When the COVID-19 pandemic began, life as we once knew it changed suddenly, and everything started to feel like something out of a horror or sci-fi movie set in a post-apocalyptic future, films about contagions, outbreaks and infections all became go-to comfort viewing. We flocked to visions of situations similar to our own, even if only slightly, to help us cope with the existence-shattering shift we were all going through. Accordingly, Contagion proved eerily prescient, while I Am Legend and 28 Days Later mirrored the empty streets — and, yes, everyone was watching them. Next came the spate of flicks that were shot during the pandemic and responded to it. Think: opportunistic fare such as Locked Down and Songbird, neither of which proved memorable. Movies and TV shows will be ruminating upon life in the time of COVID-19 for years and decades to come, obviously; however, the highlights so far have rare. Add Station Eleven to the certain-to-keep-growing pile, but thankfully as one of the very best examples. Indeed, it's unfair to clump this haunting end-of-the-world miniseries in the same group as almost anything else that's emerged since the pandemic began, other than Bo Burnham's exceptional comedy special Inside. As also proved the case with Y: The Last Man when it reached streaming queues in 2021, Station Eleven's narrative actually predates our current predicament. Its nine-episode run now sits on Stan in Australia and Neon in New Zealand, available to watch in full, after its story first garnered a devoted following on the page. And, it taps into something far deeper than obvious observations about being stuck at home with your significant other for longer than either of you had ever considered, and having to scramble to buy toilet paper when the supermarket shelves are bare. The focus of this excellent show, and of Emily St. John Mandel's 2014 book before it: how art and community all play immeasurable parts in helping humanity process and navigate existence-shattering traumas, and to find a path out the other side. That's a sentiment that might sound mawkish and self-evident when described in a mere sentence, but nothing about Station Eleven ever earns such terms. [caption id="attachment_841063" align="alignnone" width="1920"] Parrish Lewis/HBO Max[/caption] Here, it all starts with a flu that swiftly proves more than just the usual sniffles, coughs, aches and pains. This one spreads lightning fast, too, and strikes down its unlucky victims heartbreakingly quickly. For eight-year-old Shakespearean actor Kirsten (Matilda Lawler, Evil), the chaos descends during a tumultuous opening-night performance of King Lear led by Arthur Leander (Gael García Bernal, Old). In the aftermath, she's stuck traipsing around snowy Chicago with Jeevan (Himesh Patel, Don't Look Up), who she has just met — and then sheltering in his brother Frank's (Nabhaan Rizwa, Mogul Mowgli) high-rise apartment. That's really just the beginning of this multi-layered narrative, which also jumps forward 20 years to survey Kirsten's (Mackenzie Davis, Happiest Season) adult life. There, she's a key part of a travelling theatre troupe who performs Shakespeare to the outposts of survivors it passes on its annual route — and she's spent almost her entire existence adjusting, like the rest of the planet, to this new normality. Still, while two decades might've passed and little may now resemble all that passed for routine before the flu, the earth remains an anxious and fraught place. So when a mysterious man, known as The Prophet (Daniel Zovatto, Penny Dreadful: City of Angels) to his army of child followers, shows up at one of the Travelling Symphony's stops, Kirsten is immediately and understandably suspicious. [caption id="attachment_841060" align="alignnone" width="1920"] Ian Watson/HBO Max[/caption] Station Eleven's narrative isn't just about one woman, the men who help her as a child and the other that threatens her status quo as an adult. As well as continually fluttering backwards and forwards between Kirsten's younger and older exploits, it dives into the experiences of others connected to her story in various ways. Before the flu, Miranda Carroll (Danielle Deadwyler, The Harder They Fall) devoted her spare time to writing and illustrating a graphic novel about feeling lost and adrift in space, for instance — and that text, which shares the show's name, is part of the series' broader contemplation of art, tragedy, trauma and dealing with our feelings in general. Premiering late in 2021, just as Omicron started sweeping the world, Station Eleven might've seemed blighted by unfortunate timing. Nonetheless, it's the ideal show for right now. Shot with a soft grey-blue sheen like it's unearthing watery memories, it cuts close to home but always plays like a beacon of hope — and an ode to endeavouring to make it through, come together and make a difference however one can. It's impeccably acted, with the broader cast also spanning Orange Is the New Black's Lori Petty, Veronica Mars' Enrico Colantoni, Arrested Development's David Cross, Veep's Timothy Simons, Succession's Caitlin FitzGerald and Little Joe's David Wilmot. It's meticulous and expressive with every shot, and perfects the feeling of simultaneously trying to get by and daring to dream about something other than weathering a pandemic. Rich and layered and cathartic, this is a dystopian disaster tale not just about merely surviving, but about truly enduring. In a sea of pandemic tales — those made before COVID-19 and since — Station Eleven is a lyrical, heartfelt and character-driven apocalyptic musing with an immediate difference. Check out the trailer below: Station Eleven is available to stream via Stan in Australia and Neon in New Zealand. Top images: Ian Watson/HBO Max.
