cacti, cocktail ingredients or personalised chocolate. Now, who isn't thinking about taking the easy route this Christmas, clicking a few buttons and organising amusing gifts for their friends, family and enemies? Handwritten greeting card service Felt is taking the concept a step further to celebrate the season, however. As the usual festive tradition goes, Christmas is a time for giving and receiving presents — and, if you've been behaving badly throughout the year, to find a lump of coal in your stocking instead. Sure, it's an easy (albeit materialistic) way to motivate kids to be nice. For the US-based app, it's also an amusing way to punish 2017's naughtiest person. Head to The Naughty List, and you can cast your vote for the unlucky recipient. Whatever the final winning count is, that's how many lumps of coal they'll receive. Voting closes on December 18, and the current leaders shouldn't come as a surprise. At the time of writing, the US president is leading the charge, followed by United States Federal Communications Commission chairman Ajit Pai — one of the figures behind the recent repeal of net neutrality — and Harvey Weinstein. US residents can also send a lump of coal to their not-so-loved ones, accompanied by a handwritten Felt greeting card. It's the latter — via an app that lets you scrawl your own words onto the screen, which are then printed onto the paper — that is Felt's main business. Alas, while international orders are usually accepted, they won't be shipping coal beyond the US. Via Mashable. Image: The Naughty List.
The Art Gallery of NSW has announced the finalists for the 2016 Archibald Prize — and this year's got some good'uns. This is the 95th year for the highly sought-after portraiture award.Considered the "who's who of Australian culture", portraits entered into the prize generally depict notable Australians, from politicians and celebrities to artists and athletes. This year's finalists include Natasha Bieniek's oil painting of Wendy Whiteley (above), Clara Adolphs' portrait of actor Terry Selio, Betina Fauvel-Ogden's painting of MasterChef's George Calombaris (which is also the winner of the Packing Room Prize) and — our personal favourite — Carla Fletcher's portrait of fashion icon Linda Jackson. Seriously, look at those colours. [caption id="attachment_579238" align="alignnone" width="455"] Carla Fletcher, Twin souls, Linda Jackson, mix media on board, 200 x 150.5 cm, © the artist, Photo: AGNSW, Felicity Jenkins.[/caption] The Archibald finalists will be exhibited at AGNSW from July 16 to October 9, along with the finalists for the Wynne Prize (which awards the best landscape painting of Australia or figure sculpture) and the Sulman Prize (for the best subject painting, genre painting or mural project), which were also announced yesterday. After exhibiting in Sydney, the finalists will then tour regionally until August 2017, after which time the winner will be announced by the trustees of AGNSW. The winner will be awarded $100,000 in prize money and some serious bragging rights to boot. The prize was created by Jules Francois Archibald, the founding editor of The Bulletin magazine. He established the prize with the goal to promote both great Australian portraiture and great Australians. The only real stipulation within the contest is that the painting must have been created in the last 12 months and include at least one live sitting with the subject. The award is an open competition, which means that any resident of Australia or New Zealand can enter. Something to keep in mind for next year. Top image: Natasha Bieniek, Wendy Whiteley, oil on wood, 34.5 x 32.5cm, © the artist Photo: AGNSW, Mim Stirling.
