Usually, when people open a cafe, they do so after earning their hospitality stripes in coffee shops and restaurants. But the people behind Little Black Pug haven't done anything the typical way. Proprietors Louise and Joshua Daly met at The University of Queensland in 2016 while studying bioinformatics and pursuing careers in the sciences. Yes, they were interested in food — Lou, in particular — but more the chemistry behind it. Think Maillard reactions rather than mochas. As their burgeoning relationship grew, Lou opened Josh's eyes to gastronomy, and within a year, Josh's untested palate had tackled frogs' legs, snails, and black fungus. As their relationship — with food and each other — developed, their love for science dwindled. They toyed with the idea of opening a macaron stall but instead found a suitable space in Mount Gravatt, Brisbane, to open a cafe. Inspired by their pug Bowie, the newly married couple took a risk, and Little Black Pug was born. Today, Little Black Pug is a community favourite and won the Toby's Estate Local Legends Award for Queensland in 2023. It's expanded from a tiny cafe with a shoebox kitchen to an eatery with three separate dining areas, an event space next door and a food prep area. The latter is, apparently, "coffin-sized," which is presumably an improvement. Lou and Josh's family has grown, too, with a second pug, Mate, having joined the clan recently. Bowie and Mate are, unsurprisingly, the cafe's mascots and arguably their main draw, with LBP's social media accounts announcing the dogs' cafe visits ahead of time to satisfy their adoring public. This attention to detail and careful curation of a community vibe means relationships with customers bloom. Josh and Lou talk of these experiences: "You meet people and watch them get married; you see tiny babies become toddlers that one day are bouncing to Party Rock Anthem in the safe space that is your cafe. You even begin questioning the sanity of your regular customers that come almost every weekend and have eaten everything on the menu more than five times but still come back because they love the food so freaking much." Like practically everyone in the hospitality industry, the pandemic hit hard, and Josh and Lou had to get creative to survive. A new takeaway menu was devised, featuring gluten-free doughnuts, gluten-free hot cross buns, sausage rolls, lasagna, and mac and cheese waffles. These days, Little Black Pug is abuzz again, and that ingenuity, plus the support of loyal patrons, has made it the place it is today. And there is something for everyone. As the duo put it, the menu is suitable "whether you're a dog or a human, a carnivore or a vegan, a celiac or a gluten-fiend." From using food and coffee as a shared interest, a way of procrastinating instead of studying and an excuse to spend more time together to the cornerstones of their livelihood and the bedrock for an inclusive community space, it's been quite the journey for Lou and Josh. We spoke to Louise about what makes them tick and asked for recommendations on other local legends in the area. What's your coffee order? I keep it pretty simple: small flat white with an extra shot. Do you have a secret trick for making the perfect cup? I think the secret to a good, consistent coffee is straightforward. Good beans, a clean machine and the right person making the coffee. From your food menu, what's the perfect pairing with a morning coffee? From our current menu, I reckon the Donut Think Twice. A house-made cinnamon doughnut waffle that would go perfectly with a morning coffee. What made you choose to open in the area you're in today? It's hard when opening a cafe. You need to look at many different factors. We wanted a place that wasn't too big, had good visibility, had dog-friendly seating and was in an area with growth. It just so happened there was a cafe for sale in Mount Gravatt that met many of those requirements, and we jumped at the chance. Where's your favourite local spot to grab a feed? Not necessarily a feed, but if it's a coffee we're after, we'll always drop by to see Simon and the gang at Supernumerary Coffee in Salisbury. Where's your favourite local spot to grab a drink after work? We're not big drinkers to be honest, but if it's in the evening, we like to drop by Sonder Dessert for a sneaky hojicha latte and matcha parfait. What's the most underrated spot for dinner in your area? I wouldn't say it's underrated, but we can't go past Market Square in Sunnybank. Where do you like to go to escape in nature nearby? We love taking the pugs for a hike up Mount Coot-tha. Amazing views of Brisbane. Little Black Pug is the Toby's Estate Local Legends winner for QLD in 2023. For more information on it or other cafes that serve Toby's Estate, visit the website.
Forty years after first forming, Cirque du Soleil still knows how to notch up firsts among its lineup of dazzling circus shows, especially for Australian audiences. In 2023, the Montreal-based company headed Down Under with CRYSTAL, its first-ever ice production on ice. In 2024, it's following that up with LUZIA, which takes inspiration from Mexico, and also marks Cirque du Soleil's first touring performance that features rain in its acrobatic and artistic scenes. LUZIA's name is a combination of the words 'lux' and 'lluvia' in Spanish, with the first translating as light and the second as rain. What that means in the production will be unveiled to Aussie audiences throughout the year, starting in Melbourne in March. Seasons in Adelaide from June, Perth from July, Brisbane from September and Sydney from November will all follow. While it has been four decades since Cirque du Soleil was created back in 1984, 2024 is the 25th anniversary of the troupe's performances in Australia, making LUZIA the tenth big-top show to hit our shores. So, although it's already an ode to Mexican culture, the production has even more to celebrate as it spends the bulk of 2024 and into 2025 making its way around the nation. Packing their bags to help: a team of 120 people, which includes 47 artists from 26 countries. First staged in 2016 and becoming Cirque du Soleil's 38th original production at the time, LUZIA has already been seen by 4.5-million people, a number that'll grow in Australia. Audiences are in for a trip to an imaginary version of Mexico, where the performance gets playful and surreal amid the light and rain. Some of the settings include an old movie set, the desert, the ocean and a dance hall, all backdropping the company's acrobatics, trapeze displays, contortionist feats, juggling and more. In the Cyr wheel, artists will roll and spin through the rain. And that trapeze work? That happens through showers. LUZIA also spans hoop diving on giant treadmills, a natural sinkhole, seven pins being flung in the air by jugglers and street dancing that includes footballs. Daniele Finzi Pasca wrote and directs the production, which begins with a parachutist falling into a field of cempasuchil flowers, turning a huge metallic key, then taking a magical journey. From there, the clown antics give LUZIA a beach clown and clown scuba diving, the acrobatics even take to a bike, a luchador mask makes an appearance in the swing segment — 1000-plus costumes are seen across the show in total — and a hair-suspension act features. Cirque du Soleil's LUZIA — Australian Tour 2024–25: From Sunday, March 24, 2024 — Flemington Racecourse, Melbourne From Sunday, June 9, 2024 — Adelaide Showground, Adelaide From Thursday, July 25, 2024 — Claremont Showgrounds, Perth From Wednesday, September 25, 2024 — Next to Royal Queensland Golf Club, off Curtin Ave East, Brisbane From Sunday, November 24, 2024 — Entertainment Quarter, Sydney Cirque du Soleil's LUZIA tours Australia from March 2024. For more information, or to buy tickets, head to the show's website. Images: Anne Colliard.
This is the X-Men movie for X-Men aficionados; a filmic Grange Hermitage, Stradivarius and Cohiba Behike rolled into one. That's not to say newcomers won't enjoy themselves, but X-Men: Days of Future Past is a considered, intricate and devoted film that rewards both the audience's fidelity to, and memory of, its predecessors. It's set (initially) in the future, where earth's mutants — good and bad — have all but been exterminated via an unstoppable army of adaptive, mutant-seeking robots named 'Sentinels'. With one last throw of the dice available, the survivors send their own indestructible spork, aka Wolverine (Hugh Jackman), back in time to 1974 to attempt to alter the course of history. Wolverine's principal task is to reunite a young Charles Xavier (James McAvoy) with the man responsible for putting him in a wheelchair — the metal-manipulating champion of mutants known as Magneto (Michael Fassbender). Xavier, however, has become an addict of alcohol and painkillers whilst Magneto has been buried in a cement prison for participating in a tricky little incident in Dallas, 1963. Together, they must all reconcile their grievances and work collectively towards stopping an embittered Mystique (Jennifer Lawrence) from attacking the inventor of the Sentinels, Bolivar Trask (Peter Dinklage). Back in the director's chair is Bryan Singer, whose first two X-Men films were by far the strongest in the franchise. The key to their success was focusing on stories bolstered by special effects, rather than delivering 'special effects movies' for the sake of special effects. They were rip-roaringly fun and exciting pictures that also represented compelling parables on prejudice and discrimination. One or two space-time continuum hiccups notwithstanding, X-Men: Days of Future Past rediscovers that balance and the result is a complex and comprehensive film that ingeniously marries the old Singer cast with the younger, First Class one. It also introduces some fantastic new mutants, including a Portal-esque character named Blink and the lightning fast Quicksilver (Evan Peters), whose keynote slow-mo scene is the film's undisputed highlight. X-Men: Days of Future Past is a delightful reboot of a series that was in danger of losing its way. Full of subtle yet instructive allusions to future moments from past films (remember: time travel), it refreshingly keeps things relatively small-scale amid a growing compliment of contemporaries that now deem city-wide devastation par for the course. Dark, enthralling and undeniably exhilarating, it's an elegant and accomplished thrill-ride for both new fans and old. https://youtube.com/watch?v=pK2zYHWDZKo
COVID-19 clusters keep popping up, lockdowns are still part of Australian life and whether Aussies can head to states other than their own — or to New Zealand — can change quickly. This is the reality of life during the pandemic. That said, if you have a trip to Queensland in your future, the Sunshine State has revealed one definite new part of your next visit. The state's government has advised that it is introducing online travel declarations for all visitors to Queensland. So, from 1am on Saturday, June 19, anyone travelling to the Sunshine State from another Aussie state or territory — or from NZ — will need to fill out the form. And yes, this should sound familiar, because similar online forms were implemented back when Queensland's borders were beginning to reopen post-lockdown in 2020. Queenslanders returning home from other Aussie states and territories, and from NZ, will also need to fill out the declaration. You're required to do so up to 72 hours before heading to Queensland, after which you'll be issued a 'green Queensland travel declaration' — as long as you haven't been to a hotspot or exposure site while you were outside of the state. The declarations will apply to everyone, unless you live in the Queensland or New South Wales border zone and have only been in that zone or in Queensland for the past fortnight — and then, only if you're entering the Sunshine State via road. Workers in emergency health services, emergency services, national defence, state security and police who are responding to an emergency in Queensland will be exempt, too, as will ambulance and aeromedical passengers, anyone heading to Queensland in an emergency situation, some maritime crew, folks assisting with or participating in a State or Commonwealth law enforcement investigations, and disaster management workers under their operational protocol. https://twitter.com/AnnastaciaMP/status/1405311966072037382 Announcing the news today, Thursday, June 17, Queensland Minister for Health and Ambulance Services Yvette D'Ath advised that the declarations were about contact tracing efforts. "It's vital that if an interstate exposure site or hotspot is declared, our health experts can quickly contact anyone who has travelled into Queensland from that area," the Minister said. Also coming into effect: a traffic light-style system like Victoria's, which will designate sections of Australia and New Zealand as green, amber and red areas. If somewhere is green, there are no travel restrictions. In the amber category, the area in question has interstate exposure venues — and if it's red, it's a hotspot. Queensland already requires anyone heading to the state who has been to an interstate exposure venue to either quarantine at your home or in other appropriate accommodation for 14 days if you're already in the state with the exposure venue is identified. Or, if you enter Queensland after an exposure site is named, you'll need to isolate in government arranged accommodation for a fortnight. Queensland's online travel declarations will come back into effect from 1am on Saturday, June 19. For further information, head to the Queensland Government website.
It's that time of year, somehow. Christmas is almost here, summer has officially started and you're probably thinking about your 2021 shenanigans. While jetting overseas still isn't an option for Australians at the moment, you can make plans to roam around much of this country we all come home now that borders are reopening — and, if you'd like to head over to South Australia in the new year, its government wants to give you an extra incentive. As part of the returning Great State Vouchers scheme — which first ran in October this year — the SA Government is giving away $50 and $100 vouchers to use at hotels in the state between Thursday, January 7–Wednesday, March 31, 2021. The amount of the voucher varies depending on where you're planning on staying, with $50 vouchers on offer for regional and suburban accommodation, and $100 vouchers available to use for Adelaide CBD and North Adelaide stays. During the first round of vouchers, more than 50,000 where snapped up in just over an hour — but they were only available to South Australian residents. This time around, with more than $2 million worth of vouchers available, the scheme is open to interstate folks as well. And, in another expansion, they can be redeemed over a longer booking period, and can also be used at accommodation places with five or more rooms (up from ten or more last time). That means that you'll be able to choose between hundreds of places to stay — with more than 800 accommodation providers eligible to participate. To take part, you'll need to download a voucher from the scheme's website on Tuesday, January 5, then make your booking between Thursday, January 7–Sunday, January 31. There are a few caveats, unsurprisingly. The vouchers don't cover Saturday nights and, to try to nab one, you'll have to log on to the voucher website and prove your identification via your driver's license or proof of age card. Border-wise, SA currently doesn't require interstate visitors to quarantine, after opening its borders to Victoria on Tuesday, December 1. But some states do currently have restrictions in place for anyone who has travelled to South Australia, or parts of it (such as Queensland, Western Australia and Tasmania) — or require permits (Victoria) to enter if you've been in SA. So, it's best to keep an eye on your state's requirements when you're trying to score a voucher and then making a hotel booking. For further details about South Australia's Great State Vouchers scheme — or to nab one on Tuesday, January 5 — head to its website.
