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.
UPDATE, February 15, 2024: Supernormal Brisbane is now set to open in 2024. Head to the Supernormal website for further details. Big culinary names making a move to southeast Queensland: now that's a trend that Sunshine State residents love to see. In just the past couple of months, Guy Grossi has announced plans to open an Amalfi-inspired restaurant in Brisbane, and Hong Kong's Michelin-starred cantonese restaurant T'ang Court just launched on the Gold Coast. The latest eatery that's set to join them: Melbourne's famed Supernormal. Acclaimed chef Andrew McConnell has revealed that Supernormal will launch a second location in 443 Queen Street, Brisbane, in a new residential tower that's due to open in late 2023. It'll sit on the riverfront, and boast views of the Brisbane River and the Story Bridge — and also be perched between the Queen Street Mall and Howard Smith Wharves. "There is a special combination of relationship, location, environment and architecture at 443 Queen Street that we are seriously excited to be a part of," said McConnell, announcing the news via Trader House — the collective that spans his restaurants, specialty retail stores and events. "For the past seven years, we've welcomed many interstate and international guests to Supernormal in Melbourne. Now, we look forward to contributing to Brisbane's already growing and vibrant food scene." "There's also a bounty of some of the country's best produce available. What a thrill to be able to explore this as we refine our offering," McConnell continued. Supernormal Brisbane marks Trader House's first venue beyond its Melbourne base, and will seat around 120 diners both inside and out — including in a private dining setup. While it's obviously too early to reveal the menu, the Brisbane restaurant will feature a hefty focus on Queensland produce and seafood, while plating up contemporary Australian dishes that also take inspiration from McConnell's time in both Hong Kong and Shanghai. Fingers crossed that Melbourne's marinated claims, New England lobster rolls, Hunan-style beef tartare and whole roasted flounder make the jump. On architectural and interior design duties: Vince Alafaci and Caroline Choker of Sydney's ACME, with the agency also working on the design of Melbourne's Gimlet at Cavendish House — the only Australian venue to make the longlist in 2022 for The World's 50 Best Restaurants, coming in in 84th position. Brisbanites can expect Supernormal Brisbane to link in with the Brisbane Riverwalk precinct — 'tis the location for it — and operate seven days a week, including offering an all-day dining menu. The new venue will start welcoming in patrons 22 years after McConnell opened his first restaurant, Dining Room 211, in Melbourne in 2001. And, it folds into a career that's spanned plenty of other notable Victorian sites, including Cutler & Co, Cumulus Inc, Marion, Builders Arms Hotel, Meatsmith and Morning Market. Supernormal Brisbane is set to open at 443 Queen Street, Brisbane in late 2023 — we'll update you with an exact launch date when one is announced. For more information about Supernormal Melbourne, head to the restaurant's website. Images: Supernormal Melbourne, Nikki To / Jo McGann / Kristoffer Paulsen.
Been meaning to plan a Sydney jaunt? Time your visit to coincide with Vivid Sydney and thank us later. Not only will you get to see those classic Sydney structures, the Sydney Opera House and the Sydney Harbour Bridge, you'll get to see them up in lights. And they're not the only icons getting a bedazzle during the festival. Also set for a makeover is the legendary Luna Park face, as Samsung joins in the fun with an epic light and sound experience dubbed The Night. Reimagined. Running throughout Vivid Sydney, from Friday, May 25, until June 16, the immersive installation will pop-up on the Sydney Opera House Forecourt. The impressive two-storey, 90-metre labyrinth, with two kilometres of LED lighting, will be split into two pathways — and two very different journeys. Take the first path and you'll become the new face of Luna Park. You'll be able to create an augmented reality selfie using the AR Emoji function on Samsung's new Galaxy S9 and S9+ phone, which will then be projected via live feed onto the Luna Park entrance. There'll also be a viewing platform, where you can watch your animated face from across the Harbour. You'll need to get in early, though, as there are limited spots for the AR projection and, naturally, high demand is expected. On the first path, you'll also experience slow motion at its best in the Super Slow-Mo booth. Here, you can capture mesmerising shots of yourself frolicking among a bunch of chrome-plated balls. Or, you can take the second path, and you'll be taken on an immersive audio light and soundscape experience, transporting you through the night and beyond. Samsung's The Night. Reimagined. will pop-up on the Sydney Opera House Forecourt from May 25–June 16. To learn more, head to the website.
When it comes to kicking back and relaxing, some people swear by a nice warm bath. Others prefer tapping their toes to their favourite tunes, having a boozy beverage or just switching off from their always-vibrating phone. And, for another group, there's nothing that induces bliss better than listening to the one and only Keanu Reeves. Actually, that last category should really apply to everyone. If you're someone who finds the actor behind John Wick, Neo, Johnny Utah and Ted "Theodore" Logan particularly soothing, then you'll want to make a date with A World of Calm. Announced earlier this year, made by HBO and now heading to Australia via SBS over the Christmas break, it's giving the world exactly what we want: Keanu's voice reading a narrative that has been scientifically-engineered to induce a feeling of tranquility, as paired with music and footage that's also designed to do the same. Ideally he'll say "whoa!" more than once. In HBO's first leap into health and wellness-style content, the ten-episode series is based on the popular Calm sleep, meditation and relaxation app, with the US TV network pairing up with the folks behind the latter. The two companies have really just found a way to bring Calm's Sleep Stories to the screen — which have been called "bedtime stories for grown ups", have notched up more than 250 million listens, and are all about calming and soothing listeners. Keanu only does the honours on one of A World of Calm's half-hour episodes, which is about a master woodworker carving a canoe. That said, the rest of the series definitely doesn't slouch in the star-power stakes. Joining him is a cast that'd do any movie proud, spanning not only Idris Elba, Oscar Isaac, Nicole Kidman, Zoë Kravitz, Kate Winslet, Lucy Liu, Cillian Murphy and Priyanka Chopra, but also two-time Oscar-winner Mahershala Ali. Kidman kicks off the series via an episode about bird migration, Chopra narrates an instalment about chocolate in Central America, and Winslet takes viewers into the world of horses. Also on offer: Isaac narrating an episode about making noodles, Murphy focusing on snow, Ali waxing lyrical about water, Kravitz focusing on glassmaking, Liu exploring coral and Elba heading into space. As for what you'll be looking at while your ears soak in the dulcet tones of all of the above A-list stars — who are basically guiding you through a televised relaxation session — HBO advises that the series serves up "mesmeric imagery". Created with Nutopia, the folks behind National Geographic's One Strange Rock and Disney+'s The World According to Jeff Goldblum, that includes visuals from the company's global network of cinematographers and filmmakers. Intrigued? Need to destress after 2020's challenges? Eager for whatever new slow TV event SBS serves up, after previously delivering extended train documentaries and tours of the Cadbury chocolate factory? The Australian network is dropping new episodes of A World of Calm daily from Friday, December 25–Sunday, January 3, airing at 7.30pm — and you'll find them on SBS On Demand afterwards. Check out the trailer below: A World of Calm airs on SBS daily at 7.30pm from Friday, December 25–Sunday, January 3, with each episode hitting SBS On Demand afterwards. Images: HBO Max.