When the time came for Hannah Gadsby to follow up international smash-hit show Nanette, that seemed a rather difficult task. After all, the one-performer stand-up show copped serious praise on its 18-month travels across Australia and the UK, even scooping the top honours at both the Melbourne International Comedy Festival and Edinburgh Festival Fringe — and spawning its very own Netflix special. But, then Douglas was born, with the beloved Aussie comedian returning to the stand-up stage with a performance named after a pet pooch. While Nanette pulled apart the concept of comedy itself, dishing up an insight into Gadsby's past, Douglas took comedy fans on a "tour from the dog park to the renaissance and back". It toured stages across Australia and New Zealand in late 2019 and early 2020, and then hit Netflix in 2020 as well. After that came Body of Work — first as a live show again, and now as a Netflix special, too. Gadsby and the streaming platform have announced that they're reteaming for a multi-title deal that includes bringing that last comedy set to the service, and also producing a new multi-comic special featuring gender-diverse performers. I am pretty excited to be filming my new 'feel-good show', Body of Work, at the Sydney Opera House...yep…I'm back at the scene of the Nanette 'crime'. The shebang of it all will premiere on @netflix....at some point… in the future, I suppose. pic.twitter.com/P53tDfqoqC — Hannah Gadsby (@Hannahgadsby) September 26, 2022 With Body of Work, it'll be filmed live at the Sydney Opera House — this week, in fact, ready for a 2023 release. Exactly when it'll drop next year hasn't yet been revealed, however, but add it to your future must-stream list. As for the special, Gadsby offered a few thoughts with the announcement. "In an effort to further open a door that I had to fight to get through myself, I will curate and host a line-up show on Netflix featuring six new, gender-diverse comedians," Gadsby advised in a statement. "In a notoriously transphobic industry, I am looking to broaden the scope of opportunities for genderqueer performers from around the globe, as well as expand the diversity of offerings to audiences on one of comedy's biggest platforms. Coupled with a mentorship initiative for these up-and-coming comics, the program aims to foster the professional development of a demographic that is still struggling to have their voices heard," the Aussie comic continued. "Recorded in a single run in the UK in 2023, this will be a chance for the world to hear these voices for the first, but definitely not the last, time." It's clearly too early for sneak peeks at all of the above — Body of Work hasn't been filmed for Netflix yet at the time of writing, and the multi-comic special won't be recorded until 2023 — but you can check out trailers for Nanette and Douglas in the interim below: Hannah Gadsby's 'Body of Work' Netflix special will drop sometime in 2023 — we'll update you with an exact release date when one is announced.
It's the ultimate holiday dream, particularly when the weather's warm: golden shores and blue waters as far as the eye can see, comfortable surroundings for all-day lazing around, and your full run of the resort facilities. For most of us, it'll remain a fantasy; however, if you happen to have a cool $5.99 million burning a hole in your bank account, you can head to the Whitsundays and make this beachy vision become a reality. Mackay and Marina Real Estate have listed the Cape Gloucester Beach Resort for sale, and the inclusions are epic. Your fat stack of cash will get you thirteen hectares of sand and bush, plus a licensed bar, a restaurant and an array of beach-side, self-contained cabins boasting 45 beds. The resort was established in 1995, offers visitors everything from snorkelling and kayaking to bird- and whale-watching, and is located 45 minutes by car from Airlie Beach — or 20 nautical miles by boat, if that's your preferred mode of transport. The current owners are four Brisbane friends who put their funds together to purchase the property around six years ago, but are no longer able to make the most of having their own beach getaway. If you'd like to follow in their footsteps (or pretend that you might, just for a minute or so), check out the listing. Via realestate.com.au. Images: Mackay and Marina Real Estate.
Among the many thoughts that Only Murders in the Building has caused viewers to ponder across 2021's season one, 2022's season two and 2023's season three, the misfortune that comes with living in its eponymous spot is right up there. Exactly why is in the show's name, too. Each season, a new murder has taken place in the Arconia, the New York apartment complex that its main sleuthing trio call home. Here's another takeaway from this hit mystery-comedy series so far: famous faces are rarely far from its halls. Only Murders in the Building stars Selena Gomez (The Dead Don't Die), Steve Martin (It's Complicated) and Martin Short (Schmigadoon!) as neighbours and podcasters Mabel Mora, Charles-Haden Savage and Oliver Putnam, and has enlisted a heap of other well-known talents. Sometimes they play themselves, as Sting (The Book of Solutions) and Amy Schumer (IF) have. Sometimes the show gets Meryl Streep (Don't Look Up), Paul Rudd (Ghostbusters: Frozen Empire), Tina Fey (Mean Girls) and more into character. In season four, which starts streaming via Disney+ Down Under from Tuesday, August 27, 2024, all of the above notes still prove true. There's another murder to investigate. There's more big-name cast members as well. Some of the latter appear as versions of themselves, while some play fictional parts. Being aware that there has again been a killing in the Arconia doesn't mean knowing what's in store in the show's return, though. Indeed, something different is afoot this time around, taking Only Murders in the Building to Hollywood. But as the just-dropped full trailer for the new season demonstrates, no one is completely saying goodbye to the series' main setting. Also, Los Angeles isn't the only fresh surroundings that beckon for Mabel, Charles and Oliver. The crew's latest investigation and the cinema business both beckon in Tinseltown. A studio wants to turn their podcast — which is also called Only Murders in the Building — into a film. Cue the arrival of Molly Shannon (The Other Two), Eugene Levy (Schitt's Creek), Eva Longoria (Tell It Like a Woman) and Zach Galifianakis (The Beanie Bubble), with season four's new cast members also including Melissa McCarthy (Unfrosted), Kumail Nanjiani (Ghostbusters: Frozen Empire) and Richard Kind (Girls5eva). Alongside Short, Gomez and Martin, fellow long-running Only Murders in the Building regulars Michael Cyril Creighton (American Fiction), Da'Vine Joy Randolph (a newly minted Oscar-winner for The Holdovers) and Jane Lynch (Velma) are also back. Check out the full trailer for Only Murders in the Building season four below: Only Murders in the Building streams Down Under via Star on Disney+, and will return for season four on Tuesday, August 27, 2024. Read our reviews of season one, season two and season three.