First, it was a popular 80s comedy starring Dolly Parton, Jane Fonda and Lily Tomlin. Then, it became a five-season television sitcom led by Parton's real-life younger sister. In 2009, 9 to 5 made the leap to the stage too, because you just can't stop a good story about female empowerment in the workplace. Revived in the West End earlier this year, it's still a huge hit — and now the latest version of the production is coming to Sydney. Just by reading the show's title, we know that you already have Parton's catchy song of the same name stuck in your head. Pour yourself a cup of ambition, because that tune isn't going away anytime soon. Indeed, you'd best get ready to exclaim "what a way to make a living" more than once when 9 to 5 The Musical plays its Australian premiere season, with its local run playing the the Sydney Lyric Theatre from April 21, 2020. Ahead of its time when it first reached cinemas, this tale of three women who take on their sexist, egotistical and all-round despicable male boss is obviously still highly relevant today. Before #TimesUp and #MeToo, workmates Doralee, Violet and Judy decided to turn the tables by kidnapping their supervisor and reforming their office. Expect the same story in 9 to 5 The Musical, as penned by the original film's screenwriter Patricia Resnick, just with more songs. With Parton herself writing the score — and earning Tony and Grammy nominations for her efforts — expect plenty of feel-good music as well. Although she doesn't appear on stage, the famous country star is still involved with the show, and with bringing it to Australia. While the show will premiere in Sydney, it's possible it'll head to other cities around the country after — cross your fingers and we'll let you know if more dates and locations are announced. While you're still singing 9 to 5 to yourself, check out Parton's announcement video below: https://www.youtube.com/watch?v=-eLfds3BNk8 9 to 5 The Musical will hit Sydney Lyric Theatre at The Star from April 21, 2020, with tickets on sale from 4pm on Friday, September 13. For more information, or to join the ticket waitlist, visit the musical's website.
What has Wade Wilson's (Ryan Reynolds, Ghosted) wisecracks, Logan's (Hugh Jackman, Faraway Downs) surliness, Madonna's 'Like a Prayer' and "let's fucking go!" exclaimed several times? The full trailer for Deadpool & Wolverine, which follows on from the movie's 2024 Super Bowl teaser — which became the most-watched movie trailer of all time — by bringing its namesake frenemies together and giving viewers a bigger look at what's in store. The 34th film in the Marvel Cinematic Universe, and the only one arriving in 2024, is gifting the sprawling pop-culture franchise a few things that fans have been waiting for for years. Deadpool officially enters the MCU. So does X-Men hero Wolverine. The end result, which was initially announced in 2022, hits cinemas this July. After the film's debut sneak peek had Deadpool calling himself "Marvel Jesus" when he's brought into the Marvel fold by the Time Variance Authority — and the Merc with a Mouth declaring that "your little cinematic universe is about to change forever" while he's at it — the latest glimpse gets him dubbing Wolverine "the X-Man". Wade is endeavouring to enlist Logan to help save the world. Sometimes he does so by sticking a gun in his face, but often it's by talking, aka one of Deadpool's go-to traits. One won't stop nattering. The other prefers to say as little as possible. Naturally, they're becoming the Marvel Cinematic Universe's favourite big-screen odd couple. Reynolds has been playing Deadpool since 2009's X-Men Origins: Wolverine, so this isn't the first time that him and Jackman are teaming up as their famous characters — but, again, it is the first time in the MCU. Before now, Jackman has already busted out the adamantium claws in nine movies, starting with 2000's X-Men and running through to 2017's Logan, which was poised as his swansong in the role. But when you've been playing a part for that long, in that many flicks, what's one more go-around? After a non-Wolverine gap spent starring in The Greatest Showman, The Front Runner, Bad Education, Reminiscence and The Son, Jackman is clearly ready to get hairy again. That Deadpool & Wolverine falls into the MCU, the comic-to-screen realm that's been going since the first Iron Man flick and will likely never ever end, isn't a minor detail. The two characters have always been Marvel characters, but because of rights issues behind the scenes, they've stayed in their own on-screen sagas. But when Disney (which owns Marvel) bought 20th Century Fox (which brought the X-Men and Deadpool movies to cinemas so far), those business issues disappeared. Deadpool & Wolverine arrives six years after 2018's Deadpool 2. It also marks a reunion in another way. Behind the lens: director Shawn Levy, reteaming with Reynolds after Free Guy and The Adam Project. Also featuring on-screen in the new trailer: Emma Corrin (A Murder at the End of the World) as Cassandra Nova, the X-Men supervillain that's also Deadpool & Wolverine's big bad. Check out the full Deadpool & Wolverine trailer below: Deadpool & Wolverine releases in cinemas Down Under on July 25, 2024. Images: courtesy of Marvel Studios. © 2024 20th Century Studios / © and ™ 2024 MARVEL.
It’s often said that there’s no such thing as an original thought, but clearly that’s bollocks because it takes a very original mind to come up with a concept like this. Same goes for the snuggie - millions of years of evolution have honed humans to be the absolute geniuses that we are, coming up with useful concepts every day. Not just limited to infomercials and the Japanese, originality is abound everywhere, if you know where to look for it. Running alongside the Surrealism exhibition, GoMA Talks is a discussion program with the topic: what makes creative minds tick? Amanda Smith, Philip Brophy, Dr Jason Gallate, Fiona Hall and Dr Damon Young make up the distinguished panel who tackle the topic from varying angles, dissecting the inner workings of innovators from a range of disciplines and how they create (and enable the creation) of new ideas and concepts. The event is free, but if you can’t make it down to the Cultural Centre you can also stream the webcast and join in the discussion on Twitter using the #GoMAtalks hash tag.
However you spend the 9-to-5 grind, including singing Dolly Parton songs in your head, everyone's working hours are always better with a pet. Had an average meeting? Rover will always be there for you. Stressed about a deadline? Patch's purring will help soothe whatever ails you. Need to look at something other than a screen for a bit? Whatever kind of animal companion you have, they're perfect for exactly that. Most of the above situations lend themselves to working from home, as we've all enjoyed over the past few years — but if you're back in the office, or at least out of your house and away from Zoom calls, you mightn't have a furry, feathered or scaly friend on hand to help brighten up your day. Well, usually. Today, Friday, June 24, just happens to be National Take Your Dog To Work Day. Yes, there's a day for everything. Yes, you still have time to bring Fido with you today. And, to help — because wrangling an animal on public transport isn't necessarily easy — Uber is doing discounted rides for everyone taking their pets into the office. The half-price fare comes courtesy of Uber Pet, which launched in Australia back in 2020. To grab the deal, you'll need to travel between 7am–7pm today — and, if you do so with your pet for company, you'll nab 50-percent off your trip up to a total of $30 off. The discount is valid everywhere that Uber Pet is available in Australia, which covers Sydney, Brisbane, Melbourne, Perth, Adelaide, Gold Coast, Canberra, Newcastle, Hobart, Cairns, Sunshine Coast, Geelong, Wollongong and Darwin. There is a $6–7 'pet fee' on top of the standard ride fare, though. To get the discount, just go to the Uber app, click on your account in the bottom right corner, select 'wallet' and then scroll down till you hit 'add promo code'. That code: FURBABY. (What else would it be?) Each person can only use the code twice, but that'll get you and Max to work and back. And yes, your day just got better, obviously — for you and your fluffball. Uber Pet is doing half-price rides from 7am–7pm today, Friday, June 24. For more information, head to the Uber website.
In winter, Marysville is a sea of red. It's like the damp, cool air is keeping autumn's leaves — which have already fallen from the trees — alight and burning until spring comes along, when new ones will be ready to take their place. The sentiment is a lot like Marysville itself. This one-street country town was left with nothing after it was devastated by the Black Saturday bushfires of 2009; everything was charred black, and only now has it regained its full colour. Marysville has all but been reborn, just like the leaves in springtime. With homes rebuilt, storefronts repaired and new buildings erected — including a massive new commercial hotel, which takes up most of the frontage on Murchison Street — the little country town has life again. And winter is the perfect time to appreciate it. Bereft of much else but good wine and nature, Marysville is the place to spend that weekend away from the city (and your computer) that you've been talking about; doing all those classic, wholesome activities you associate with a cosy winter weekend in the country. The air is cold and a little damp, the kind that tastes like the trees it comes from and freshens you from the inside out. There's plenty of opportunity for walking, drinking and eating, or just reading from the comfort of your hotel room — all the sort of stuff that will make you feel like you've had a soul massage before returning to work on Monday. Best part is, it's less than two hours drive from the city. SEE AND DO One of the best things you'll see in Marysville presents itself before you even get there. If you follow the Maroondah Highway through the Yarra Valley (stops for wine optional, but recommended) and past Healesville, you'll find yourself driving through the lush, dense forest of the Black Spur. This winding road is completely surrounded by crazy tall mountain ash and a lush buffer of ferns. It's really beautiful and it can be hard to keep your eyes on the road, so pull over at one of the overtaking lanes if you need a few minutes to take it all in, and do your Instagramming outside of the car. Once in Marysville, it won't take you that long to scope out the main drag. But we recommend getting off it and disappearing into the depths of the surrounding forest. The Tree Fern Gully Trail is one of the best walks you can do; almost immediately you feel isolated as the dirt track winds from the town down to Steavenson Falls. It's not a necessarily easy walk — there are a few hills and it takes about an hour each way — but it's just what your inhibited winter soul needs: fresh air and enjoyable exercise. And if you want to visit at night, you can drive straight to the falls carpark and walk down to the viewing platform. It's lit up until midnight. For something a bit more fantastical, take a walk through Bruno's Art and Sculpture Garden. The work of Bruno Torfs in enclosed within a somewhat magical garden, and will probably take you back to a time of looking for fairies in the bottom of the garden and tearily watching The Secret Garden. The whole garden was destroyed in the 2009 fires, and local legend Bruno has painstakingly recreated all his work from scratch. There's a $10 entry fee on weekends. EAT AND DRINK Being so close to the Yarra Valley, it makes sense that the Marysville area is prime for growing grapes and making wine. In neighbouring Buxton, Buxton Ridge Winery's cellar door is worth a visit. Lorna Gelbert and her son Michael run the family-owned winery, and will give you a taste of their best drops. They'll even make you up a cheese platter to eat outside on the terrace with a glass of your choice. We recommend the rose or the Shiraz. Whether you've been for a walk or have simply tired yourself out tasting wine, there will no doubt come a time on your Marysville weekend that you'll want to take refuge indoors, with cake. There aren't any trendy cafes here (and you won't get a Small Batch coffee, sorry!), but at Fraga's Cafe, you will be able to get a mean piece of banoffee pie. And really, that's all you need. But the brand new jewel in Marysville's culinary crown is Radius Bar & Eatery, which is adjoined to the new Vibe hotel. All the locals are talking about it (many have already visited multiple times), and on a Saturday night — despite my scepticism about the size of the restaurant in a tiny little town — the place is basically full. Nearly all produce is sourced from within a 100km radius, which explains why locals are so keen to get behind it — by supporting the restaurant, they're supporting their own businesses, and that of their friends. Everything on the menu specifies how far it's travelled to get to the restaurant; the feta-stuffed zucchini flowers use zucchinis from Flowerdale (96km away) and the chicken liver parfait gets its comes from Mansfield (98km). The idea here is to choose your meat and the sides to go with it, and it's the 12-hour roasted lamb shoulder that you really should order. The lamb is pulled and tossed with green olives and eggplant, which makes it rich and decadent, and altogether perfect for a winter meal with a bottle of red. The dish would easily feed three people (which is good value at $28), and you'd only need a few sides — maybe the woodfired barbecue corn and the shaved baby fennel salad. A no-brainer if you're in the area. STAY At last count, an Airbnb search returned only two property results in Marysville. These might be very viable options (if you can nab your preferred weekend in advance), but you'll have much better odds at getting a room at the brand new Vibe Hotel. That's because, by Marysville standards, it's massive — with 101 rooms, it seems like it's been built to house every person who could possibly be in town on any given night. There's a gym, spa, sauna and (for the adventurous) an outdoor pool, so even on cold nights, you'll have multiple ways to keep warm. Ideal for one-nighters where you want the fresh-sheet feel of a hotel, and a buffet breakfast in the morning. CP stayed as a guest of Vibe Hotel Marysville.