When summer starts to scorch, we'll do anything to cool down. And while we'd like to be able to fling ourselves into the ocean at every 30-degree-plus opportunity — which, let's face it, is quite often in Brisbane (and not just in summer) — that's not always an option. That's when we usually turn to air conditioning. But while it might be a convenient way to keep your cool, it has its drawbacks — from dehydrating effects and the potential to spread bacteria to its massive energy consumption (which is both a drain on your wallet and the planet). And of course, some of us are living in stuffy rental properties where clicking on that air-con remote isn't even an option. So, now that summer's here with a vengeance, we thought we'd bring you a few simple hacks for avoiding air con — or just surviving without it. You'll need ice, water and — if you're really keen — some trees. Go nuts. HACK YOUR FAN On scorching days, fans can be rudely ineffective, seeming to do little more than blow more hot air into your face. But a quick hack can work some magic. Find a big bowl, fill it with ice, and place it between your fan and you. The propellers will work on the now-cooled air, sending it straight your way, transforming your fan into what feels like an air conditioner. Another option is to hang a bag of ice (or bottles of frozen water) directly in front of the fan. You can also place a wet, cool towel over the fan itself, which should get you an hour or so of extra crisp air. MAKE CLEVER COLD DRINKS Just carried the beer in from the car? Wrap each bottle in a soaked (but not dripping) paper towel and pop it in the freezer. The moisture will evaporate and cool speedily, and within 15 minutes, you'll be sipping on an ice-cold brew. You can swap your hot caffeine hit for an iced one by turning just-made coffee into ice cubes — for something different, make it Vietnamese-style by adding a dash of condensed milk. Or, if you're kicking all the habits this summer, add frozen berries to a glass of water, which cools down your drink while upping the taste factor. MIST-IFY YOURSELF Got an empty spray bottle lying around? Give it a good, thorough clean and fill it with cold — or icy — water. Then, whenever you feel your temperature start to rise, spray yourself and everyone else in your vicinity. It's a basic trick, but an easy one. If possible, keep the bottle in the refrigerator or freezer (for short periods only – don't let the water turn into ice). Otherwise, just re-fill that baby as often as you can. APPLY COLD THINGS TO YOUR PULSE POINTS Anyone who's ever spent term one or four in a Queensland primary school should already know this trick, but just in case you missed out: the easiest way to cool down quickly is by applying a source of cold to your pulse points. Start by holding your wrists under running water for at least three minutes. Afterwards, apply an ice pack (or equivalent; heck, some frozen peas will do) to your wrists, neck, back of knees and/or ankles. These strategies cool the blood running through your veins and decrease your body temperature. PUT PLANTS IN FRONT OF YOUR WINDOWS Got pot plants? Got windows that let in lots of light? Well, there's an energy-saving match, right there. Use said plants to block said windows. The taller and leafier the better (consider that your permission to stock up on even more plant babies). In fact, if you're serious about keeping cool, it's worth investing in some dense trees or even vines, as long as you have a way to hang them from the windows. Not only will plants reduce the light and heat entering your home, but they'll also provide you with cleaner air. GIVE YOUR FEET A COLD BATH When you need to sit in one spot for a while — maybe you're getting some work done or watching a flick — fill a container with cold water (and ice, if you can hack it) and stick your feet in. Immerse your ankles if you can — they're pulse points, so when they're cool your whole body temperature tends to drop. Should this work for you, go one further with a bath or shower. Or, if you'd rather avoid hanging around in the bathroom all day, invest in a kiddy pool to use either indoors or outside. CLOSE ALL THE WINDOWS Up to a third of heat inside a house comes in through open windows and doors. So, go on a closing rampage — and tell your family or housemates all about it so they can get on board. While you're there, cover windows as effectively as possible by drawing blinds and curtains, and shutting shutters. If nighttime brings any relief, open them up again. And, to increase the effect of any cooler air, hang wet sheets in front of the windows. As the evening breeze blows through, the moisture will drop the temperature even further. Just don't forget to close everything again in the morning before it heats back up. FREEZE YOUR PILLOWS AND SHEETS One of the biggest challenges of an air con-free summer is getting to sleep. To produce the sleep-inducing hormone melatonin, your body needs to reduce its core temperature. But once the thermometer hits 25 degrees, this becomes a tough task. To make it easier, stick your pillows and sheets in a plastic bag and shove them in the freezer for 30 minutes, before making and hopping into your bed. As the night wears on and you start to warm up, you might find yourself waking up — if you're really committed, keep a spare set of PJs in the freezer, so you can do a quick switcheroo. TURN OFF YOUR APPLIANCES You'll be surprised how much heat is generated by your appliances. The obvious one is your oven. Even a seemingly harmless spurt of baking can give the thermometer a major surge. If you've got people coming over for dinner, an outdoor barbie is the best solution. Beyond the oven, there are loads of other heat-creating suspects, including your microwave, electric kettle, television, bedside lamps, dishwasher, washing machine and computers. Whenever possible, switch them all off and unplug them — it'll help you stay cool and save energy. SPICE IT UP There's a good reason why spicy food is so popular in steamy parts of the world like India and Bangladesh. When you ingest all that chilli, your body starts to sweat and, as you know, sweating cools you down. Make your meal hot enough and you'll be so deep in the sweats you won't know what season it is. What's more, spicy food comes with a heap of potential health benefits, from increasing life expectancy to preventing cancer. [caption id="attachment_828682" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] ESCAPE TO THE WATER Of course, if your house is too hot to handle sans air con, your best bet might be a shaded body of water where you can head for a cooling dip. For inspiration, check out our lists of rivers near Brisbane for swimming, waterfalls nearby that you can swim under and local snorkelling spots. Our summer day trips rundown also includes plenty of beaches, because of course it does. Otherwise, scout out a shady piece of real estate at one of the city's public pools and get a good rhythm going between dipping and lounging. We have a list for that as well — and also another that includes water-adjacent activities for soaking in the breeze, too.