You probably don't want to trek far from a chill spot when summer descends on Brisbane. But there's no shortage of incredible activities to explore between dips in charming river waters or beneath the waves at your favourite beach. The cultural calendar overflows with unique experiences luring you from your quiet place, from multi-sensory events that test your fear of flying to the must-see cinema at the British Film Festival. Best of all, these exciting events make it easy to hide from the humidity. Yet that doesn't mean you should avoid all heat this summer, especially when it comes to sporting excellence. The KFC Big Bash League returns with dramatic matches underneath the floodlights, where cool summer air contrasts with fierce on-field action. Supported by dazzling fireworks and crowd-pleasing vibes, it's just another way to make your summer even more satisfying.
Coca-Cola Amatil, one of the largest manufacturers of beverages and food products in the Asia-Pacific, is the latest company to make a big-ticket move in the fight against plastic waste, announcing it'll phase out all single-use plastic straws and stirrers from its Aussie operations. The company is now switching to fully recyclable and biodegradable paper straws sourced from BioPak and Austraw, for its distribution services to around 115,000 venues across the country, which include everything from grocery stores to petrol stations, bars and cafes. Stocks of the current single-use products will be run out over the next two months, with the more eco-friendly alternatives available from February. While it's a great move for the environment, as highlighted by the ABC, it also has potential to marginalise disabled members of the community. A number of Aussies with disabilities rely on straws to eat and drink, and reusable versions aren't always an alternative. And it seems this is just the start for Coca-Cola Amatil's sustainability shake-up, as the group moves towards its goal to have 100 percent of its Australian packaging fully recyclable by 2025, including bottles, cans, plastic wrap, cardboard and glass. With over 700,000 customers across its brands, ditching the plastic will have a big positive impact. The company says it's currently working with suppliers on a range of sustainable solutions for products like plastic spoons and frozen drink scoops. Last year, it also announced a range of environmental targets it hoped to achieve by 2020, including using at least 60 percent renewable or low-carbon energy in its operations, and significantly reducing the overall carbon footprint of its drinks. The straw phase-out follows similar recent moves by the likes of IKEA, McDonald's and Melbourne's Crown Casino, and comes as South Australia reveals it's looking at implementing its own state-wide ban on single-use plastic items.