Every now and then, Airbnb wants you to sleep somewhere you wouldn't normally be able to visit, such as Barbie's Malibu DreamHouse, the Ted Lasso pub, the Moulin Rouge! windmill and Gwyneth Paltrow's Montecito abode. Whichever spots that the accommodation platform is offering up, there's usually a common denominator: these once-in-a-lifetime stays aren't Down Under. Hobbiton broke the trend, and the Bluey house, too. So does Logan Martin's Gold Coast home. Fancy spending a long weekend at the Olympic BMX gold medalist's house? This spring, you can. Airbnb has been focusing on well-known folks of late, following up Paltrow's guesthouse with Ashton Kutcher and Mila Kunis' own oceanside equivalent in Santa Barbara County. Now comes Martin's place, with the Australian champ — who won his gold at the 2020 Tokyo Olympics in the first-ever men's BMX freestyle competition at the games — welcoming a group of up to four people from Saturday, September 30–Tuesday, October 3. In some Aussie states — including Queensland — the dates do indeed fall over a long weekend. Even if they don't for you, this is a three-night getaway. And it's cheap. How cheap? Just $16 per night, which is a real cost-of-living crisis bargain. If you're wondering whether Martin will be hanging around, the answer is yes — for a BMX demonstration and session in his backyard. He'll put his very own state-of-the-art, Olympic-sized skatepark to good use, and also show you how to, in an effort to inspire future BMX riders. Scoring the booking also includes making the most of the three-bedroom, two-bathroom Gold Coast hinterland home's views, putting green and sandpit, as well as its pool. Inside, you'll be surrounded by Martin's trophies, medals and other memorabilia. Like all of these special Airbnb stays, you do need to be available to kick back on the specific dates — and you need to be lucky enough to score the reservation, which opens at 9am AEST on Tuesday, September 12. Also, all travel costs fall on you, with the $16-per-night accommodation fee just covering access to the property. "I stay in Airbnbs all over the world, and love how these stays have given my family and I a unique way to explore amazing places and really authentically connect with new communities," said Martin. "As a host, I will bring a unique and adventure-fuelled experience to my guests so they can create exciting lifelong memories — including a very special one-on-one BMX experience in my world class skatepark in my backyard." Airbnb adds this new extremely short-term listing to its roster after also doing the same with Japan's World Heritage-listed Suganuma Village, the Paris theatre that inspired The Phantom of the Opera, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage in recent years. For more information about Logan Martin's Gold Coast home on Airbnb, or to book at 9am AEST on Tuesday, September 12 for a stay from Saturday, September 30–Tuesday, October 3, head to the Airbnb website. Images: Luke Marsden Photography. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
After months of discussion and debate, Queensland is reopening its border from Friday, July 10, allowing residents from all Australian states and territories other than Victoria to enter the state for the first time since March. But anyone hoping for a quick trip over the border — whether you're holidaying up north or heading home to the Sunshine State — should expect plenty of company. In fact, more than 200,000 Aussies are planning to make the trek in the next seven days alone. At a press conference today, Thursday, July 9, Queensland's Chief Health Officer Dr Jeannette Young advised that the state has already received 238,000 applications for border declaration passes — the permits that anyone entering Queensland from interstate, including Queenslanders returning home, are required to obtain before they'll be allowed across the border. The passes only permit entry into the state within seven days from approval, which means that a hefty amount of people are planning to make the trek within the next week. As Dr Young notes, "that is a lot of people — so that will mean that we'll see congestion and delays". The huge figure was revealed as Queensland announced significant changes to its border policies, including increasing restrictions on travellers who've been to Victoria in the past 14 days. While, since Friday, July 3, Queensland has required anyone travelling from Victoria, including Queenslanders, to go into forced quarantine for 14 days — in a hotel, at your own expense — it'll now completely ban visitors from Victoria from noon on Friday, July 10, including from both accessing the state and quarantining in the state. Exemptions will be given "for essential specialist workers, as well as for health, legal or compassionate grounds", but Premier Annastacia Palaszczuk advises that "very few exemptions will be granted". Although Queenslanders returning to the state from Victoria will still be able to come home, they'll continue to be required to go into forced quarantine for 14 days, in a hotel, and pay for the costs. https://twitter.com/AnnastaciaMP/status/1281002263457132545 Queensland also revealed that it's implementing new requirements for interstate visitors who develop COVID-19 symptoms while in the state. As announced by Deputy Premier and Minister for Health and Ambulance Services Steven Miles, anyone entering Queensland will be required to get tested if they show any signs of the coronavirus within 14 days of arriving in the state — and, to commit to that requirement, you'll have to make a binding declaration to get tested when you apply online for your border pass. Mobile testing clinics will be set up at popular tourist destinations to help travellers get tested — and anyone who refuses testing will face a $4004 fine. The testing requirement will also apply to Queenslanders returning to Queensland, with folks in both categories receiving text messages from Queensland Health to ask if they have developed symptoms and remind them that they must get tested. At the time of the announcement — and at the time of writing this article — Queensland only has two active cases of COVID-19 in the state. To find out more about Queensland's COVID-19 restrictions, and the status of the coronavirus in the state, visit Queensland's online COVID-19 hub. 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. Top image: Tourism and Events Queensland.
M.I.A just added another notch to her rebellious belt, calling in Julian Assange to open her gig at NYC's Terminal 5 via a live Skype feed. In what some might say is a canny publicity move (her fourth album, Matangi, has just been released today), the performer took her fans by surprise when Assange appeared on an enormous screen over the stage. After briefly lamenting he couldn't be at the show due to his ongoing confinement in London's Ecuadorian embassy, the WikiLeaks founder told the American audience "your government sucks", stressing the seriousness of the sinister relationship between government and media in the west. Assange spoke for just over ten typically glitchy Skype minutes, declaring that "we are in a battle" and stressing to his listeners that truly caring means getting personally involved, which in turn could lead to an enormous collective power. He also expressed his admiration for the politically passionate English/Sri-Lankan artist, saying “I think she is the most courageous woman working in western music.” Assange actually helped write one of the tracks on M.I.A's new album, 'aTENTion', for which he seemingly hacked the word 'tent'. They have previously collaborated in his promotion of M.I.A's free 2011 mix tape Vicki Leekx, and she later contributed music to Assange's TV program The World Tomorrow. You can watch an audience member's recording of the unexpected address below. The sound isn't great, but if you fiddle around with the volume levels you can catch most of it. Via New York Times and Spin.
Pickles and beer are a winning mix. If you've ever paired meat, cheese and fermented vegetables with a pint or several — and who hasn't? —then you clearly think so too, even if you don't realise it. Ploughman, Alderley's latest cafe-bar hybrid, certainly does; indeed, that's what the new addition to Samford Road is all about. Because you can't beat a good food-and-drink combo, you'll find platters overflowing with all the usual charcuterie essentials and house-made pickles, plus taps flowing with a rotating range of local, national and international brews. Yum. If it sounds rather straightforward, that's because it is — but sometimes the best things in life are the simplest. Plus, it's a nifty idea for a bar that's housed within a former 19th century general store and saddler, has been overhauled by an electrician and architect, and also serves grilled cheese toasties and small-batch spirits. And yes, like the name suggests, ploughman sandwiches stacked with leg ham, cheese, bread, mustard and pickles are also on the menu.
Since 2016, the cinema-loving world has had a Studio Ghibli-shaped hole in its heart. That's when the acclaimed Japanese animation house released its most recent film, the gorgeous French co-production The Red Turtle. Its last solo production actually came two years earlier, courtesy of 2014's When Marnie Was There. Still, much has happened in Studio Ghibli's world over the past decade. Hayao Miyazaki announced his retirement, then changed his mind. In 2018, fellow co-founder and acclaimed director Isao Takahata sadly passed away. And, over the past few years, the company has been busying itself with its very own theme park. The latter is due to open in 2022 and become quite the tourist attraction — but that doesn't mean that fans aren't keen for more Ghibli movies. Thankfully, the studio revealed earlier this year that it's working on just that, with two new films on its slate for 2020. One of those movies will be helmed by My Neighbour Totoro, Spirited Away and Howl's Moving Castle icon Miyazaki, with How Do You Live? actually first announced a few years back. As for the second film, information have been scarce to date; however the company has just provided more than a few details. Called Aya and the Witch — and also known as Earwig and the Witch in English — the movie will mark the first Studio Ghibli completely made using computer-generated animation. Director-wise, it's helmed by Hayao Miyazaki's son Goro Miyazaki, who previously directed Tales from Earthsea and From Up On Poppy Hill. It's also based on a novel written by British author Diana Wynne Jones, who penned the book that Howl's Moving Castle was adapted from, too. And, it'll head straight to Japanese television, with the film airing on local broadcaster NHK TV sometime during Japan's winter. Just when audiences elsewhere will get to see Aya and the Witch is yet to be revealed; however it was announced this week that it would've screened at the 2020 Cannes Film Festival if the event had gone ahead this year. In lieu of holding a physical fest, the prestigious event announced a lineup of 56 movies it would've shown, giving them the 'Cannes 2020 Official Selection' label — and Ghibli's latest is one of them. In terms of story, Aya and the Witch focuses on a girl at an orphanage. She enjoys living there, but her world changes when she's chosen to live with a couple — including, as the title makes plain, a witch. Fingers crossed that Aya and the Witch will head to screens Down Under sooner rather than later. In the interim, you can get your Ghibli fix by checking out the company's online tours of its museum on the outskirts of Tokyo: https://www.youtube.com/watch?v=Ccgm1Pp5Whw Via Studio Ghibli. Top image: Howl's Moving Castle.
The super adorable Finders Keepers Markets have been home to Brisbane's most creative and quirky designers for more than seven years. And keeping with tradition, the independent hip-fest is returning to their home at The Old Museum in Bowen Hills for 2016. The autumn winter edition of the market will take place over two days July — just in time for the snuggly season. The biannual, designer-centric, come-one-come-all mini-festival has managed to bridge the gap between local market and exclusive exhibition, creating a space for independent designers to engage with the wider community. You'll be able to nab some marvellous treats difficult to find anywhere else. From bespoke leather goods to bespoke stationery, unique neckties, artisan jewellery and all manner of cute and kooky knick-knacks, every stall will be a unique shopping experience that combines innovative design with grassroots feel-goodery. And even if you're a Finders Keepers regular, you'll be sure to discover something new — 30 percent of the stallholders will be brand new to Brissie. Local artists Lilly Piri and Mel Stringer will also be holding their first stall, selling their signature artworks as well as zines, stickers, badges, totes and cute wooden animals. As usual, there will be live music, a cafe and heaps of other Brisbanites celebrating independent art and design. Feeling a little overwhelmed? Finders Keepers are aware this cornucopia of new design can be a little large to navigate. So they've got their own app, with interactive maps to help you find out more info about stallholders, a personal itinerary tool, and notifications to keep you looped in to what's happening on the day. You can download the app from the App Store or on Google Play. Finders Keepers is open 9am-4pm on both Saturday, July 2 and Sunday, July 3. Entry is $2 for adults, and free for kids. Image: Bec Taylor.
After playing host to Brisbane's decadent Lobster Shack pop-up, Petrie Terrace is now home to the city's newest American-themed eatery and watering hole. Open in the spot formerly known as Sandy's Goodtime Bar, Fat Belly Jack's is the inner-city area's new home of fried chicken, bourbon, whisky and beer. The new venture actually comes from the folks behind the aforementioned short-term lobster and Champagne venture. Indeed, they were so impressed with its success that they decided to settle into 48 Petrie Terrace for the long haul. This time around, though, they're all about Nashville-style poultry pieces cooked in a southern-style batter, then dunked in spicy coatings that range from mild to 'really fucking hot', as well as specially paired boilermakers. Food-wise, patrons can choose from burgers, wings, tenders, and either quarter or a half birds, which all come with bread, pickles and a choice of sides. And as far as those accompaniments go, Fat Belly Jack's is slinging bacon-fried greens, Memphis slaw, creamed corn, mac 'n' cheese and crinkle cut fries. With bare brick walls on display, neon signs a-blazing, and a soundtrack of American blues, rock, soul, funk and country music, the venue leans into its theming; however, other than the chook, it's the huge back bar that's the focal point. A sizeable range of American spirits sits alongside a rotating lineup of US beers, plus Fat Belly Jack's special boilermaker menu. Spanning from high-end to more affordable options, the lineup includes the likes of the Baller Boiler, pairing Deep Creek IPA with five-year-old Willet Pot Still Reserve whiskey, as well as the Poor Boy, which combines a can of Pabst Blue Ribbon with a shot of Jameson. Find Fat Belly Jack's at 48 Petrie Terrace, Brisbane. It's open from 12–10pm Tuesday–Saturday, or until later if busy.
A Halloween without pumpkin is no Halloween at all, so South Bank's Little Stanley Street likes going all out. A few years back, the inner-city stretch first conjured up Trick or Treat Little Stanley Street, an October street party that's all about getting into the spooky spirit and splashing around plenty of orange-coloured vegetables. After a pandemic-sparked hiatus, the event is making its big return in 2023. We hope you like pumpkins, because this fest does. Indeed, when it makes its comeback across Friday, October 27–Saturday, October 28, Trick or Treat Little Stanley Street is bringing back its pumpkin patch. After you pick the perfect gourd, you can take it home with you — for decoration as it is, or for carving into a jack-o-lantern — for a fee. That's not all that this event has to offer, especially if Halloween or just being the vicinity of so many pumpkins makes you hungry. Attendees can settle in at one of the eateries along the South Bank roadway to enjoy a meal that matches the mood, themed cocktails, dishes and all. A heap of bars and restaurants will be embracing the Halloween vibe, whether you're keen on a witches hat margarita at Ahmet's over a roast pumpkin and spinach pide, voodoo people punch at Baba Ganouj — or a zombie juice mocktail if you're not partaking in the hard stuff — or Brooklyn Depot's Satan's wing roulette (aka five buffalo wings and one with Fugheddaboudit hot sauce). Ahmet's is also doing free Halloween bellinis for anyone in costume, while spooky sangria in various guises is on offer at Baba Ganouj, Vici Italian, Ole Spanish Restaurant and Mucho Mexicano. Bloody margaritas are also a common fave at the latter three joints. If Halloween to you means scary movies — or films with horror themes that aren't necessarily fright-inducing — then you'll want to hit up the Little Stanley Street South Lawn during Trick or Treat Little Stanley Street. A big screen will be set up playing all-ages-appropriate titles such as Frankenweenie, Corpse Bride, The Addams Family and Casper. Also on offer from 5–10pm on both days: a trick-or-treat trail, Halloween decorations everywhere, a ghost train, roving entertainment and craft workshops for kids. Yes, this is a family-friendly affair, so expect plenty of little trick-or-treaters for company. Attendance is free, but registering in advance is recommended if you're keen to head along.