From Milton to West End, Woolloongabba to Morningside and Fortitude Valley to Newstead, it isn't hard to find a brewery in Brisbane's inner-city suburbs and their surrounding locales. River City drinkers are spoiled for choice, in fact. Maybe it's thanks to the yeast and hops smell that's long lingered over the inner west courtesy of the XXXX factory, but this beer-loving town has never been one to say no to more breweries, especially over the past decade. Brissie loves new spots making beer as much as new bridges. Opening a brewery on Ann Street in the city's CBD feels like an inevitability, then — and Little Miss Sunshine is that place. By the time that July 2024 ends, it'll be pouring brews and serving up Queensland cuisine, all from the back of the ground floor of an office building. Little Miss Sunshine is both a bistro and a brewery. With its name and its vibe alike, it's getting playful — and it wants patrons to drop in for after-work drinks, cruisy weekend sessions, dinner and everything in-between. Although an exact opening date hasn't been announced, hanging out here across the end of winter and beyond will mean either getting cosy inside or making the most of the venue's outside area. Wherever you choose to say cheers, 28 taps will be pouring. The beer lineup hasn't been revealed as yet, either, other than spanning both house-brewed tipples — including small-batch sips — alongside favourites from elsewhere picked by the team. The food menu is also still mostly under wraps, but Moreton Bay bug spaghetti is one example of the Little Miss Sunshine's Queensland-skewing culinary options. There'll be beer-battered barramundi as well, plus Mediterranean-inspired dishes such as beef and chicken shawarma, and lamb kofta. Patrons can look forward to live tunes, too, all in a space that you've probably walked past countless times — especially if you work in the CBD — without considering that a brewery could one day live there. Find Little Miss Sunshine at 80 Ann Street, Brisbane, from sometime in late July 2024 — we'll update you with an exact opening date when one is announced. Head to the venue's website, Facebook and Instagram in the interim.
"Do you remember the first time you saw a dinosaur?" asks Bryce Dallas Howard in the latest instalment of the Jurassic Park franchise. We do. It was 25 years ago, as John Williams' iconic score built to its majestic climax and the cast of Steven Spielberg's iconic blockbuster rose from the seats of their jeep, tore off their glasses and stared wide-eyed at a beautiful, towering Brachiosaurus. It's been a quarter of a century since the first Jurassic Park captured the imagination of moviegoers the world over and ushered in the brave new world of CGI-enhanced filmmaking. The whole thing was classic Spielberg: a rollicking, family-friendly adventure that pushed the boundaries of innovation whilst remaining grounded in entirely relatable human stories. Its extraordinary success made sequels inevitable, but unfortunately none except perhaps 1997's The Lost World have come even close to recapturing the magic and wonder of the original. In Jurassic World: Fallen Kingdom we have a film significantly better than its immediate predecessor, yet one that still falls well short of the bar set back in 1993. Much of the problem with this instalment lies with the franchise's so-called villains. In Jurassic Park the combination was perfect: flawed human antagonists in Dennis Nedry and John Hammond, existential menace in the form of technological hubris, and, of course, those dinosaurs. Between the thuggery of the T-Rex, the cunning of the raptors and the toxic spit of the Dilophosaurus, every step through the failing park held unbearable peril for its characters, instilling a dread that overflowed into the audience. Since then, however, the Jurassic movies have relied largely on a generic recurring villain: InGen, the unscrupulous genetics corporation behind all that Dino-DNA splicing. Even worse, the raptors and T-Rex have become, thanks to their broad popularity, inadvertent heroes, leaving the Dino-threat to come from species that never even existed. Here again in Fallen Kingdom it's that same formula at play: InGen is secretly cooking up some new dinosaurs to sell as weapons (still as ridiculous a concept as it was in Jurassic World), and the big scary dinosaur is a genetically-engineered ultra raptor. Around them are cookie-cutter human bad-guys in the form of mercenaries, big game hunters and money-hungry suits, as well as franchise regular Dr. Henry Wu (B.D. Wong), the original Jurassic Park geneticist who continues to learn precisely zero from all his past mistakes. There is still a lot of fun to be had here, and even a few unexpected feels as director J.A Bayona (A Monster Calls) reminds us that monsters of choice are always worse than monsters of instinct. The film's central conceit, too, is a compelling one: a volcano on the island upon which the dinosaurs currently reside is poised to erupt, meaning they will again become extinct without human intervention. To rescue or not to rescue becomes the burning question for Owen Grady (Chris Pratt), Claire Dearing (Dallas Howard) and returning fan favourite Dr. Ian Malcolm (Jeff Goldblum). InGen, predictably, wants the animals saved for far less noble reasons than preservation. The scenes set on the island are the strongest in the movie, and include perhaps the most affecting moment in the entire franchise in the form of a heart-wrenching callback to that iconic Brachiosaurus shot from all those years ago. Thereafter, Fallen Kingdom transforms into a semi Gothic horror film as the action shifts to an isolated mansion in which the characters are stalked by Wu's latest creation. Toby Jones and James Cromwell give spirited performances during this phase, but the weaknesses of the script refuse to be covered up. The bad get eaten whilst the good survive, and it honestly never feels like our heroes are in any genuine peril. As part two of a planned trilogy, the end-point of Fallen Kingdom certainly offers some interesting possibilities for the final instalment. That said, absent a more nuanced and, dare we say, sympathetic villain, this franchise, like Dr. Wu, seems destined to repeat the mistakes of its past. https://www.youtube.com/watch?v=vn9mMeWcgoM