Just when you thought it was safe to watch another film set by the sea, The Shallows takes cinema audiences back into shark-infested waters. More than four decades after Jaws scared viewers away from the shoreline, this Gold Coast-shot American thriller endeavours to do the same. But whereas Steven Spielberg really fleshed out the idea of a menacing creature stalking a small beach town, this new effort, from Non-Stop, Unknown and Run All Night director Jaume Collet-Serra, keeps things much more simple. Blake Lively's holidaying Nancy is first left to fend for herself after a friend opts to skip their planned trip to a secluded spot on the Mexican coast. Giving the jaunt a miss isn't an option for Nancy — not just because the Texan medical student is a keen surfer intent on catching some waves, but because the specific locale has links to her recently deceased mother. When she arrives, two unnamed guys are happily hanging ten. Alas, when they leave, she's joined by a more fearsome, blood-thirsty form of company. If it all sounds like a rather flimsy excuse for another lone survivor film in the same vein as All is Lost and Life of Pi, that's because it is. Collet-Serra simply takes what's fast becoming a familiar genre and adds a shark — and some GoPro-shot footage — to the mix. In a move inspired by Cast Away, Nancy is at one point gifted a seagull named Steven to talk to. But for the bulk of the movie she's just trembling on a rock, narrating events to herself and yelling at the lurking great white beast. Of course, as something as silly as the Sharknado series continues to prove, there are always thrills to be found in the notion of humanity versus nature — and ample cheesiness, too. The Shallows succeeds in ramping up the tension surrounding every urgently paced, frenetically edited attack, particularly given how sparse the storyline is. It doesn't fare as well in other departments though — from the obvious dialogue and thin existential musings cooked up by screenwriter Anthony Jaswinski, to the tendency of the camera to linger leeringly over Lively's bikini-clad body. Thankfully, Lively still ranks among the film's best elements in what is basically a one-woman effort. Whether she's screaming for her life or performing gruesome surgery on herself, there's a primal element to her performance that invests her protagonist with the right balance of vulnerability and determination. Indeed, while Collet-Serra has become best known for showcasing Liam Neeson being Liam Neeson, he also knows how to turn Lively into a formidable but relatable force. If you've seen any of his previous films, you should know what to expect here: a taut, trashy action flick that doesn't stray far from its concept. https://www.youtube.com/watch?v=EgdxIlSuB70
We're over halfway through Sydney's winter festival of Light, Live (music) and Ideas. Fans of Vivid have been capturing the best of the spectacle, and we're celebrating the best of this year's pics taken from folks like us — appreciators of light art sculptures, awesome projections, and perfect timing. If you haven't made your way down to Circular Quay and its surrounds, hurry. Vivid Light 2012 wraps up next Monday, June 11. Customs House, taken by Alex Wain (via Flickr). What lies beneath... Photo taken by Patrick Shirey (shared via Instagram). Don't feed the piranhas - photo taken by @keithmcinnes (via Instagram). A forest of bubble trees. Taken by iwoolf (via Flikr). A very vivid merry-go-round. Taken by Welsay (via Flickr). Museum of Contemporary Art, taken by @koltonlol (via Instagram). Sunflowers in the Rocks, taken by Real_ARMOTUR (via Flickr). Lighting of the Sails by URBANSCREEN. Taken by Artistiquephotography10 (via Flickr). Main photo courtesy of Destination NSW. Follow the latest fan photos on Vivid Sydney's Facebook page.
Just as Hobart's winter arts fest Dark Mofo kicks off its final weekend of this year's iteration, MONA has announced that it will move the festival's summertime counterpart, Mona Foma, to Launceston. MONA shared its plans to move the festival back in July last year, when it announced it will build a huge new five-star hotel alongside the Berriedale gallery. The gallery then called on the Tasmanian Government to help fund the move — and that funding has just come through. It's pledged a hefty $1.75 million for each of the next three years to help MONA hold the festival in Launceston, rather than its usual home of Hobart. The move's been prompted by the success of Mona Foma 2018, which saw part of the program hosted in the Launceston, including a free block party at QVMAG enjoyed by a huge 5000 people. It seems that, having changed the cultural landscape in Hobart, MONA founder David Walsh and Mona Foma curator Brian Ritchie have their sights set on doing the same in the state's second biggest city. This will no doubt bring in lots of tourism dollars for the government and local businesses, too. "We weren't interested in putting together a watered-down Mona Foma," explained MONA co-CEO Mark Wilsdon. "This funding means we'll be able to do it, and do it properly. It will help us create a world-famous cultural event, industry and legacy in northern Tasmania, as Mona Foma did for Hobart when we launched in 2009." From its new home, the January festival will continue its celebration of creativity in all forms, through an eclectic program of art and music that's not afraid to get a little weird. The Mona Foma 2019 dates are set to be announced this August, with the lineup dropping shortly after. We'll keep you posted on that front.