Call it fate, call it destiny, call it feeling so deeply that you were always meant to cross paths with another person that no other outcome could ever be conceivable: in Korean, that sensation is in-yeon. Call it having a connection that sprawls yet binds like an endless piece of string, always linking you to someone no matter how far apart you each wander: stretch that out over many, many lifetimes and, yes, that is in-yeon as well. Watching Past Lives, which references the kismet-esque concept both in its three-part story and its title, gives viewers a brush with in-yeon, too. Writer/director Celine Song's feature debut is that affecting; that vivid, evocative and haunting; that alive with been-there-lived-that energy. Wading through layers of love, identity, roads taken and not, and the versions of ourselves that we are at each fork, Past Lives is that acutely able to make a very specific experience mirror everyone's experiences. Partway through the film, aspiring playwright and writer Nora (Greta Lee, Russian Doll) talks through in-yeon with fellow scribe Arthur (John Magaro, The Many Saints of Newark). She shares that in-yeon lingers with everyone that you meet, the very act of making one's acquaintance signifying that you've done so before — and if two people become lovers, it's because they've kept falling into step in life after life. As Nora speaks, Past Lives' audience are well-aware of an unshakeable truth, as is the movie's central figure: that she knows in-yeon in her bones. Indeed, this is what Song's sublime feature is about from its first frames to its last in every way that it can be. With Arthur, Nora jokes that in-yeon is something that Koreans talk about when they're trying to seduce someone. There's zero lies in her words, because she's working that move right there and then, and she'll end up married to him. But with her childhood crush Hae Sung (Teo Yoo, Decision to Leave), who she last saw at the age of 12 because her family then moved from Seoul to Toronto, in-yeon explains everything. That one perfect term sums up Nora and Hae Sung's firm friendship as kids, as chronicled in Past Lives' first third. As pre-teens, the duo (Voice of Silence's Moon Seung-ah and Good Deal's Leem Seung-min) are virtually inseparable — walking home from school together daily, competing over grades, bantering with effortless rapport — until half a globe separates them. Then, when they reunite in their 20s via emails and Skype calls after 12 years without each other, Past Lives' crucial word also describes their instant spark and pull. The latter is so magnetic that they're basically dating without saying it, and while he's still in South Korea but she's now in New York. Next, it captures the complicated emotions that swell when Nora and Hae Sung are finally in the same place together again after decades. Arthur is in the picture by then and, ever-adaptable, in-yeon even encapsulates that development. If Past Lives didn't leave its viewers certain to their core about its emotional authenticity, that'd be a greater surprise than how strongly and tenderly it resounds. The Korean-born Song also emigrated to Canada with her parents at the same point in her life as Nora. While she hasn't made a strictly autobiographical work, there's fact dwelling behind this fiction. Her picture would pair astoundingly well with Minari and Aftersun, in fact. In its way, leaping in souls and minds rather than through realms, it's a multiverse tale and companion to Everything Everywhere All At Once also. Feeling so intimately applicable to the characters loving, living, immigrating, yearning and growing within its frames, and yet echoing so universally, is that always-sought-after holy grail of storytelling feats. Although her film hones in on the heart — on-and off-screen alike — as it gets poetic and philosophical (and delivers a Big Apple-set Before Sunrise/Before Sunset/Before Midnight sequence), that Song studied psychology and once planned to become a therapist isn't astonishing to learn. Each time that Nora and Hae Sung slide back into each other's existences, a dozen years have passed, but it feels no time at all for both. Still, that sentiment can't and doesn't smooth their way onwards. Fittingly, Past Lives is crafted to resemble slipping into a memory, complete with patient looks and visuals (Skate Kitchen and Small Axe cinematographer Shabier Kirchner lenses) and a transportingly evocative score (by Christopher Bear and Daniel Rossen of Grizzly Bear, which gives the picture a bond with the also-heartwrenching Blue Valentine and its own knotty romance). This feature knows every emotion that springs when you need someone and vice versa, but life has other plans. It feels the weight of the trails left untrodden, even when you're happy with the route you're on. It understands what it's like to be see your past, plus the present and future it could've influenced, shimmering in front of your eyes. Past Lives is a film about details — spying them everywhere, in Nora and Hae Sung's lives and in their faces, while recognising how the best people in anyone's orbits spot them as well. Of course every second appears meticulous, then, but also equally dreamy and ripped from reality. Of course Lee, Yoo and Magaro are each magnificent, as is this entire sensitive, blisteringly honest and complex masterpiece. Lee charms Nora's two love interests and Past Lives' viewers in tandem, in a sincere and sharp performance as a woman who is as witty as she is wistful while grappling with who she is. Yoo hops from the best movie of 2022 to what'll be difficult to beat as the best of 2023 with quiet dedication and potency. And Magaro plays adoring, accepting but never elementary; Arthur knows how intricate the situation is, so his way through is just that, through, gleaning his part in helping Nora and Hae Sung be who they need to. Contemplating what's written in the stars also involves contemplating beginnings and endings, even when in-yeon has cycles and reincarnations all a-fluttering. Again, Song fashions Past Lives to embody all that it muses on, including via an opening that's utterly immaculate and a closing scene that's breathtakingly divine. Both are also unforgettable. To start, jumping forward before going backwards, Nora, Arthur and Hae Sung sit at a bar. Her body language is all about her lifelong friend, as fellow drinkers peering on comment on; regardless of how things appear, though, only Nora, Arthur and Hae Sung can ever truly grasp their own full story. To wrap up, simply walking and waiting is so impeccably considered and staged, down to the direction that events flow in across the screen, that they say everything about advancing, retreating and wishing you were doing one while going through the other. Past Lives is a movie to lose yourself in, and gloriously; a film to fall head over feels for, and fast; like it feels fated to be, it's also just extraordinary.
Soon your canine companion could be the envy of his naked four legged friends, thanks to an unusual and highly adorable collaboration between a pair of local fashion labels and Guide Dogs Australia. On sale from today, Elk and Gorman have created an exclusive dog range of coats and accessories, to help keep your pooch looking on point. For their part, Elk have designed a range of durable high end leather collars and leads. Gorman's contribution, meanwhile, comes in the form of four distinct winter coats in four different sizes and print styles. And yes, before you ask, they've also designed matching coats for dog owners. 100 percent of proceeds from the sale of these new items will go directly to Guide Dogs Australia. "We're proud to be working with such progressive and innovative designers whose great sense of social responsibility will enable us to raise funds for breeding, raising and training more Guide Dogs," said Guide Dogs Victoria CEO Karen Hayes in a statement. "There have been many requests over the years for Gorman to do dog coats in our prints," said Gorman founder and creative director Lisa Gorman. "But this cause gave us very good reason to put it into action." You can pick up some new threads for your pupper at Elk and Gorman shopfronts, or from their respective online stores. Find their websites here and here.
In 2013, 300 people danced to Kate Bush's 'Wuthering Heights' in a field — and in 2022, the idea is back and bigger than ever. Yes, The Most Wuthering Heights Day Ever is happening in Brisbane again from 2pm on Saturday, July 30. Yes, everyone should be dressed as Kate Bush, complete with a red dress, red stockings and black belt (men, that means you as well). On the day, a clowder (that's the collective noun for Kate Bushes, just FYI) will descend upon Milton and copy Bush's swaying, kicky dance in unison just for the pure joy of it. Support for this weird and wonderful outing has been widespread, and Kate Bush fans from around the world have been inspired to create events in their home cities. So get your gear together (dressmakers are usually flooded with orders for the day) and ready yourself to roll and fall in green, out on the wily, windy moors of Frew Park. If you need an incentive — other than the event itself, of course — it's now 44 years since the song was first released. Also, this year's celebration of all things Kate Bush is taking place on the British musician's birthday. Running up that hill beforehand (whichever hill you like) isn't compulsory, but it feels fitting. And yes, when it comes to Kate Bush worship, she sang it best herself : don't give up.
Broadway and West End smash An American in Paris is singing and dancing its way into Brisbane, with the four-time Tony-winner kicking off its Australian run of shows at the QPAC Lyric Theatre on Saturday, January 8. The dazzling show is based on 1951 film of the same name so yes, if you're a fan of classic movies — and classic big-screen musicals starring none other than the inimitable Gene Kelly at that — its name will definitely sound familiar. Story-wise, the musical follows an American soldier in Paris (because its moniker is that straightforward). Set at the end of the Second World War, it charts US GI's Jerry Mulligan's exploits as he falls for a French woman. Well, he is celebrating the end of the combat in the notably romantic city, after all. Bringing the Oscar-winning 70-year-old film to the stage, this version of An American in Paris is directed by acclaimed contemporary ballet choreographer Christopher Wheeldon — and adapted for theatre and choreographed by him, too. The Aussie run is also being staged in collaboration with the Australian Ballet, so expect to see some of their dancers helping to bring the musical to life. George and Ira Gershwin's songs make the leap to the theatre as well, including 'I Got Rhythm', 'S Wonderful', 'But Not For Me' and 'They Can't Take That Away From Me'. Initially, An American in Paris debuted in Paris — where else? — in 2014, before hitting Broadway, Boston and West End. In Brisbane, it'll play until Sunday, January 30. [caption id="attachment_828886" align="alignnone" width="1920"] Tristram Kenton[/caption] Images: Tristram Kenton.
Satellite Boy is a truly great Aussie film. It's not just a great film that happens to be shot in Australia; this touching and evocative little fable from first-time film director Catriona McKenzie is a great film that was both born and bred in Australia and whose primary protagonist is Australia herself. And what a protagonist she is! If Tourism Australia had any sense, they would put Satellite Boy on every cinema screen in the world, as it may be the most dazzling advertisement for Australia's natural beauty that has ever been committed to celluloid. The celestial night sky, the pink sunsets and the dry lake beds of the Kimberley region are so gorgeously photographed by cinematographer Geoffrey Simpson that they come to take on an almost otherworldly quality, perfectly befitting the film's fascination with the spiritual wonder of the Australian outback. Much like Terrence Malick's legendary cinematographer, Emmanuel Lubezki, Simpson seems acutely aware that setting always equals character. The film tells the story of two Aboriginal boys, Pete and Kalmain (newcomers Cameron Wallaby and Joseph Pedley). After hearing that a major mining company are planning to tear down Pete's home in order to make way for a massive industrial development, the two boys head cross country to give the company's executives a piece of their mind. Inevitably this path is one of enormous self-discovery, with both boys coming to understand what living in and of the land truly means. Basically, what McKenzie gives us is the Indigenous equivalent of a road trip/coming-of-age film, or perhaps more accurately, a walkabout film. To the film's discredit, the story is at times as hackneyed and overwrought as its premise suggests. Many of the characters' revelations, particularly towards the film's conclusion, are stiflingly conventional and detract from the more subtle and gradual developments of the first two acts. Yet Roger Ebert often wrote that "it's not what a movie is about, it's how it is about it", and in this case Satellite Boy manages to transcend its inherent simplicities due to the visual and lyrical flair with which the filmmakers imbue each and every shot. The story itself never pretends to be anything more than a grand allegory for what is essentially the central Aboriginal struggle of the last 200 years: displacement from spiritual home. The beauty of the Australian landscape is contrasted with the rotted and ruined nature of technology. Disused tractors have become heaps of rusted iron, telephones fail to connect Pete with his estranged mother and a single handgun threatens to tear the boys' friendship apart. Ultimately, this story belongs to the two newcomers, Wallaby and Pedley. Their genuine chemistry and naturalistic performances gives the characters an infectious warmth and youthful exuberance that is as compelling as it is endearing. Satellite Boy may well have passed as another Australian "also-ran" if it weren't for these phenomenally mature performances.
The menu might change on a daily basis, but one thing always remains the same at Red Robin Supper Truck. That'd be the presence of a burger — and sometimes more than one — that's worth heading to Morningside for. Named for the tea room it sits behind, the Southside is as tasty as the combination of beef, cheese, bacon, lettuce, tomatoes and pickles gets, however whether the blue bacon, big kahuna, Dorito chicken, kimcheese, red curry or thai fish burger also grace the food van's chalkboard, it's always in good company. Plus, a trip to Red Robin Supper Truck means a trip to Death Valley, the city's best inner-east dive bar.
If you're in Melbourne or southeast Queensland and you're a fan of Lin-Manuel Miranda, rejoice: your next chance to enjoy the musical talent's work is on its way in 2025. Hamilton has already done the rounds, including seasons in the Victorian capital and Brisbane. Next, it's time for another of Miranda's big Tony Award-winning shows to take to the stage locally — and his debut smash, too. Both Comedy Theatre and HOTA, Home of the Arts are set to turn into New York City's Washington Heights for seasons of In the Heights. Initially staged in 2005, then leaping to off-Broadway in 2007, then playing Broadway from 2008–11 (which is where it nabbed those 13 Tony nominations and four wins), Miranda's first stage sensation spends its time with Usnavi, a bodega owner from the Dominican Republic who dreams of going back — and who also sports a crush on Vanessa, who aspires to move out of the neighbourhood. Miranda himself originated the role of Usnavi, scoring a Tony nomination for his efforts. In Australia for this run, which began in Sydney in 2024, Ryan Gonzalez (Moulin Rouge! The Musical) has stepped into the part. When the show heads to Melbourne from Friday, August 1 and then to the Gold Coast from Friday, September 12, fellow Moulin Rouge! The Musical alum Olivia Vásquez is playing Vanessa. Alongside Gonzalez, she's joined by Richard Valdez (All Together Now — The 100) as the Piragua Guy — another character that Miranda has brought to life personally, this time in the 2021 film version of In the Heights. On the stage and on-screen, the production not only follows Usnavi and Vanessa's connection, and their respective hopes for the future, but also the residents of Washington Heights, their family ties across multiple generations and their friendships. The soundtrack — which helped In the Heights win Best Musical and Best Original Score Tonys — as well as the vibe and mood bring together salsa, soul, rap, hip hip, merengue and street dance. If you're keen to watch the movie — or rewatch — in the interim, it stars Anthony Ramos (Twisters) as Usnavi and Melissa Barrera (Abigail) as Vanessa, as well as Leslie Grace (The Thicket), Corey Hawkins (The Piano Lesson), Jimmy Smits (East New York), Stephanie Beatriz (A Man on the Inside) and Olga Merediz (Spellbound). In the Heights 2025 Australian Dates From Friday, August 1 — Comedy Theatre, Melbourne From Friday, September 12 — HOTA, Home of the Arts, Gold Coast In the Heights is playing Melbourne from August 2025 and the Gold Coast from September 2025— head to the production's website for more details and tickets. Images: Daniel Boud.