What's set to feature synth-heavy tunes, a big blender, plus Tony Armstrong and Courtney Act chatting Australian audiences through one of the huge music events of every year? In 2025, that's how the Eurovision Song Contest will play out. Another May is in full swing, which means that another round of acts are taking to the stage to compete for Europop glory. Flying the flag for Australia at the 69th Eurovision: Go-Jo with the song 'Milkshake Man'. The place: Basel in Switzerland, thanks to Nemo winning Eurovision 2024 with 'The Code'. And the dates for your diary: Wednesday, May 14–Sunday, May 18 Down Under. The event's 2025 semi finals take place at 5am Australian time on Wednesday, May 14 and Friday, May 16, with Go-Jo featuring in the second. Then, this year's winner will be crowned on Sunday, May 18. To watch along from home, you'll be heading to SBS and SBS on Demand — which is where Armstrong and Act come in. As announced back in April, the pair are fronting the Aussie commentary team this year, with the ex-AFL footballer-turned-TV presenter (Eat the Invaders) teaming up with the Australian Idol and RuPaul's Drag Race alum to guide audiences through the full 2025 Eurovision experience. Act was part of the 2024 coverage, too, as SBS's backstage Eurovision correspondent. Go-Jo, aka Marty Zambotto, was named in February as Australia's latest entrant. While you might've been among the folks helping his single 'Mrs. Hollywood' notch up 60-million digital streams and one-billion views, he's performing 'Milkshake Man' at Eurovision. Enter that big blender for the Manjimup-raised, now Sydney-based performer, another former footballer (in the West Australian Football League), who was the ninth most-streamed Australian artist in the world in 2023. "The Milkshake Man's purpose is to inspire people to embrace the loudest and proudest version of themselves, and I can't think of a better place to share that message than the Eurovision stage. It's an absolute dream come true to represent such a beautiful and diverse nation, and I've never been more excited to share my art and vision with the incredible Eurovision fans around the world," said Go-Jo when he was announced at 2025's Aussie competitor. And that blender? It's part of Go-Jo's staging, and measures four metres in height — with Australia going big, literally, to mark ten years since first competing in Eurovision when Guy Sebastian entered the 2015 contest with 'Tonight Again'. [caption id="attachment_1003691" align="alignnone" width="1920"] Jason Henley[/caption] For newcomers, Eurovision started back in 1956 as a competition between a mere seven nations. Now, nearing seven decades later, it's a glitter-strewn and spandex-fuelled global musical phenomenon. Thirty-seven countries not only in Europe but from elsewhere are competing in 2025 — hello Australia — and viewers tune in en masse to watch, sing along and add new pop tunes to their queues. When Go-Jo performs his track in the semi final, he'll be up against performers from Ireland, Austria, Greece, Denmark, Finland, Montenegro, Latvia, Armenia, Lithuania, Malta, Georgia, Czechia, Luxembourg, Israel and Serbia. If he then makes his way through to the grand final, he'll be one of only 21 acts making the cut,. France, Germany, Italy, Spain, the United Kingdom and Switzerland are automatically guaranteed spots. You have choices if you're keen to watch — depending on whether you want tear yourself out of bed before it's light. If you want to view the proceedings live, you can from 5am on the relevant days. Streaming replays will also be available mid-morning. Or, if you can somehow manage to avoid the internet and social media, both semis and the grand final will also screen in primetime across Friday–Sunday. Can't decide whether to beat the sun or wait and host a party at sensible hour? It's worth remembering that Australians can indeed vote for Eurovision, but only until around 18 minutes after the last song is performed in each live semi-final broadcast and about 40 minutes after the last track ends in the grand final. Voting is open to everyone in all finals — whether you're from a country participating in that final or not — and the artists who get through from the two semi finals to the grand final will be solely chosen by the audience at home. Still remaining the same: the rule that says Australians can't actually vote for Go-Jo, because no one can vote for the country they represent. [caption id="attachment_1003694" align="alignnone" width="1920"] Nick Wilson[/caption] "I'm so excited to jump into the world of Eurovision with the one and only Courtney Act, who has already taken me under her wing. I'm definitely not envious of her brilliance and my jealousy won't make it on screen I promise. Eurovision holds such a special place in so many hearts around the world. I look forward to being a part of the spectacle along with Courtney," said Armstrong when his Eurovision hosting gig for SBS in 2025 was announced. "I was not prepared for how much I would enjoy Eurovision last year — and this year I'm back, now with everyone's favourite IT man Tony Armstrong (who I can confirm is just as delightful and dashing in real life as you'd expect). I'll be offering my commentary expertise on every costume reveal, key change, wind machine and pyro moment I know Switzerland will deliver. Tony's already taught me a thing or two about team sport energy, and I'll be returning the favour with a crash course in camp," added Act. Eurovision 2025 Broadcasts Live broadcasts: Semi final one: 5am AEST on Wednesday, May 14 on SBS and SBS on Demand Semi final two: 5am AEST on Friday, May 16 on SBS and SBS on Demand — featuring Go-Jo Grand final: 5am AEST on Sunday, May 18 on SBS and SBS on Demand Streaming replays: Semi final one: from 8.30am AEST on Wednesday, May 14 on SBS on Demand Semi final two: from 8.30am AEST on Friday, May 16 on SBS on Demand — featuring Go-Jo Grand final: from 10.30am AEST on Sunday, May 18 on SBS on Demand Prime-time TV 'access all areas' broadcasts: Semi final one: 7.30pm AEST on Friday, May 16 on SBS Semi final two: 7.30pm AEST on Saturday, May 17 on SBS — featuring Go-Jo Grand final: 7.30pm AEST on Sunday, May 18 on SBS SBS' Eurovision 2025 coverage runs from Wednesday, May 14–Sunday, May 18. For more information, head to the broadcaster's website — and for more information about Eurovision, head to the event's website. Eurovision rehearsal images: Alma Bengtsson / Sarah Louise Bennett / Corinne Cumming.