Brisbane based artist, Yanick Blattner, has been making waves within the art scene for quite some time now. The multi-disciplinary artist graduated with a Bachelor of Fine Art in 2013 and has produced several solo exhibitions including Point to Point, Never Odd or Even and It's all gone Shane Warne: 708 wickets in one hour. Check out some of the pieces from these exhibitions on his website. Blattner has been a busy man of late organising his latest exhibition, Low Blow. He is fascinated by the male identity, expression of aggression and the relationship between the humans and animals. All of these themes ooze into his work. At the core of Low Blow is Blattner's display of the similarities between man and beast through his stunning artworks. Opening hours are Thursday – Friday 11am – 5pm and Saturady 12pm – 4pm. Why not explore this interesting topic and get a little wild while perusing Yannick Blattner's latest body of work.
When Tropical Cyclone Alfred comes around, Green Day doesn't. With the storm approaching southeast Queensland, and the weather set to turn wet and windy as a result, the California-born band have cancelled their Gold Coast show on Wednesday, March 5, 2025, which was set to be the last stop on their 2025 Australian tour. "Hey Australia, unfortunately due to circumstances out of our control, tomorrow's Gold Coast show has been canceled," the band posted on social media on Tuesday, March 4, 2025. "With Cyclone Alfred bringing some seriously nasty weather, it's just not possible to go ahead safely. We know this is a huge disappointment, and we're just as bummed as you are. Stay safe out there!" [caption id="attachment_972777" align="alignnone" width="1920"] Raph_PH via Flickr.[/caption] On the Live Nation website, the tour promoter advised that "this decision was made in close consultation with local authorities and with Green Day, prioritising the safety of all involved." The gig is cancelled, not postponed, as "due to Green Day's international touring schedule it will not be possible to reschedule the Gold Coast show to a later date". [caption id="attachment_972774" align="alignnone" width="1920"] Alice Baxley, Apple Music[/caption] Already hitting Melbourne and Sydney, Billie Joe Armstrong, Mike Dirnt and Tré Cool have been in Australia on group's global The Saviors Tour, which is named for their 14th studio album Saviors. Two other records have been in the spotlight, however: the band's iconic 1994 album Dookie and their American Idiot album from 2004. Playing both in full has been a feature of the tour, covering everything from 'Basket Case', 'When I Come Around', 'Longview' and 'She' to 'Boulevard of Broken Dreams', 'Wake Me Up When September Ends', 'Holiday' and, yes, 'American Idiot'. On the Gold Coast, Green Day were set to take to the stage at CBUS Super Stadium with fellow California-born group AFI in support. Ticketholders will now automatically receive a full refund from Ticketmaster via their original method of payment between 14–21 days. It won't be the same as seeing Green Day live, but they are headlining Coachella, so you'll be able to livestream their set in April. [caption id="attachment_972776" align="alignnone" width="1920"] Raph_PH via Flickr.[/caption] [caption id="attachment_972775" align="alignnone" width="1920"] Alice Baxley[/caption] Green Day are no longer playing at CBUS Super Stadium, Gold Coast on Wednesday, March 5, 2025. Head to the tour website for more details. Top image: Raph_PH via Flickr.