Whether or not making movies has ever been your goal, everyone knows that some film achievements that are just the dream. Getting into SXSW is one of them. If you're from Australia, and from Sydney at that, having your first feature play at Sydney Film Festival ranks as highly. Amy Wang has now notched up both thanks to Slanted, which premiered at Austin's OG version of SXSW in March, then made its Aussie debut at SFF. Was this the dream for Wang? "100 percent. Yes. Yes. Growing up — and I went to film school here in in Sydney as well — there are those film festivals like the Cannes, the Sundances and SXSWs, where you're just like 'wow, even to just play'," she tells Concrete Playground. "I think they choose ten films or eight films to play in competition at South By. I remember that day. I had a friend who had a film that played at South By the previous year, and they had said they got their acceptance email around the beginning of December. So I just had this inkling. I was like 'if I don't get this email today' — it was a Friday — 'then it's probably a no go'. And I got it. It was so surreal for sure. Just so happy." That's how Wang discovered that she'd be unveiling her body-horror satire about a Chinese American teen's desire to be like her peers at her US high school — plus the lengths the character goes to to achieve that aim — in America. For her troubles, she took home 2025's SXSW Narrative Jury Award. Playing Sydney Film Festival is another treasured milestone. "In many ways, I am even more excited to show it in Sydney," she notes. "Growing up in Sydney, I would go to Sydney Film Festival every year since I was a teenager. So I've been to the State Theatre so many times, lined up outside. It's such a prestigious venue." Slanted's first Aussie session did indeed play at the grand venue at the heart of SFF. It's a US-set and -made film, but screening in Australia is a homecoming because its Chinese Australian writer/director has taken inspiration from her childhood experiences right here. The story of Joan Huang (Shirley Chen, Dìdi) isn't far from Wang's own growing up, when she was teased and attacked due to her race, she advises. Well, that setup has its parallels, at least. With Slanted, the filmmaker takes that trauma and transfers it into a world of prom queens and blonde obsessions, crafting a biting exploration of such a nightmare — one where Joan is convinced that the radical step that is "racial transformation surgery" is her only choice. When Joan walks her school's halls, she strolls past photos of past tiara-wearing teens, all blue-eyed and fair-haired. Her bedroom walls are filled with pictures of blonde celebrities. On her phone, she changes her own image with filters. Lightening her tresses IRL follows. Upon arriving in America with her family (Starring Jerry as Himself's Fang Du and The Afterparty's Vivian Wu) as a kid (Kristen Cui, Knock at the Cabin), she was mocked quickly, cementing the idea in her impressionable young mind that assimilating with her classmates was the ideal option. Also as a child, courtesy of her dad's job as a high-school janitor, she discovered prom queens and the adoration that the title brings. So, when a company called Ethnos slides into adolescent Joan's DMs with a proposal, securing all of her fantasies — and befriending the most-popular girl in school (Amelie Zilber, Grown-ish), too — appears closer to becoming a reality. If this sounds like a "be careful what you wish for"-esque setup, that's because it is as Slanted also works Ghostbusters: Afterlife and Ghostbusters: Frozen Empire star Mckenna Grace into its cast as Jo — and as Wang digs into the desire to belong, its costs, caucasian-centric beauty standards, white privilege and class clashes. Wang knows that this is well-populated territory in general, but "nobody had really done what I've done", she reflects. "Even around White Chicks, for example, it's still the same actors. And obviously Freaky Friday is another example of a body-swap kind of film, but with this, still it's the same person. And it's to do with race, and that's something I think that hasn't really been touched. Obviously a lot of people have been comparing the film to The Substance, which is a little similar as well in terms of themes, but still different. I think it was just the race aspect of it — the fact that it's so personal to myself — that's how I made it different and my own." Was the process of penning and helming Slanted cathartic for its guiding force? "100 percent. 100 percent. I use film and I use writing and directing to work through my own trauma, I think, and it's been deeply cathartic," Wang shares. As much of a focus is ensuring that everyone else that has ever felt like Joan does can see that others have been there. "I made this film so that people didn't feel alone," Wang continues. "And I could express a story about somebody who maybe the majority of Australians or the majority of Americans don't really think about — and to do it an entertaining way so that they are entertained, but also are made to think and reflect on themselves." Wang's path to Slanted spans studying at the American Film Institute, winning accolades for her short film work before her feature's SXSW triumph — 2017's Unnatural picked up a gong at the Cannes Lions — and diving into a sequel to a Hollywood hit. When Crazy Rich Asians 2 makes its way to cinemas, it'll do so with Wang as its writer. Netflix's From Scratch and The Brothers Sun are also on her resume so far. We chatted with Wang about her Slanted journey to date, the movie's response, having an Australian perspective on US teendom and more, including the picture's balancing act, its crucial casting, the visual approach and more. [caption id="attachment_1008985" align="alignnone" width="1920"] Amy E. Price/SXSW Conference & Festivals via Getty Images[/caption] On How the 12 Months Since Making Slanted Have Panned Out for Wang "Oh my gosh, it's been nuts. It is kind of crazy to think — like even today on my phone, you know how your iPhone sometimes gives you memories of the last couple of months? I hadn't even started shooting this time last year. So we shot June–July. I think I flew back to LA — because we shot in Atlanta — I flew back to LA in August to start post. And it's been pretty fast, when I think about it. And it was — I mean, it's still crazy. We delivered the film like three days before we premiered. I'm sure SXSW hated us with that. So it was kind of non-stop until the premiere. The night before, I couldn't sleep because I was so nervous. And then we had such a great reaction after that first screening. I thought the festival will tip you off if you win anything, but they don't. I wasn't even going to even go to the awards night. And I just rocked up in a t-shirt and jeans. Other people were dressed up in dresses and suits and everything, and me and my husband were just sat in the back. It was the most-crazy experience, and so I'm still pinching myself." On Whether Wang Expected the Type of Response That Slanted Has Been Receiving "I think I wanted for this response, and I'm really happy that that I've received it. There was definitely a part of me that was a little bit afraid. I like to push buttons with all of my films, the scripts that I write — and in a way, I do like a bit of controversy within the stuff that I do. So I think I was more afraid of that of — like would people take it the wrong way? Would people get offended? But surprisingly it's been — you always get the random Letterboxd reviews or even film critics critiquing the film, but the majority have been so amazing and supportive. I remember after my premiere at South By, when I was walking to the afterparty, there were multiple people who came up to me with tears in their eyes and just telling me about how much they related to the story. And these were Americans. I'm even more excited to see the reaction in Sydney, because, again, the film came from my own experience growing up in Sydney. And Australia, Sydney in particular, has such a huge Asian population. So I'm so interested to see how people relate to the film." [caption id="attachment_938017" align="alignnone" width="1920"] Tim Levy[/caption] On How Slanted Evolved From Wang's Childhood in Australia — and Why It Embraces the US as a Setting "The reason why I set it in America was because I moved to America in 2015 to go to film school at AFI. And I ended up staying and working in LA. And it felt, at the time when I came up with the concept, like all of my connections, my career, was really in the US. So I knew I needed to adapt the story that I had in my head to a US audience — because all the money, all of the filming crew, cast, everybody, would have been US-based. So that was really the main reason. If I had written a story that was in Australia, I wouldn't have the slightest clue how to get it made in the Australian bubble. The story is very closely based on my own life. Growing up in Sydney, I, unfortunately for a really long time — and even now to a degree, I think we're all still working towards fully embracing and accepting who we are — but as a teenager, I definitely was very, very aware that I looked very different. And I received a lot of, I wouldn't say very violent attacks, but definitely had people throw things at me, follow me around, say very, very horrible racist, just blatantly racist things to me. And it really just made me feel ashamed of my culture, what I look like, and made me want to look like the blonde surfie girls who I went to high school with, who were the always the most popular. And I remembered wanting to — I didn't grow up very wealthy, I would nag my mum to get me Billabong boardies and those types of bags to fit in a little bit more. And I'd get so ashamed over the lunches my dad would make me, because the kids would tease me about how badly they smelled and how weird they looked. I'm happy that I went through it, because it's made me who I am. And I'm just really happy that I was able to make a film that I think connects to a lot of people who have experienced very similar things — even if you're not Asian Australian. I think everybody feels in some way as an outsider." [caption id="attachment_1008986" align="alignnone" width="1920"] Gilbert Flores/SXSW Conference & Festivals via Getty Images[/caption] On Whether Having an Outsider Perspective in the US Assisted When Satirising the Prom and American High Schools "Yes, absolutely. You definitely hit the nail on the head. I feel like I was able to really satirise America because I'm not American. And growing up in Australia, growing up on American films and American TV, I think I had that separation and I was able to make fun of it. And also, I think what is cool is because I've been living here so long, to also firsthand experience the ins and outs and the intricacies of American society. I didn't, when I was in Australia, I never knew that American kids did the Pledge of Allegiance. And it was so shocking to me. I remember when I was doing research and visiting high schools in California, and they would all do the Pledge of Allegiance — and I was like 'what? What is this?'. And it just felt so bizarre. But to an American, it's what they grew up with, so they wouldn't question it." View this post on Instagram A post shared by SXSW (@sxsw) On Finding the Right Tone When You're Making a Satire with a Clear Sense of Humour, But That Comes From a Personal Place — and Is a Body-Horror Film, Coming-of-Age Movie and Family Drama as Well "I feel like it's interesting because I didn't really think too hard about — I definitely thought about the tone a lot, but in terms of weaving all of these things together, I didn't think 'ooh, I have to have some body horror in there, I have to have some satire in there'. I think the satire came organically because the initial concept was just 'oh, what if a Chinese girl turned herself into a white girl?' — and so that concept itself was so absurd and surreal that it just automatically steps into that satirical tone and zone. And then, the reason why I'm a filmmaker is because of films like Fight Club and Seven — David Fincher in particular. My favourite filmmaker is Michael Haneke. And I grew up watching a lot of Cronenberg. So I love dark material. And it just makes sense — I wanted to make a film about learning to accept who you are but in a nightmarish storyline, so it just makes sense to see the repercussions of what happens when you decide to transition into something so drastic." On the Importance of Also Digging Into Class Clashes "That's just another theme that I'm very passionate about, because I don't come from a lot of money. And both of my parents are very working class, don't have any association with the film business. And especially coming out to LA, not really having anything, going AFI — which is a great school, but really being surrounded by a lot of people who do come from a lot of money, or has a famous dad or whatever. Especially in the film industry, in Hollywood, I think, I'm constantly surrounded by people who are just wealthier. And I think that's just something that I'm very aware of. Again, I'm really happy with everything I've been through because it always informs my work, but classism and race, those are definitely things that I just am very aware of — of my own differences and of society in general, the wealth disparity, especially in America." View this post on Instagram A post shared by Shirley Chen (@shirleylchen) On the Importance of Finding the Right Joan in Shirley Chen and the Right Jo in Mckenna Grace "I found Shirley first. I watched a lot of auditions. And I'd always known of Shirley, cause I've seen her in Dìdi, I'd seen her in this great short called Krista, I think that also played the South By. And then she did Beast Beast, which is a great film as well. She just had such a naturalistic, kind of edgy vibe about her that I just loved. And I remember watching her initial audition just being like 'fantastic, I've found my person'. And then we had lunch and got to know her a little bit. So I knew I had to find Joan first. And then from Shirley, getting to know Shirley a little bit more, I figured out 'okay, this is her general vibe, this is her energy', and I needed to find someone who could match that. And I met with Mckenna — and same with Shirley, I'd seen Mckenna in obviously Ghostbusters, but I saw her in A Friend of the Family, The Handmaid's Tale. She's just an incredible young actress. We also had lunch, and she just told me how much she related to the script — and really blew me away with her interpretation. And after that meeting, I was like 'yeah, she's the one'. After I cast the two of them, we did a lot of rehearsals and body-language imitating exercises and things like that, to really make sure they feel like the same person." View this post on Instagram A post shared by Mckenna Grace (@mckennagraceful) On How Chen and Grace Worked Together to Play the Same Character — and Take That Figure on a Shared Emotional Journey "They did so much homework. I know they had shared playlists and really used music to tie themselves, the both of them, together. But I did a lot of exercises. I had Mckenna follow Shirley around, copy how Shirley ate, how she walked, how she danced — all sorts of little fun exercises I came up with. And we also figured out one thing in the movie, that both of them will squeeze their nose, and that was something that really tied it together. And that's something I used to do and my dad used to do. So I think that was a really easy tic that they both really caught onto. And sometimes even on set, I would forget and then they would add it into the scene, and I'd be like 'oh, this is amazing'. So they just they did the work. And Shirley would be on set when Mckenna would be on set, and vice versa, because we'd obviously shoot their scenes intersectionally, so that really helped as well." On Mixing Naturalism and Surrealism in the Film's Stylistic Approach "So my DP and I — my wonderful DP Ed Wu [Mother of the Bride] — we had this almost like a map that's one to ten. One was the most grounded, realistic types of films, like Fish Tank, Andrea Arnold types of films. And then on the other end of the spectrum were the Sorry to Bother You kind of way-more out-there-visually satire. And so with each scene, we'd be like 'okay, this scene, it's sitting more in the one to two', which is more the Andrea Arnold kind camp. But then some scenes, like when we're in Ethnos, definitely ventured more into that hyper-real, Being John Malkovich kind of world. So we had that communication during set, in pre-production as well. And sometimes it was hard, because there would be some scenes where it would go back and forth a little bit. The first half might be more of a one, but then the second half is a ten. So those were a little bit more difficult to really nail. But I think the music was also really big thing. Shirley Song [XO Kitty], she's a fantastic composer." On How Short Films, From Scratch, The Brothers Sun and Writing on Crazy Rich Asians 2 Helped Lead Wang to Her Feature Debut "I was never much of a writer when I got into AFI, to be totally honest. I had always wanted to direct and I went to the American Film Institute for directing. And it was my second year when I really started getting into writing, because a graduate came back and was like 'if you don't want work at Starbucks after you graduate, you're just not going to get paid to direct anything for a very long time, so you need to learn how to write'. So that advice really stuck with me. And that's kind of what I did. So I think that on the writing side, just writing for a lot of studio films — I sold scripts to Paramount and Netflix and all sorts of places. It definitely helped me craft the screenplay in the best way. And then for directing, I think it was just I really enjoyed my experience at AFI. It taught me a lot about directing. And you're just really drawing from personal experiences, and you take apart films. And I made a lot of short films back in Sydney. And all of that experience I think really contributed to making this feature." Slanted is screening at Sydney Film Festival until Sunday, June 15, 2025. Head to the fest's website for more details.