Maybe you don't ever manage to find the time to celebrate International Lobster Day each September. Perhaps you're just keen on an indulgent October and November feast. Or, you could simply want to treat yo'self to lobster whenever and wherever you can. Whichever one of these categories fits, you've got a date with Kangaroo Point's One Fish Two Fish from Tuesday, October 1–Saturday, November 30. The Main Street eatery is celebrating all things lobster, clearly — and, yes, by serving up the obvious. And, it's doing so across two entire months. No wonder that it's calling the event House of Lobster. Make plans to dine in and you can tuck into a $125 multi-course feast, which starts with lobster toast as an appetiser and lobster soup complete with tail pieces for a starter. From there, after pineapple and lime granita as a palate cleanser, there's two options to pick from for entrees and mains. So, you can go for a lobster salad or lobster spiral ravioli, then lobster masala or lobster mornay. And for dessert? Your choice of either raspberry sorbet or deep-fried vanilla ice cream. Booking quickly is recommended, with seats available for dinner Wednesdays–Fridays and lunch Fridays–Sundays. Updated Thursday, October 17, 2024.
Perhaps you've always wanted to spend summer enjoying an island getaway, but haven't yet had the chance. Maybe spring to you means checking out Queensland's beaches. Or, you might like to start each new year with a holiday to wherever takes your fancy. Stop dreaming and start planning, because Virgin is doing another big flight sale. This time there's 500,000 cheap fares on offer to both Australian and international locations. Prices start low, at the usual $49, which once again gets you from Sydney to Byron Bay — the normal cheapest fare in any flight sale — and vice versa. From there, the domestic side of the sale spans everywhere from the Gold Coast, Launceston and Darwin through to Hamilton Island and Newcastle. Virgin's Get Set, Jet sale runs until 11.59pm AEST on Wednesday, August 2 — unless sold out earlier, with fares to Sydney, Melbourne, Brisbane, Perth and Adelaide also covered. That means paying $69 one-way from Sydney to the Sunshine Coast, $79 from Melbourne to Hobart, and $99 for a trip from Brisbane to Cairns or Canberra to the Gold Coast. Or, still on local deals, the specials also cover $69 from Melbourne to Launceston, $109 from Adelaide to Sydney, $169 from Brisbane to Darwin and $209 from Melbourne to Perth. Internationally, trips to Fiji cost $519 from Sydney and $569 from Melbourne. Bali fares come in at $539 from Adelaide, $549 from Brisbane, $559 from the Gold Coast or Sydney, and $599 from Melbourne. And, you can head to Queenstown from Sydney for $269 and from Melbourne from $265. If you're wondering when you'll need to travel, the fares cover between October 11, 2023–March 14, 2024, all varying per route. Inclusions also differ depending on your ticket and, as usual when it comes to flight sales, you'll need to get in quick if you're keen to stack the rest of 2023 and the start of 2024 with holidays. Virgin's Get Set, Jet sale runs until 11.59pm AEST on Wednesday, August 2 — unless sold out earlier. 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.
A Royal Tenenbaums rollercoaster? A Life Aquatic submarine ride? A Grand Budapest Hotel cable car? Your wildest, most whimsical dreams are about to come to fruition; Wes Anderson has announced his plans to team up with Devo-co-founder and longtime Anderson collaborative composer Mark Mothersbaugh on their very own theme park. If you've watched a few Wes Anderson films, you would have heard Mothersbaugh's iconic scores — the man's worked on Bottle Rocket, Rushmore, The Royal Tenenbaums and The Life Aquatic with Steve Zissou to name a few. But the Devo legend is also an applauded artist who's releasing his own visual art book: Mark Mothersbaugh: Myopia. When Anderson's book foreword was revealed, so were the pair's theme park plans. "I hope to soon secure the means to commission the construction of an important and sizeable theme park to be conceived and designed entirely by Mark Mothersbaugh," Anderson wrote in the foreword . "For 40 years he has set about creating a body of work which amounts to his own Magic Kingdom, where the visitor is amused and frightened, often simultaneously." We're waiting for the finer details with baited breath, perhaps a ride on the Darjeeling Limited or a wild ride through the tunnels of the Fantastic Mr Fox? If Mothersbaugh's art is anything to go by, things are going to be a little weirder than we're used to with twee king Anderson. Here's one of Mothersbaugh's best Anderson score moments, just to get you squealing a little higher. https://youtube.com/watch?v=214w5Bh9mp4 Via Flavorwire.