When Matt Murdock (Charlie Cox, Kin) and Wilson Fisk (Vincent D'Onofrio, Dumb Money) first sit face to face in the debut episode of Daredevil: Born Again's initial season, they do something that neither has ever been fond of with the other: agree. Daredevil and Kingpin are no more, they both confirm, under threats going both ways should that statement ever stop proving accurate on either's part. Murdock has his legal career to focus on. Fisk is running for mayor of New York City. Murdock will hold Fisk to account, though, if he's anything but above board in his new role running the Big Apple — and Fisk, campaigning with a strong anti-vigilante message, will respond if Murdock slips into Daredevil's red costume again. Murdock and Fisk are back. With the characters dating back more than half a century, so is one of the comic-book realm's greatest rivalries. It's been a decade since the first streaming series to follow their battle on the small screen premiered and also seven years since it wrapped up, with Netflix's Daredevil spanning three seasons from 2015–2018. While that show wasn't part of the Marvel Cinematic Universe, its successor definitely is. Joining Disney+'s small-screen catalogue after WandaVision, The Falcon and the Winter Soldier, two seasons of Loki, Hawkeye, Moon Knight, Ms Marvel, She-Hulk: Attorney at Law, Secret Invasion, Echo and Agatha All Along, Daredevil: Born Again is a new beginning for its namesake and his nemesis, then, but it also honours its television past. Grey areas not only come with the territory in this fierce feud — they aptly apply to its latest TV date. Consider this a fresh start, yes, as well as a sequel. The MCU has been working towards bringing Daredevil and Kingpin's friction into the fold for a few years now, officially announcing Daredevil: Born Again in 2022 much to the delight of fans, then beginning to put that plan into action elsewhere across the franchise. So, viewers have already seen Murdock in Spider-Man: No Way Home and She-Hulk: Attorney at Law, Fisk in Hawkeye, and both in Echo. As those appearances have been popping up and piling up, giving the pair their own series again has journeyed along a winding path due to a creative overhaul partway through. Consider Daredevil: Born Again a show with history, too, in multiple ways in front of and behind the camera. Boasting a connection with Marvel's small-screen tales at Netflix courtesy of The Punisher (which sat alongside not just Daredevil, but Jessica Jones, Luke Cage, Iron Fist and The Defenders), screenwriter and TV producer Dario Scardapane joined Daredevil: Born Again during that shake-up, taking over the reins as showrunner. One of his key tasks: finding the right balance between continuing the story of the Netflix show and taking this new chapter for Murdock and Fisk in its own direction. He was certain that moving forward couldn't mean never looking backwards. He also felt strongly that two more beloved characters needed to be a part of the series. Karen Page (Deborah Ann Woll, Queen of the Ring) and Franklin 'Foggy' Nelson (Elden Henson, Killers of the Flower Moon) weren't originally featured in Daredevil: Born Again — and if that seems unthinkable, that was also the case for the Trauma, The Bridge and Jack Ryan alum now calling the shots. [caption id="attachment_994610" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Scardapane said he wouldn't take the gig without Karen and Foggy, in fact. "I'm a true Italian in form. I have a tendency to make bold statements that may or may not be 100-percent accurate," he tells Concrete Playground. "The thing is, when I went in and talked to them, those two characters had been missing from the original, the first iteration. And unfortunately, in having them referenced but not seeing them, there was something missing in terms of that bridge between seasons. And then I also think that one of the most-interesting characters in the Marvel world, that has not been given as much room to just rock, is Karen Page. I just think that's a fantastic character. I'm super interested in the relationship she has with Matt Murdock. I'm interested in that family of three that you see, and when there's a loss in the family, what happens. So it was, yeah, it was a little extreme to say 'I'm not going to take it unless I get to do this', but it seemed that it was absolutely integral to telling the tale and bringing us into this new version." "And we wanted to do it," notes Sana