There's no such thing as 'just a cocktail', as everyone who's fond of making and sipping them knows. Sourcing the exact right ingredients, combining them in the ideal way, perfecting your favourite recipe — ace all three stages, and you'll find yourself with a refreshing, drinkable work of art. One particular part of the above equation is especially crucial, of course. If you don't pick the right spirit to start with, your cruisy afternoon cocktail just won't taste the same. And, if you can go one better and find a standout local drop — a creative gin or a flavoursome rum, for example — you'll be able to both enjoy a stellar beverage and support a homegrown distillery at the same time. When it comes to great spirits made right here in Queensland, you might already have your go-to. Or, you could be looking for ideas for your next concoction. Either way, we've teamed up with our pals at BWS to highlight five local outfits pumping out first-rate spirits you should know about.
When Marc Grey and Steve Maiden launched their first venue in Fortitude Valley's California Lane, they leaned into Grey's fondness for comic books, theming 22-seater 1st Edition around caped crusaders in its decor and menu. Less than two years later, they're adding a second venue to the same stretch of pavement off McLachlan Street, and also going all in on a concept. Indeed, when Viva La Cali opens its doors to kick off winter, it'll be in the perfect location. California Lane was always going to welcome a California-inspired joint at some point, and Viva La Cali is that place. Set to start greeting patrons from Saturday, June 3, it sees Grey (Destino Sanctuary Cove) and chef Maiden (Baja Fortitude Valley) team up with fellow hospitality figure Morgan Webster to celebrate the cuisine and vibe of southern California — and, reflecting the region, to mix dishes from Central and South America into the menu as well. At this bar and restaurant, diners can chase an endless summer to match Brisbane's usually sunny climate. The palm tree-heavy artwork by Steen Jones, which wraps around one side of the venue including under the bar, heartily champions that mood. So does the setup in the 80-square-metre space, thanks to an openair and undercover abode that caters to 50 folks seated — including at a sizeable communal high table — or 70 cocktail-style. The menu unsurprisingly heroes tacos while also getting creative. A banh mi-inspired taco made with pulled chicken, pickled veg and chicken pate tops the must-try list, alongside pork jowl with fermented cabbage, apple wild rice and smoked yoghurt; fish ceviche with cucumber, pickled jalapeño and pomegranate; and beef carnitas with pineapple habanero salsa. Diners can also look forward to snacks such as Peruvian empanadas, beef tartar with egg yolk and the Viva La Cali's take on popcorn chicken with chimichurri. Short ribs, wagyu smoked in-house with cherry and apple wood (then paired with cactus salsa), and spiced eggplant with cacao mole are highlights among the bigger dishes, while the dessert options include picarones, aka crispy fried Peruvian doughnuts. "As chefs, we strive to create dining experiences that are vibrant, fresh and, in our case, a little bit quirky. It's about delighting the senses and pushing culinary boundaries," says Maiden. "When it comes to my favourite dishes, I simply can't resist the King River wagyu and the spiced eggplant." To wash all of the above down, margaritas are Viva La Cali's signature sip from a tequila-centric drinks list. Whether you go with the classic sip whipped up with house-made orange bitters, a version with coffee lime agave or a Tommy's, you'll be picking from a range featuring tipples that require a comprehensive gastro process to come to fruition — a source of pride for the venue's team. Among the standouts: the Watermelon Margy Hiiiii, made with house-made watermelon cordial and a natural watermelon rind sour strap; the Bugs Bunny Margarita, which uses house-made sour carrot juice; and chilli mango coconut slushies. Operating Wednesday–Sunday, Viva La Cali will also do $79 two-hour bottomless margarita and bottomless taco sessions on Sundays, and host California Lane laneway parties with live music, and local chef and kitchen takeovers. "Above all, our ultimate desire is for our guests to embark on a flavour-filled journey. We want them to feel a sense of casual relaxation, fun and energy. Picture Sundays with a contagious laneway party vibe, all while upholding our uncompromising standards of quality. We want to make a first great and longlasting impression," says Grey. Find Viva La Cali at California Lane, 22 McLachlan Street, Fortitude Valley from Saturday, June 3 — open 5pm–late Wednesday–Thursday and 12pm–12am Friday–Sunday.
For the second year in a row, movie buffs will need to get their Melbourne International Film Festival fix purely from their couches. After the 2020 fest jumped online due to the pandemic, the 2021 event was meant to go ahead as a hybrid of both in-cinema and digital sessions. But then not one but two lockdowns hit, venue restrictions were put in place when the city wasn't under stay-at-home conditions, and the COVID-19 situation in Melbourne in general has kept complicating plans, leading MIFF organisers to scrap its in-cinema screenings. Initially, in-person sessions were set to span the festival's first week or so, before the event closed up online; however, just days before this year's MIFF kicked off on Thursday, August 5, the fest flipped that order and expanded its virtual component. It was due to then add in-person sessions from Thursday, August 12, but that'll no longer be happening. "MIFF's heart was in a return to cinemas this year, and this is a goal that we have pursued with determination to this point," said Artistic Director Al Cossar. "It is with deep sadness and profound frustration that we must take the step of cancelling our Melbourne cinema-based screenings for 2021." This year's MIFF was designed to be able to adapt to changing conditions, given that it was always likely that the pandemic would continue to impact the festival's plans — and so it is well-positioned for the move online. "Despite the duress of this moment, we are proud that elements of our program can still continue," said Cossar. "Through our XR platform, global audiences anywhere can continue their season of MIFF's exciting range of immersive experiences; and, centrally, through MIFF Play we can continue to deliver the very best Australian and international films to audiences not just in Melbourne but right around the country, at a time that it's most needed." Via MIFF Play, the festival is screening more than 90 features, with its catalogue of titles growing in recent days. Exisiting highlights include college-set rom-com Freshman Year, Spanish influencer satire La Verónica, New Zealand thriller Coming Home in the Dark and Norwegian comedy Ninjababy, while the Mads Mikkelsen-starring Riders of Justice and psycho-thriller music mockumentary The Nowhere Inn — featuring Carrie Brownstein and St Vincent — sit among the just-added newcomers. More films are set to become available on Saturday, August 14, too, such as documentary Hopper/Welles, which sees Dennis Hopper and Orson Welles meet and chat back in 1970; Night of the Kings, a prison thriller set on the outskirts of Abidjan; and Stray, a doco about the 100,000-plus stray dogs that rove freely around Istanbul. And, other titles will drop later in the fest, like Australian drama Little Tornadoes, which is co-written by The Slap's Christos Tsiolkas; Woodlands Dark and Days Bewitched: A History of Folk Horror, a documentary exploring the folk horror genre; and closing night's Language Lessons, which takes place via video calls. MIFF's digital platform is available Australia-wide, ensuring that cinephiles around the country — including those in lockdown elsewhere, like in Greater Sydney — can enjoy its lineup as well. That facet of the online program proved popular last year, unsurprisingly, with 2020's virtual festival resulting in MIFF's biggest fest yet, audience-wise. The 2021 Melbourne International Film Festival runs via MIFF's online platform MIFF Play until Sunday, August 22. For further details, visit the MIFF website.
Everyone's favourite keyboard playing, Irish comedian is in Brisbane to perform his show, David O'Doherty Will Try to Fix Everything. O'Doherty has had a pretty successful run as a comedian. After working in telemarketing, he made his first bold steps into the world of all things funny at the Dublin's Comedy Cellar in 1998. He has performed across the globe, yet has a special place in the hearts of Aussie's. He has performed sell-out gigs in Melbourne, Montreal, New York City and Wellington. He has also joined top comedians on tour such as The Flight of the Conchords, Rich Hall and Demetri Martin to deliver serves of piping hot funny. If you're new to O'Doherty's musical performances, check this clip out of one of his classics, 'Text Song'. Expect the unexpected and prepare for a night of belly laughs at the Powerhouse this Thursday night.
Netflix viewers, toss a coin to your new favourite watering hole — the only spot in Australia that'll bring The Witcher, Stranger Things, Squid Game and more to life while you're sinking a brew. For five days only, the Who's Watch Inn will pop up in Melbourne, offering fans of the streaming platform's hit shows a unique pub experience. Always wanted to throw down a beverage or several while sitting under a mounted demogorgon head? Yes, that's on the menu. Also on offer: coveting the piggy bank jackpot, reclining on Emily in Paris' Parisian garden bench and just generally feeling like you've stepped inside (and you're drinking inside) your Netflix faves. That covers the food and drinks menu, too, which'll showcase pub grub favourites and themed tipples — including the 'Emily in Parma' (taking on the old pub classic, obviously) and a Squid Ink Dark Ale. Even better: everyone who drops by the Who's Watch Inn will get a free drink on arrival (although there is just one per person). That's probably all the excuse you need to head to Carlton's Clyde Hotel across the Netflix takeover's five streaming-worshipping days, running from Wednesday, September 28–Sunday, October 2. The pub pop-up is only happening in Melbourne, which means you'll need to be in the Victorian capital this week to enjoy the fun. Whether you're a local or you'll be travelling down south, the Who's Watch Inn will also host a Netflix pub trivia night on Thursday, September 29, plus a comedy evening on Friday, September 30 featuring Urzila Carlson, Nazeem Hussain and Melanie Bracewell live — and all events are free. Bookings are recommended, and if you're wondering why the themed watering hole is happening at all, that's because it's been a big couple of days for Netflix — all thanks to a celebration that the streaming platform calls Tudum: A Netflix Global Fan Event, where the company drops details about and trailers from its upcoming slate. That's why you might've seen a sneak peek at The Crown season five, a trailer for Dead to Me's third and final season, and a clip from Queen Charlotte: A Bridgerton Story over the past few days, for instance. Also, Netflix sure does love these kinds of pop culture-themed shenanigans. Over the past 12 months, it has given away free clothes at a Heartbreak High uniform shop, set up a barber giving out The Gray Man-style moustaches and goatees, opened a Stranger Things rift and had the Squid Game doll lurking about, after all. Find Netflix's Who's Watch Inn at The Clyde Hotel, 385 Cardigan Street, Carlton, Melbourne, from Wednesday, September 28–Sunday, October 2 — open from 7–11pm on Wednesday, 12–11pm on Thursday, 11am–1am on Friday, 12pm–1am on Saturday and 12–11pm on Sunday.
UPDATE, APRIL 4: Due to concerns around the coronavirus, Disney has announced that Jungle Cruise will no longer release on its initially scheduled date of Thursday, July 23, 2020, with the film now hitting cinemas on July 29, 2021. 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. When Disney isn't turning its beloved movie franchises into new theme park zones, as it's currently doing with both Star Wars and Marvel, the enormous entertainment company has been known to take the opposite approach. Plenty of its rides and attractions have inspired films, such as the entire Pirates of the Caribbean series, as well as Tomorrowland, The Haunted Mansion, The Country Bears and Mission to Mars. Now, Jungle Cruise is the latest to join the fold. As the Mouse House did with Pirates, it has enlisted some serious star power, with Emily Blunt and Dwayne Johnson taking the watery journey in the first movie based on Disney's popular river boat ride. She plays an explorer and scientist on a mission, while he captains the vessel she hires to transport her along the Amazon River. From there, as seen in the just-dropped first trailer, it seems that typical action-adventure hijinks ensue. The film's initial sneak peek also sets up a vibe that's part The Mummy, part Indiana Jones, part every other flick about someone scrambling through vast landscapes searching for something precious — in this case, a tree in the Amazon that possesses unparalleled healing powers. When Jungle Cruise floats into cinemas, it'll also feature Edgar Ramirez, Jack Whitehall, Jesse Plemons and Paul Giamatti. Behind the camera, Jaume Collet-Serra is in the director's chair, marking a change of pace after the Liam Neeson-starring Unknown, Non-Stop, Run All Night and The Commuter (and Blake Lively shark flick The Shallows, too). Script-wise, the film is penned by Bad Santa writers (and Crazy, Stupid, Love. filmmakers) Glenn Ficarra and John Requa, as well as Logan, Alien: Covenant, Blade Runner 2049 and Murder on the Orient Express' Michael Green. Check out the trailer below: https://www.youtube.com/watch?v=ydnzilTiBcY After being delayed from its original release date of July 23, 2020, Jungle Cruise will now open in Australian cinemas on July 29, 2021.