Grab your bowling ball and swap your bathrobe for your best purple outfit — The Jesus Rolls, the two-decades-later spinoff to the Coen Brothers' 1998 cult comedy The Big Lebowski, is due to hit the big screen this year. Instead of abiding by The Dude (Jeff Bridges), this follow-up spends time with John Turturro's Jesus Quintana, whose love of flinging gleaming balls down lanes means that he obviously isn't a golfer. Of course, if you still want to pour a white russian to celebrate this return excursion to the Lebowski universe, that's both understandable and warranted. Turturro not only stars, but writes and directs The Jesus Rolls, which was actually filmed back in 2016. Cast-wise, he's joined by a heap of familiar faces, including Bobby Cannavale, Audrey Tautou, Jon Hamm, Susan Sarandon, Christopher Walken and Pete Davidson. In addition to following Quintana's exploits post-Big Lebowski, The Jesus Rolls also acts as a remake of 1974 French film Going Places. As per the official synopsis, the picture is set joins its eponymous figure "hours after being released from prison", when he"pairs up with fellow misfits Petey (Cannavale) and Marie (Tautou), and embarks on a freewheeling joyride of petty crime and romance". And that's exactly what happens in The Jesus Rolls' just-dropped first trailer. As revealed last year, the movie will release in the US in March, just in time for The Big Lebowski's 22nd anniversary — and while plans Down Under haven't yet been revealed, start crossing your fingers. Check out The Jesus Rolls' trailer below: https://www.youtube.com/watch?v=rLAmpku4fyg&feature=emb_logo The Jesus Rolls hits US cinemas on March 6, 2020. We'll update you with local release details if and when they come to hand.
UPDATE, Friday, November 3: Fingernails screens in select cinemas from Thursday, November 2, and streams via Apple TV+ from Friday, November 3. In the world of Fingernails, 'Only You' isn't just a 1982 pop song that was made famous by Yazoo, is easy to get stuck in your head, and is now heard in this film in both French and English. It's also the philosophy that the first English-language feature by Apples filmmaker Christos Nikou has subscribed its characters to as it cooks up a sci-fi take on romance. In a setup somewhat reminiscent of Elizabeth Holmes' claims to have revolutionised blood testing (see: The Dropout), Fingernails proposes an alternative present where love can be scientifically diagnosed. All that's needed: an extracted plate of keratin, aka the titular digit-protecting covering. At organisations such as The Love Institute, couples willingly have their nails pulled out — one apiece — then popped into what resembles a toaster oven to receive their all-important score. Only three results are possible, with 100 percent the ultimate in swooning, 50 percent meaning that only one of the pair is head over heels and the unwanted zero a harbinger of heartbreak. When Fingernails begins, it's been three years since teacher Anna (Jessie Buckley, Women Talking) and her partner Ryan (Jeremy Allen White, The Bear) underwent the exam, with the long-term duo earning the best possible outcome — a score that's coveted but rare. Around them, negative results have led to breakups and divorces as society's faith is placed not in hearts and souls, but in a number, a gimmick and some tech gadgetry (one of the sales pitches, though, is that finding out before getting hitched will stop failed marriages). Even folks who've obtained top marks aren't always content to stop there. Some seek to reaffirm their positive result years down the track. To boost their chances of nabbing a love certificate, other couples take courses to amplify their amorous feelings for each other. Sessions include watching Hugh Grant movies ("nobody understands love more," exclaims the cinema marquee), tracking your paramour's scent, getting breathless underwater while staring into your other half's eyes and the adrenaline rush of tandem skydiving. As their friends go the retesting route — satirising the need for certainty in affairs of the heart pumps firmly through this movie's veins — Anna hasn't been able to convince Ryan to attend The Love Institute as a client. She's soon spending her days there, however, feeding her intrigue with the whole scenario as an employee. When she takes a job counselling other pairs towards hopeful ever-after happiness, she keeps the career shift from her own significant other. Quickly, she has something else she can't tell Ryan: a blossoming bond with her colleague Amir (Riz Ahmed, Sound of Metal). As the operation's head Duncan (Luke Wilson, Fired on Mars) steps her through the official details, including the fact that it is biologically impossible for one person to be in love with two people according to the testing method, Anna starts feeling sparks fly with the co-worker assigned to show her the ropes. Amir has his own girlfriend (Annie Murphy, Black Mirror), but clearly reciprocates. Haddaway's Saturday Night Live- and A Night at the Roxbury-adored 1993 tune 'What Is Love' doesn't get a spin in Fingernails, but that's the question that Nikou and co-screenwriters Stavros Raptis (returning from Apples) and Sam Steiner (a feature first-timer) probe. The Greek writer/director and his collaborators contrast fondness as a contrived series of sensations with affection as a lived-in routine and passion as a butterflies-in-the-stomach response. So, Nikou's picture sees the mechanics, the comfort and the involuntary swirl — and sees Anna torn between everything that she's told, what she's supposed to be satisfied with and the yearnings that she's not meant to be experiencing. The filmmaker also makes a flick that pairs well with fellow new release Foe, exploring what technology can and can't tell us about love, and what will always remain innate, although Fingernails is never as dystopian, nor a thriller — and trades a definite future date for an undetermined era where mobile phones are welcomely absent. When he made his full-length debut with 2020's Apples, Nikou also sought love in an offbeat place, amid a pandemic of amnesia. In the process, he dived into the Greek Weird Wave that's become synonymous with The Favourite's Yorgos Lanthimos, whose own breakout Dogtooth was nominated for the Best International Feature Oscar. Fingernails' helmer was the second assistant director on Dogtooth, in fact, and now adds a picture to his resume that follows in the wonderfully absurdist footsteps of Lanthimos' The Lobster. Both are deeply romantic movies at their core, as well as sharply shrewd and witty flicks about human nature and societal norms. Both rally against conformity and expectation, too, and make physical the pains and struggles that come with the pursuit of affection. That said, Fingernails takes a more tender approach to its scenario. Dispelling the fascination with chasing one definitive perfect match by flouting that itself, it'd also make a great double with Celine Song's Past Lives, where there's nothing simple about a heart torn in two directions. Nikou's knack for casting is no different to Lanthimos' supreme skill in the same domain; what a quietly pining duo that Buckley and Ahmed make. Never seeming at risk of demanding that "yes chef!" be yelled his way, White gets myopic about relationships rather than cooking in a canny supporting role as someone who's blissfully emotionally oblivious — but, like Anna and Amir themselves, viewers are desperate to spend more time amid the real heat. Buckley and Ahmed turn in vulnerable portrayals that sear, even when the pacing unfurling their tale and the hues splashed around them are both muted. Nikou knows how feelings can both explode and simmer, serving up each. As he did in Apples, he also provides more memorable and meaningful dancing, this time as Amir cuts loose, Anna watches on, everything is evident and nothing needs to be said. The film looks away from the actual ripping out of nails — the idea remains suitably squirm-inducing, yet is never seen in gory detail because the audience flinches at the very notion anyway — but cinematographer Marcell Rév (Euphoria, The Changeling) utterly adores peering at Buckley and Ahmed. With different stars, he demonstrated the same focus in Malcolm & Marie with similarly intimate results. The premise here might be as high-concept as plots come, but seeing the longing, loneliness, melancholy, uncertainty, desire and revelations in Fingernails' two key performances couldn't feel more real. This is a movie that tingles with emotion — in its fingertips and everywhere.