Every January, ABC radio station Triple J counts down the hottest 100 tunes of the past year, and gives Australians a new go-to playlist for the next few months. Now, fellow station ABC Classic has gifted fans of movie, television and video game music their own version — the Classic 100: Music for the Screen, which just named the best scores and soundtracks that've echoed from screens big and small over the decades. The Classic 100 isn't new. It's been around for two decades, in fact, and threw Beethoven some love back in 2021. For 2022, however, the countdown has solely honed in on music from films and TV, plus the gaming realm. To the surprise of no one, the winner game from a galaxy far, far away. Yes, John Williams' additions to all things Star Wars topped the list, because the force was clearly with this poll — which, like the Triple J Hottest 100, was voted for by listeners. Coming in second was Howard Shore's efforts for The Lord of the Rings trilogy, while iconic Italian composer Ennio Morricone's score for 1986 film The Mission took out third spot. Muggles and wizards alike must've cast their votes for the Harry Potter series in fourth, recognising the work of John Williams, Patrick Doyle, Nicholas Hooper, and Alexandre Desplat. And John Williams took fifth spot, too, for Schindler's List. Other highlights include the late Vangelis' Chariots of Fire score, John Williams (again) for Jurassic Park, and Ramin Djawadi's work on Game of Thrones — all in the top ten. And yes, Williams popped up a lot. He was also recognised for the Indiana Jones series (11th), E.T. the Extra-Terrestrial (42nd), Superman (55th) and Jaws (57th). Among the other standouts, Doctor Who came in 12th, the music for The Legend of Zelda series notched 23rd spot, Blade Runner sat at 36th, The Godfather trilogy at 41st and Back to the Future at 47th. Or, there's the wonderful and strange sounds of Twin Peaks at 50th, the Super Mario series at 52nd, The Princess Bride at 59th, the Final Fantasy games at 64th, The Simpsons at 70th and the James Bond theme at 72nd. Also on the list: Pokémon at 75th, Bluey at 83rd, Bernard Herrmann's stellar Psycho tunes at 84th and Daft Punk's exceptional Tron: Legacy score in 89th place. Studio Ghibli was well-represented, with Howl's Moving Castle at 21st, Spirited Away at 32nd and My Neighbour Totoro at 66th. Hans Zimmer was too, with nine showings — for the Pirates of the Caribbean (6th), Gladiator (19th), Interstellar (27th), both versions of The Lion King (sharing 28th place), Inception (49th), The Crown (65th), 2021's Dune (74th), Christopher Nolan's The Dark Knight trilogy (75th) and Dunkirk (95th). Yes, you've now got 100 iconic soundtracks to listen to. And if you missed the countdown live, you can still work your way through it via the ABC Classic website. For the full ABC Classic 100 Countdown, head to the ABC Classic website.
Congratulations. Not only have you made it through an entire year, and an entire month of Christmas carols, but you've also reached a neat yearly milestone. Today is the longest day of the year — and not just because you're staring out the window before your office goes on holidays tomorrow. Today — that is Wednesday, December 21 — is the 2017 summer solstice. What does that mean? Well, it means that today has the most daylight hours of any other day this year. That's because the earth's axis at this point in time puts the sun is at the highest point in the southern hemisphere's sky, creating a longer period of sunlight. This happens once a year in each hemisphere. How long the day is exactly will depend on where you live — the further south you are (i.e. closer to the South Pole), the longer the day. According to ABC News, Sydney will get 14 hours, 24 minutes and 43 seconds of sunlight today, while up north Brisbane will get about half an hour less. Hobart gets the longest one of all, with the day stretching for 15 hours and 21 minutes. Interestingly, the summer solstice doesn't coincide with the earliest sunrise or latest sunset, which take place on separate summer days. It might not have the hype of the last month's supermoon, but it's still a great excuse to get do something outdoorsy after work tonight. Via ABC News.
There may or may not be a new mixtape from the Avalanches. This past weekend, the Australian band tweeted this mysterious message to fans, with a link to a mix titled 'A Sleepy Bedtime Mix for Young Ones'. The link is hosted by new mixtape site, Pinchy & Friends, created by Tom Kuntz, who directed the video for the Avalanches' 'Frontier Psychiatrist'. Reps from Modular, the Avalanches' label, claim to have no knowledge of a mixtape. The Avalanches have gonna a little MIA as of late; a "taking a break" message appears on their site, and the band has thanked fans for their patience via Facebook. The mysterious mixtape is posted under the name of Charles Bukowski's character Henry Chinaski, and is currently available for free download here. https://youtube.com/watch?v=eS3AZ12xf6s