The year Falls Festival is really teasing us. After announcing that they would expand to Western Australia this year back in June, and then confirming that none other than Childish bloody Gambino would be headlining earlier this month, this morning they've let slip another headliner before the full lineup is released this afternoon. And, much to our delight, it's London Grammar. Yep, the British trio will return to Australia for Falls Music & Arts Festival over the New Years period. It's a quick return to the country — after all, they only toured last year — and they'll join musical (and acting and writing) wunderkind Donald Glover to play all four shows. As always, Falls will be heading to Lorne in Victoria for four nights, and Marion Bay in Tassie and Byron Bay on the NSW coast for three nights over New Year's Eve. They'll also be setting up shop in Fremantle for the first time with Falls Downtown, a two-day city festival slated to take place over the weekend of January 7-8. The main stage will be set up in Freo's town square, while an old-world ballroom and a stone-walled church will house the smaller ones. They'll also be taking over the abandoned Myer building, turning it into a creepy crib for art installations, "unexpected performance areas", markets and "bunkered basement danceterias". There'll even be a small number of glamping tents on the roof. It sounds similar to some of Melbourne Music Week's activations of abandoned spaces, and it sounds insane. This new iteration of the festival and the announcement of Childish Gambino as headliner is another win for Falls, who sell out their Lorne event basically every year. Since its inception in Lorne back in 1993, the festival has grown to span three cities, which include the original site on the Great Ocean Road, Marion Bay in Tassie and, since 2013, Byron Bay. But here's the dates. The full festival lineup will be announced this afternoon. Stay tuned. Lorne, Victoria: December 28-31 Marion Bay, Tasmania: December 29-31 Byron Bay, NSW: December 31 - January 2 Fremantle, WA: January 7-8 Tickets for Falls Festival 2016/17 will go on sale at 9am on Tuesday, August 30 via their website.
There's never a bad time to watch a Studio Ghibli film, or a bad place. Thankfully, the cinema world agrees, delivering regular opportunities to catch the animation studio's flicks on a big screen. Still, we're betting you haven't settled in to view one on a shopping centre's rooftop. In news almost as exciting as venturing onto the greenery-filled upper reaches of the Studio Ghibli Museum — which you can absolutely do in Tokyo — this year's BrisAsia Festival is throwing a Lunar New Year Rooftop Party with a screening of The Tale of The Princess Kaguya. On February 24, you'll want to head to Sunnybank Plaza and head up to the top of the carpark. The fun kicks off at 4pm, with dragon and lion dancers, lantern workshops, markets, Kpop and plenty to eat, before the film screens when the sun goes down. Entry is free, as is the movie, but bring your wallet to feast on dinner from the nearby restaurants.
Pastels and poop. Step inside Unko Museum: The Kawaii Poop Experience and that's what will await. The colour scheme is soft and soothing, but the point of focus is literal crap (well, fake versions). If you've ever called something "cute shit" before, those words have never applied quite as they will here. This Japanese-style installation takes its cues from not only Japan's kawaii poop trend, but from the Unko Museum's sites across the nation, including in Tokyo, Hiroshima and Shizuoka. Now, Unko Museum will make its Australian debut in Melbourne, launching on Wednesday, December 20 to add some adorable crap to the silly season and summer. The focus: "max unko kawaii", aka "the maximum cuteness of poop". Also one of the mains attractions: getting everyone taking snaps and filling their social-media feeds, so expect a heap of pastel emoji-esque shit to fill Instagram. Unko Museum: The Kawaii Poop Experience will be split into zones and areas, spanning displays to take pictures of and other inclusions that are more immersive. Think: images of poop projected around the place, snapping selfies with poop props and flying poop, and retro-style games with a poop theme in a space called the Crappy Game Corner. Pastel-hued toilets are also a feature, lined up along a wall under a sign calling them "my unko maker". So are neon poop signs, giant poops, a ball pit where the balls are shaped like poops, poop hats, walls filled with toilet seats, glowing poop lights and a towering toilet-shaped doorway. Plus, exiting through the gift shop here means picking up kawaii poop merchandise and souvenirs. In Japan, as at October 2023, 1.4-million people had flushed the interactive experience into their itineraries. In Australia, Melburnians and tourists who now want to add some poo to their next Victorian visit can expect to spend 30–60 minutes revelling in endearing crap, in a family-friendly experience — because poop is for everyone. There's no word yet if Unko Museum: The Kawaii Poop Experience will make its way to other Australian cities, but cross your fingers if you can't make it to Melbourne this summer. Unko Museum: The Kawaii Poop Experience will open on Wednesday, December 20 at 360 Bourke Street, Melbourne — head to the pop-up's website to join the waitlist for tickets, which go on sale on Tuesday, November 28.
Brisbane's bar scene is no slouch. It's also far from sparse. You can love getting a drink in your own city and want a taste of ace watering holes from around the rest of Australia, however. For that situation, the hospitality industry invented bar takeovers, where one booze-pouring place drops in to run the show for a night at another such establishment — and Brissie is about to welcome three interstate joints to show off their beverages. In February and March, for one night apiece, sipping drinks from Sydney's Bar Planet, plus Cry Baby and Memphis Slim's House Of Blues in Adelaide, will be on the menu without leaving the River City. Bar Planet and Memphis Slim's House Of Blues are headed to Frog's Hollow Saloon, while Cry Baby will do the honours at Alice, all as part of a month-long party series. Cry Baby will be bringing the late-night party on Sunday, February 18 to kick things off, before Memphis Slim's House of Blues and Frog's Hollow Saloon make a perfect pair on Sunday, March 3. Then, on Sunday, March 10, Bar Planet will be heroing martinis all evening. The two sibling Brissie bars also have another couple of parties on their agendas: a rave cave at Alice on Sunday, February 25, plus Frog's Hollow Saloon's second birthday party Sunday, March 24. Expect to celebrate all night at the latter. Expect plenty of bourbon as well.
A quarter of a century ago, M Night Shyamalan started coaching audiences to associate his surname with on-screen twists. Now that The Sixth Sense writer/director's daughter Ishana Night Shyamalan is following in his footsteps by making her first feature, decades of that viewer training across Unbreakable, Signs, The Visit, Split, Glass and more laps at The Watchers' feet. The question going in for those watching is obvious: will the second-generation filmmaker, who first worked as a second-unit director on her dad's Old and Knock at the Cabin — and also penned and helmed episodes of exceptionally eerie horror TV series Servant, on which her father was the showrunner — turn M Night's well-known and -established penchant for surprise reveals that completely recontextualise his narratives into a family trademark? Viewing a Shyamalan movie from The Sixth Sense onwards has always been an exercise in piecing together a puzzle, sleuthing along as clues are dropped about how the story might swiftly shift. It's no different with The Watchers, which Ishana adapts from AM Shine's novel and M Night produces. The younger filmmaking Shyamalan leans into the expectations that come with being her dad's offspring and picking up a camera, making a supernatural mystery-thriller horror flick and living with his brand of screen stories for her entire life. That said, while it's easy to initially think of The Village when The Watchers sets its narrative in isolated surroundings where the woods are filled with threats, and also of Knock at the Cabin given that its four main characters are basically holed up in one, Ishana demonstrates her own prowess, including by heartily embracing her source material's gothic air. This is a tale with a Mina at its centre, after all, because Shyamalan isn't the only name attached to The Watchers that means something in horror. As gothic stories in the genre long have told, it's also a tale of being haunted — here, by the monsters that lurk among the trees in a mysterious patch of western Ireland, and also by the kind of loss and sorrow that reshapes entire lives. As Ishana dials up the foreboding while dancing with fantasy, too, The Watchers proves a reckoning with identity as well. Yearning for the ability to define your own sense of self is another familiar gothic notion (Mary Shelley's Frankenstein puts it among the ideas at its centre), and also a fitting theme and statement for a person who's leaping into a field where they're immediately standing in someone else's shadow. Hours from Galway, shade also looms as The Watchers kicks off. As captured with a moody gaze by cinematographer Eli Arenson — and an eye for the claustrophobia that can simmer in expansive natural spaces, as he also splashed around in 2021's Lamb — warm rays barely filter through the forest even when the sun is high in the sky. In a state of near-perpetual twilight, the woodland possesses an otherworldly and ominous feel. A man (Alistair Brammer, Ancient Empires) is spied trying to flee its sprawling cover; however, the signs about not being able to turn back keep proving accurate. Birds flutter in a swooping and circling flock, the thicket buzzes with its own noise — both with unease as dense as the canopy above — and the picture advises that this location is absent from maps and a beacon for lost souls. A command of atmosphere bubbles through the movie from the outset, then, even before Mina (Dakota Fanning, Ripley) wanders through the same grove. She's entering rather than trying to leave — at first. An American artist working in a pet shop in a biding-her-time fashion, the 28-year-old is tasked with a normal albeit time-consuming delivery, but then her car breaks down and her phone dies shortly after driving into the greenery. Prior to Mina hitting the road, The Watchers dapples her everyday existence with a disquieting vibe. In her life in the Irish city, she's plastering literal wigs and metaphorical masks over her unhappiness while avoiding calls from her sister Lucy and grappling with the death of their mother 15 years earlier. En route to being stranded in a bunker called The Coop, which is sat in a tract where no one should go down to the woods by dark, she's also already feeling as caged as the parrot that she's about to try to ferry to a Belfast zoo. The Coop is no ordinary cabin in the woods, not that many on-screen are, with kudos deserved by The Watchers' production designers. Mirrored glass lines one of its walls, letting interested eyes peer in unseen (their audible reactions provide a soundtrack as well) as the motley crew that is Madeline (Olwen Fouéré, The Tourist), Ciara (Georgina Campbell, Barbarian), Daniel (Oliver Finnegan, We Are Lady Parts) and now Mina navigate their new routine. Each strangers going in and each trapped, they're all endeavouring to survive the creatures that demand to observe them eating, watching an old dating-style reality TV series and sleeping every evening — and, without their captors realising, to ascertain how to escape a place that appears impossible to exit. There are rules to enduring. There are grim consequences for not abiding by them. No one has made it out to seek help and returned, the stern Madeline cautions. When a reflective surface plays such a pivotal part, it's hardly astonishing when a film trades in parallels, including with an IRL world that's frequently becoming one giant online performance (to stress the point, one of The Watchers' most-striking shots shows how Mina and company inhabit a stage for their keepers). As well as absorbing her father's fondness for spinning unsettling tales, Ishana has inherited his ambition, clearly, as she also works in Celtic lore and the impact of colonialism. While it's one thing to aim big and another to thoroughly wrestle everything that you're eager to explore and touch upon into one movie, her directorial debut sports an instantly intriguing premise that draws viewers in effectively, a flair for imagery and tension, and an excellent lead. When Fanning is playing the feature's protagonist as someone who can't see anything but her own pain — who can't see the forest for the trees, aptly — she wears Mina's fragility and vulnerability like a second skin. When her character is forced to confront being put on display, she's just as mesmerisingly relatable.
As with most DC universe superhero stories, Wonder Woman isn't aiming for lofty heights. Which is probably a good thing, because it hits right in the middle. We saw the superheroine appear briefly in Batman vs. Superman, where she was far and away the best part of the film. Now, in her origin movie, we get to see where she came from. Wonder Woman, Diana Prince, or Princess Diana of Themyscira (Gal Gadot), is raised on the secret island of Themyscira, home of the Amazons. When American soldier Steve Trevor (Chris Pine) washes up on their island, Diana defies her mother Hippolyta (Connie Nielsen) by freeing him, before setting out to help humanity escape from, what she infers must be, the wicked influence of Ares the God of War (the Amazons are supposedly tasked with protecting humanity from Ares, although they seem to mostly just chill on their island). Diana and Steve sail to London in a dinghy, and travel to the front of World War I to find the wellspring of evil and end the war. Rollicking adventures soon ensue. As a narrative, Wonder Woman leaves plenty to be desired; a standard hero's quest but without elegance or depth. Words like 'love' and 'innocent lives' and 'protect humanity' are thrown around until they lose all meaning – although apparently, German soldiers do not count as humanity since the film sees them slaughtered in droves. The horrific trench warfare of WW1 is once again co-opted as gritty texture in an otherwise textureless film. Director Patty Jenkins manages to tick all the boxes of the worn out genre: fast-paced fight scenes, goodies versus baddies, a smattering of humour and a dramatic final showdown. If you're into caped crusaders, Wonder Woman is still probably worth your time. It's also good to see a superhero film with a strong female cohort – Gadot in front of camera, Jenkins behind, an island full of Amazonian warriors, and Elena Anaya playing the wicked Doctor Poison. And yet it's still basically impossible to call Wonder Woman a feminist film. For all the buzz about female empowerment, the movie falls prey to the same tired, sexist tropes that define all male-dominated movie franchises. We're talking blatant objectification, lack of agency, and outdated stereotypes. Diana is superhuman, with a whip that compels truthfulness and magic wrist guards that deflect bullets. She speaks over a hundred languages and has literally been raised from birth on an island surrounded by fierce fighting women. And yet everywhere she goes, she's greeted with comments about how smokin' hot she is. Can you imagine anyone doing that to Batman? Steve Trevor helps her off a boat and steers her through the streets of London with a possessive hand on her arm. He bosses her around. The men in her ragtag gang see her destroy a church and flip over a tank, but they don't quite believe she knows what she's talking about when it comes to strategy. They simply refuse to let her infiltrate the gala seething with German high command. At the end of the day, the woman is saddled with the same old shit – just as a protagonist and not a one-dimensional narrative device. At the end of the day, if you're just looking for another superhero flick, Wonder Woman should suit you just fine. But if you were hoping to see something revolutionary in terms of the representation of women, prepare to be bitterly disappointed. https://www.youtube.com/watch?v=1Q8fG0TtVAY
If sitting down for a beverage, asking the bartender to whip you up something special and getting a drink tailor-made to your niche, niche tastes sounds like your idea of boozy heaven, then prepare to become a regular at The Stuffed Badger. Opening in Bowen Hills on April 11, the new tapas bar is all about crafting alcoholic concoctions to suit each and every customer. Don't even try to peruse a cocktail list — you won't find one. The venture from experienced hospitality trio Terry Tai, Thomas Marshall and Peter Clark has been five years in the making, and it aims to convey that passion in its food and drink selection. A small, carefully picked range of wines from France, Italy, Spain, Australia, New Zealand and the US is also on offer, but snacking on Spanish-influenced, locally-sourced dishes is the main attraction. Drawing upon his experience in England and his previous role at an Italian restaurant in Brisbane, Clark's menu will change seasonally. Expect the likes of beetroot-cured salmon and four-cheese and serrano arancini, with all dishes under $16. It wouldn't be an Aussie tapas joint without breads, dips and charcuterie boards, of course, while dessert offerings include dark chocolate and beetroot brownies, cheese and chutneys, and red fruits with vanilla anglaise and black pepper honeycomb. Find The Stuffed Badger at Shop 1, 9-11 Bowen Bridge Road, Bowen Hills from April 11. For more information, head to their website and Facebook page.