Despite years of public rallies, crowdfunding efforts and court action, Sydney's Brutalist, box-like Sirius building is officially up for sale. Although the New South Wales government first announced that the 70s-era structure was on the market back in December, expressions of interest just opened yesterday, Friday, May 25, with Savills Australia now actively seeking buyers for the iconic location. While it's a blow for the vocal Save Our Sirius campaign, the 2-60 Cumberland Street address will apparently be subject to some restrictions. The government "will maintain interest in the site, ensuring any future developments are sympathetic to the surrounding area," according to Savills Australia. And, a proposed State Environmental Planning Policy amendment will apply, imposing new controls regarding the zoning, height, maximum gross floor area, active street frontages and design of the site. It has been a particularly eventful year for the 79-unit tower, which stands tall by the Sydney Harbour Bridge. Final public tours took place in January, a farewell party for the structure's last remaining resident — 91-year-old Myra Demetriou — was held the same month and Save Our Sirius revealed they'd be lodging their own purchase bid. In response to the official launch of expressions of interest, Save Our Sirius restated their quest to retain the building in its current form, ensure it is used as affordable inner-city housing for workers in the area, and to have its historical significance officially recognised. "We again call on the NSW Government to stop the sale, deploy Sirius for key worker accommodation, and list Sirius on the State Heritage Register," the group advised in a statement. Even with the government restrictions, if Sirius is bought by developers, the 79-unit tower is highly likely to be demolished to make room for new apartments. As well as wiping out a crucial part of '70s architectural history, it'll also mean saying goodbye to an important public housing initiative, allowing people on low incomes to live in the centre of this expensive city and enjoy harbour views. With the situation certain to keep developing over the coming months, take a look through our gallery of the building as it currently stands. Images: Katherine Lu / Kimberley Low.
“For never was a story of more woe than this of Juliet and her Romeo,” wrote William Shakespeare, and even with all the tragedies he imagined, he may have meant it. Romeo and Juliet serves up family feuds, forbidden lovers, fateful pacts, interfering relatives and several cases of terrible timing. There’s bad luck, there’s tragedy, and then there’s the plight that awaits the star-cross’d duo. The latest stage version provides all that and something more, the added extra coming courtesy of Shake & Stir. Known for treading the boards with the next generation, the contemporary youth theatre company thrusts the top 35 competitors from the 2014 Queensland Youth Shakespeare Festival into the famous performance. Live music helps the play dance along; however, the emerging cast are the real stars of the show. You might know the tale told, and the characters as well, but you won’t be familiar with the shining new talents in this interpretation.
It took a mere one episode when House of the Dragon premiered for HBO to sign on for season two of the Game of Thrones prequel. That second season debuts on Monday, June 17, 2024 Down Under, but the US network behind the TV adaptations of George RR Martin's novels just can't wait to go all in on more battling Targaryens, already renewing the show for season three. Yes, Succession may be over, but the fight for the Iron Throne between half-siblings Aegon II (Tom Glynn-Carney, Rogue Heroes) and Rhaenyra (Emma D'Arcy, Mothering Sunday) is sticking around for at least another batch of episodes after 2024's return to Westeros continues the story before the hit fantasy series everyone watched from 2011–19. Both figures want to rule the Seven Kingdoms. Both claim the famous seat as theirs. Both are destined for war: the Targaryen civil war between the green and the black camps known as the Dance of the Dragons. "We are in awe of the dragon-sized effort the entire team has put into the creation of a spectacular season two, with a scope and scale that is only rivalled by its heart. We could not be more thrilled to continue the story of House Targaryen and watch this team burn bright again for season three," said Francesca Orsi, the Executive Vice President of HBO Programming, and Head of HBO Drama Series and Films, about the renewal. There's no details yet on when season three of House of the Dragon will arrive — including if it'll be in winter in Australia and New Zealand, as has proven the case for both season one and two — but this account of flowing long blonde hair, carnage, fire, dragons, conflicting factions and fights for supremacy is nowhere near done yet. When the show's season season premieres, it will arrive two years after the first debuted in 2022. If you haven't yet caught up with the series so far, which is based on Martin's Fire & Blood on the page, it dives into a prior battle for the Iron Throne. Paddy Considine (The Third Day) started the series King Viserys — and it's exactly who should be his heir that sparked all the fuss. The words "succession" and "successor" (and "heir" as well) got bandied around constantly, naturally. Also, Australian actors Milly Alcock and Ryan Corr were among the stars. As this first Game of Thrones spinoff jumps back into House Targaryen's history, the initial season kicked off 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story — and gave HBO its largest American audience for any new original series in its history when it debuted. If you're thinking that House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be, you're right. It's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. Game of Thrones was always going to spark spinoff shows. Indeed, when HBO started thinking about doing a prequel six years ago, before the huge fantasy hit had even finished its run, it was hardly surprising. And, when the US network kept adding ideas to its list — including a Jon Snow-focused series with Kit Harington (Eternals) reprising his famous role, novella series Tales of Dunk and Egg and an animated GoT show, to name just a few prequels and spinoffs that've been considered, but may or may not actually