Each spring, Brisbane's big screens spend a few weeks celebrating Italian movies. If you're keen to see flicks from the European nation at Australia's picture palaces beyond the annual Italian Film Festival, however, that isn't always guaranteed across the rest of the year. Espresso Cinema is doing its part to help change that — and, making its debut in the Queensland capital, that means hosting three screenings in 2025 that are giving a trio of Italian titles their Aussie premieres. The place: New Farm Cinemas, where Espresso Cinema's lineup of new, applauded and award-winning films are flickering on a trio of individual dates. First up is The Story of Frank and Nina, with the movie series opening on Sunday, June 29 with the Milan-set, Paola Randi (Beata te)-directed and Ludovica Nasti (My Brilliant Friend)-starring recipient of the 2024 Venice Film Festival's Magic Lantern Award. For a trip to the Alba white truffle region of Italy instead, Trifole plays on Sunday, July 20 — and charts the efforts of a Londoner (Ydalie Turk, who also co-wrote the film) making the journey back to Piedmont to look after her truffle-forager grandfather (Umberto Orsini, Marcel!), then following in his footsteps with his dog Birba to attempt to save his house. Finally, come Sunday, August 31, documentary The Sleeper: The Lost Caravaggio wraps 2025's season up with the potential discovery of a lost piece by Caravaggio in an 80-year-old Madrid woman's lounge room.
You might have thought King George Square looked pretty fine during the day and maybe a tad finer at night, but it's at twilight City Hall really shows off its colours. And what better backdrop when you're shopping the evening away — especially when the King George is filled with some of Brisbane's best designers and makers, and you're looking for Christmas presents, The festive offshoot of the regular Brisbane Twilight Markets, this event will show off a sizeable array of stalls — usually more than 60, in fact — all staffed by some pretty nifty and talented local artists. Expect an eclectic selection of items, so prepare to browse and buy. You'll be perusing everything from handmade clothing, accessories and leather goods to paper goods, homewares, art and ceramics (and more). And seasonal gifts, obviously. [caption id="attachment_666947" align="aligncenter" width="1920"] BrisStyle[/caption] This market is all about sound, smell and sales — so live music will provide a soundtrack to the evening, and expect to be hit with that spring flowerbed smell that always lingers when there's a soap stall around. Food trucks are also on the agenda, with the market running from 4–9pm on Friday, December 15. So take along some cash and stock up on all things crafty. Top image: Brisbane City Council.
Brunch dates, pre-work breakfasts, mid-morning snacks and leisurely lunches at one Brisbane hotel all just got an extra bark, plus something tasty for the cute canine in your life to bite into. Over at The Charles, the cafe and lobby bar at Mary Street's The Westin Brisbane in the CBD, a new 'pupfast' menu is now on offer until 1pm daily, filled with dishes and drinks that'll get your pooch's tale wagging. Adding a dash of fine-dining to your dog's day, the just-unleashed canine culinary range starts with the bibim bark which, yes, gives the Korean rice dish a pupper-friendly spin. Doing just that with familiar meals is the whole focus of the 'pupfast' range, actually. So, with this option, Rex or Max can tuck into a mix of braised barramundi, carrots, peas, pumpkin, spinach, sesame and corn. Also on the menu: woof bowls that feature an array of bone-shaped biscuits, cubes of natural gelatine beef stock and bite-sized beef meatballs seasoned with anchovies. There's the vin de woof, a beef broth that's made from beef bones, carrots, beetroot and celery, as well. And, to sip, you can order your four-legged bestie a woofachino that's whipped up with beef broth and topped with a dog-friendly milk foam. (Just imagine how adorable their cute little nose will look with a dot of foam on top, because you know that's exactly what'll happen.) Unveiling the new menu, The Westin Brisbane Complex General Manager Brad Mercer said that it came about after observing that "dog owners love to take their pets out with them as they dine, but finding an appropriate spot can be challenging, let alone finding a location close to home and the CBD." Yes, if you work in the city and your employer allows it, this also means you've got a new excuse to take your barking companion with you each day. Among the lessons that the last few years have taught us, the joys of spending your working hours with your fluffy BFF — at home or in the office — is right up there. And you just know that your dog loves the company. The Westin Brisbane's pupfast menu is available from The Charles, ground floor, 111 Mary Street, Brisbane from 7am–1pm daily.
A book whose plot Amazon describes as "how the sexiest sales girl in business earned her huge bonus by being the best at removing her high heels" might not be anything to write home about. You know what would be? If the author of said book was someone's dad, and that someone decided it would be hilarious to read a chapter every week to the entire world, with some incredibly funny friends providing commentary. Jamie Morton did just that with his father's (pen name: Rocky Flinstone) erotic 'novels', the Belinda Blinked series. And so the audacious and pants-wettingly hilarious podcast My Dad Wrote a Porno was born. And now Morton and his pals James Cooper and Alice Levine are bringing their hilarious smut to Australia, announcing dates for live shows in Sydney, Melbourne, Brisbane, Adelaide and Perth this August. While listening to the podcast is a truly confusing and outrageous experience, imagine watching a guy read chapters from a porno novel that his dad wrote that includes the characters 'discussing the merits' of each others' nipples and popping their supposed 'vaginal lids'. In front of people. In real life. At least this time when you laugh out loud in public at the show, everyone will know what you're cackling at. Tickets for the live Australian shows go on sale at 10am on Monday, February 27. If you're a fan of the show, the live incarnation should make you very happy. For as Belinda says: when you get what you want, you feel great.
Throughout the history of Australian film and television, plenty of movies and shows have thrust their characters into the Aussie outback. That's exactly why the country's sunburnt expanse is so recognisable, with our dusty ochre-hued deserts common on-screen fodder. Upright follows the trend, but it also carves its own path through a crowded field — with Lucky Flynn (comedian Tim Minchin) trying to take his family's upright piano from Sydney to Perth, and crossing paths with runaway Meg (Milly Alcock) in his eventful travels. Minchin also helped develop Upright, co-wrote the eight-episode show and co-directed two episodes, so he's part of the series in a big way. He's in stellar company behind the scenes, too, with Upright created and co-written by Chris Taylor from The Chaser, and co-directed by Noise, Felony and A Month of Sundays filmmaker Matthew Saville.
New experiences, new challenges, new collaborations: for people and organisations alike, no one should ever stop notching up firsts. In 2024, for instance, Bangarra Dance Theatre unveiled its first-ever mainstage cross-cultural collaboration after more than three decades of existence, with Horizon adding tales from across Oceania to the iconic Aboriginal and Torres Strait Islander performing arts company's remit. In 2025, the organisation is backing that up with another history-making production, Illume, which is Bangarra's first-ever visual arts collab. Hosting its world-premiere season at the Sydney Opera House in June, then heading to Brisbane in August, Illume sees Bangarra's Artistic Director Frances Rings team up with Goolarrgon Bard visual artist Darrell Sibosado. Featuring dance, visual arts and music, the end result focuses on light — and takes inspiration Sibosado's Bard – Bardi Jawi Country. Think of it as the next best way to experience being there. Why has light proven so pivotal in Indigenous culture? Why is it considered a connection between physical and spiritual worlds? What impact does artificial light pollution have upon the land and sky, and how does it affect First Nations people's links to sky country, celestial knowledge and skylore? These questions are all at the heart of Illume. Although every Bangarra production is stunning, it's easy to see why this kaleidoscopic addition to the dance theatre's repertoire is set to wow, all while also contemplating the climate crisis. In the Queensland capital, it's taking over the QPAC Playhouse from Friday, August 1–Saturday, August 9. Images: Daniel Boud.
Sifting through eBay on the hunt for that perfect vintage gem can often leave you with a sense of mothball-infused disappointment. Sympathetic to the plight of the online-shopping fashionista, Rie Yano and Jie Zheng co-founded Material Wrld, an online pop-up store which allows you to shop your favourite tastemakers' closets. Participating tastemakers (fashion bloggers, stylists, and the like) have been rounded up, and their wardrobes curated. When the site launches, these pieces will be available for sale, creating the opportunity for special finds with personal stories behind each. The pop-up store is open through April 4; check it out today and get a sneak-peek of what is in store for the site's upcoming launch. Although currently only available to US customers, Material Wrld is set to go global soon. So browse away, and know that these covetable closets will soon be yours for the taking. [Via PSFK]
Sometimes, finding bliss is as easy as sinking a cold one. At other times, an energetic bout of bending and stretching hits the spot. Beer yoga combines the two, obviously — and to raise money for the bushfire appeal, it's returning to Brisbane's XXXX Brewery. To answer the question that has probably popped into your head: yes, it's very likely that your exercise session will be scented by the yeasty smell that hangs over the Milton venue. The whole suburb has adopted the aroma, after all. Of course, once you're done testing your flexibility for an hour, you'll smell that beer smell while you're downing a schooner of XXXX Gold. Run by Yoga Flex Studio, the class takes place at 4pm on Saturday, February 15 — and arriving slightly beforehand to get set up is recommended. Bringing your own mat if you have one is, too. Tickets cost $20, with all the proceeds being donated to the Australian Red Cross's bushfire appeal.
Instrumental outfit Grails are bringing their enigmatic live show to The Zoo. The five-piece are known for skipping around genres, unable to be pinned to any certain classification and yet so eloquently fill many of them. They’ve found inspiration in unexplored terrain, from Japanese psychedelic drone to Turkish ‘60s rock; near-cinematic soundscapes have wooed audiences with playful unpredictability and pinpointed minimalism since the early 2000s. The Zoo has hosted many similar acts in the past—mini-festivals of psych rock and instrumental groups have found themselves at home in one of Brisbane’s stellar music venues. Tickets are still available to this alternative show that will surely prove unforgettable.
Prepare to exclaim "yeah, science!" like Jesse Pinkman — and to see a whole lot more of Aaron Paul's Breaking Bad character. The acclaimed series is making a comeback, cooking up a movie that serves as a sequel to the show's finale. In the spotlight: Walter White's former student and protege, who happens to be in a spot of trouble (again). When we last saw Pinkman in Breaking Bad's final episode six years ago, he had just escaped captivity, all thanks to Walt (Bryan Cranston). The latter was injured in the process, but when he asked his former meth cooking partner to kill him, Pinkman couldn't bring himself to do it. So, Pinkman ran, and Walt lost consciousness just a cop arrived. And, that's how the series ended — until now. As happens when every great show comes to a conclusion, we've all wondered what happened next. Come October, fans can find out. First revealed last year, and initially given the working title of Greenbriar, El Camino: A Breaking Bad Movie will continue Pinkman's tale in a thriller written and directed by Breaking Bad creator Vince Gilligan. While details are being kept scarce, the film is set "in the wake of his dramatic escape from captivity", with Jesse being forced to "come to terms with his past in order to forge some kind of future", according to the official synopsis. Although this follow-up will span a single package rather than run across multiple episodes, it is still coming to a small screen near you thanks to Netflix. Dropping the debut teaser over the weekend, the streaming platform also revealed that El Camino will arrive soon — on October 11, so mark your calendars. As Better Call Saul diehards are well aware, Breaking Bad has never completely gone away since the OG show wrapped up in 2013; however fans eager to look forward in the show's chronology, not backwards at the early life of Bob Odenkirk's shady lawyer Saul Goodman, have something to add to their must-watch list. Whether Cranston will show up in El Camino is still the subject of rumour, but the date announcement clip does reveal another familiar face, with Skinny Pete (Charles Barker) being questioned by the cops about Pinkman's whereabouts. Check out the El Camino teaser below: https://www.youtube.com/watch?v=lZKqMVPlDg8 El Camino: A Breaking Bad Movie hits Netflix on October 11. Image: Courtesy of Netflix.
UPDATE, FEBRUARY 25, 2022: Due to Brisbane's wet weather, Beer Fest On the Grass has been postponed from Saturday, February 26 to Saturday, April 9. This article has been updated to reflect that change. Thirsty? If you're not now, you will be once you've read this. That's the only appropriate reaction to a festival of beer, after all. Just think of all the amber liquids and foamy goodness. Okay, enough drooling; here are the important details that every ale-lover needs. When Beer Fest On the Grass returns from 11am on Saturday, April 9, 2022, more than 130 beers and ciders will be on offer. To line your stomach, there'll also be a range of international food trucks. Basically, if there's a beer heaven, this is it. It's the ninth year that Eatons Hill Hotel has hosted the tipple-fuelled shindig, once again celebrating drinking, eating and enjoying a day in Brisbane's glorious outdoors. If you're serious about your beverages, you'll want to taste, sip, sample and chat to folks from a huge selection of breweries. And if you're serious about fun, you'll want to gather some mates and take part in the event's other fun activities — in previous years, there's been an inflatable beer obstacle course, a keg-stacking comp and a life-sized game of foosball. Tickets are on sale now, with entry starting at $18.70. Top image: Brisbane Beer Fest.