come to fruition — absolutely no one was astonished. So far, just House of the Dragon has hit screens; however, A Knight of the Seven Kingdoms: The Hedge Knight, the Dunk and Egg adaptation, is now due in 2025. Also returning among the cast when House of the Dragon season two hits: Olivia Cooke (Slow Horses) as Alicent Hightower, Matt Smith (Morbius) as Prince Daemon Targaryen, Rhys Ifans (The King's Man) as Ser Otto Hightower, Eve Best (Nurse Jackie) as Rhaenys Targaryen and Steve Toussaint (It's a Sin) as Lord Corlys Velaryon, plus Fabien Frankel (The Serpent), Ewan Mitchell (Saltburn) and Sonoya Mizuno (Civil War). HBO is also adding new faces to the mix, with Clinton Liberty (This Is Christmas) as Addam of Hull, Jamie Kenna (Gran Turismo: Based on a True Story) as Ser Alfred Broome, Kieran Bew (Warrior) as Hugh, Tom Bennett (Black Ops) as Ulf, Tom Taylor (Love at First Sight) as Lord Cregan Stark and Vincent Regan (One Piece) as Ser Rickard Thorne. They join Abubakar Salim (Napoleon) as Alyn of Hull, Gayle Rankin (Perry Mason) as Alys Rivers, Freddie Fox (The Great) as Ser Gwayne Hightower and Simon Russell Beale (Thor: Love and Thunder) as Ser Simon Strong among the season two newcomers. Check out the full trailer for House of the Dragon season two below: House of the Dragon streams Down Under via Foxtel and Binge in Australia, and SoHo, Sky Go and Neon in New Zealand, with season two arriving on Monday, June 17, 2024. Season three doesn't yet have a release date. Read our review of season one. Images: HBO.
It has not been a good month for controversial bike sharing service oBike. First, it was announced that the ill-fated bikes were vanishing off the streets of Melbourne. Now, the Singapore-based company has announced via Facebook and its app it will no longer be Singapore-based, stopping operations in the city on Monday, June 25, 2018. oBike was launched in Singapore a little over a year ago — in January 2017 — but faced difficulties meeting the requirements of the city's Land Transport Council. The council passed new laws in March 2018 requiring bike-sharing operators to register for new licences that regulated fleet size. Regulations were the reason the service pulled out of Melbourne, too, as the company was unable to comply with new guidelines imposed by the Environmental Protection Agency, in which abandoned bikes blocking streets for more than two hours would prompt $3000 fines. There are also reports flooding social media that oBike is refusing to return deposits ($49 in Singapore and $69 in Australia), with some users saying the refund button has disappeared altogether and others saying that the deposits have been converted into subscriptions. If this affects you, a Consumer Affairs Victoria spokesperson recommends "consumers should first contact the business to seek a resolution. If the business does not resolve the issue, and a credit card was used for payment, the consumer can contact their bank or credit card provider for a chargeback." There's no word yet on whether the infamous yellow bikes will be leaving Sydney, with the oBike's recent announcement stating, "this decision will not affect oBike's operations in anyway in countries outside of Singapore". The company is still promoting its new rewards for parking responsibly and in designated parking spots in Sydney via Facebook. We'll continue to update the story as further announcements are made.
After moving out of its OG home in the Emporium precinct in 2019, Mecca Bah has settled in nicely to its digs at Gasworks Plaza. The 2.0 version of this legendary Middle Eastern and Mediterranean restaurant and bar boasts all the style of its old self with an injection of fun thanks to a pastel-hued interior and a laid-back approach to feasting. Graduating from its moody interior of old, the alfresco dining area is eye-catching, to say the least. Millennial pink peacock feather shades overhang plush pink booths and animal print pillows. Inside, deeper reds and blues make for a more intimate setting. On the back bar, you'll find top-shelf spirits held mid-air by an artistic decorative metal tree. In true Middle Eastern fashion, the food here is made to be shared with mezze, tagines, Turkish pides, and seafood all staples on the menu. When it comes to more novel dishes, a pide gets a surf 'n' turf makeover while steamed Persian green dumplings also make an appearance. For whetting your whistle, expect signature cocktails that are a modern ode to the menu's roots. The drinks constantly making an appearance at the bar? A Turkish Delight Martini and the Marrakesh Kiss. From Fridays to Sundays, bottomless boozy brunch is available for groups of six or more with a banquet menu, cocktails, wine and beer all on the cards. Images: Kiel Wode
It has been 22 years since the Valley Fiesta first turned Fortitude Valley's live music scene into a weekend-long street party — and when it returns for its annual spin in 2018, it'll be bigger (and possibly better) than ever. Taking over every space it can around Brunswick, Wickham and Ann streets, as well as the Chinatown mall, this year's Fiesta will feature live music, theatre and arts from August 29 to September 2. If that sounds longer than normal, that's because the event will enjoy an extended run across five days. While the actual lineup is set to be announced in the coming weeks, Brisbanites can look forward to plenty of local and Australian bands playing plenty of tunes, as part of a program of both free and ticketed events in the Valley's various venues, laneways and shops. That includes outdoor gigs — there's nothing like seeing half of Brisbane descend upon one of the area's streets, after all — plus a huge art showcase that'll involve lighting, projections, installations and themed decor. There'll also be a special focus on active activities designed to get punters moving beyond making shapes and tapping their toes. Announcing the expanded event, Brisbane Lord Mayor Graham Quirk noted that Valley Fiesta will "provide a fantastic platform for our city's emerging musical and creative talent, with a packed program of performers." As far as the packed part of that statement goes, the Valley is certain to be busy regardless of the lineup — up to 65,000 attendees are expected over the five days. The 2018 Valley Fiesta will run from August 29 to September 2 — keep an eye on the festival website for more details.