Amanat, one of Daredevil: Born Again's executive producer — and not only an MCU veteran thanks to Ms Marvel, but a comic-book editor who co-created Kamala Khan on the page. "I think we realised it as we were watching the material. We're like 'this feels like there's something missing'. The heart of the show was missing, and we were all just very simpatico," she advises. "Dario has this phrase, he says 'yes, and' a lot, which I love — because it makes for such a rich collaboration. We wanted the same thing for this project — very much so," Amanat continues. Adds Scardapane: "and it was funny, I think I wasn't there, but I think probably in that, when you had the opportunity to kind of stop, slow down and take a look, it must have felt like 'oh, somebody's missing'. Like there's an X-factor there." As Daredevil: Born Again's nine-episode first season keeps establishing, Daredevil's past ties couldn't remain more crucial to the series, even in a narrative that sees Murdock confront a new future — and, in what proves an engrossing character study not just of its eponymous figure but of his main adversary, in a show that faces the similarities between Daredevil and Kingpin, and how those commonalities drive their obsessions with each other regardless of whether either will admit it. We also chatted with Scardapane and Amanat about that dynamic, as well as how crucial Cox and D'Onofrio are individually and together, knowing what to build upon from Netflix's Daredevil, how working on The Punisher and Ms Marvel helped them prepare for Daredevil: Born Again, and more. On Finding the Right Balance Between Continuing the Story of the Netflix Show and Shaking Things Up Sana: "I think it was quite important, first of all, for us to pay respect to the material that was there before. We really believed in it and we really loved it. The challenge for us was making sure that it was familiar, yet it was charting a new course. We didn't want people to feel like they needed to watch everything — they needed to be able to step in at the first episode and know everything that you needed to know. And I have to say, really a lot of credit to obviously Dario and our writing team, and Justin and Aaron [directors Justin Benson and Aaron Moorhead, who also worked on Moon Knight and Loki], who told us everything you needed to know in those first 15 to 20 minutes. I think also visually, stylistically, again there is a lot of references pulled from the old show, but we tried to do something new and fresh also to make sure that New York felt real, and that there was also stylistic pops that took into account his sensory experience — Matt Murdock as someone who is blind with heightened senses. So that combination, I think, really made it feel like a Daredevil that was in its new course and new chapter, and hopefully it feels exciting and thrilling and bold for folks coming in. We hope that you guys really see the love that we put into it." Dario: "And then when I came in and saw what they had, it was like 'this stuff is really, really, really cool'." Sana: "Yeah." Dario: "But it needs a bridge. It needs something that takes you from the past, from the end of the Netflix show, into what we're doing now. And that was really a large portion of the job, in terms of giving audiences, — and fans like myself of the old show — a touchstone, and then taking them somewhere new." On How Crucial Charlie Cox and Vincent D'Onofrio Are — Not Just as Daredevil and Kingpin Individually, But in Bringing That Rivalry to the Screen Together Sana: "They're so absolutely pivotal. I feel like they are these mythological figures. They are larger than life. When you see them step on set as Daredevil and as Kingpin, you see the presence that Charlie and Vincent have and what they bring to these roles. So there's no other question for me — I mean, those are those characters. And that diner scene in itself, at the opening of 101, said everything that you needed to know about the entire series, about their prowess as actors — and through Dario's incredible writing, and Justin and Aaron's great, great directing. It's just an amazing combination." Dario: "And you were right when you say that the two of them together are more than the sum of their parts." Sana: "Yeah." Dario: "And that's what's so fun about working with and writing for two characters that have such a rich history. There's the history that the characters in the comic book have. Then there's the history that that Charlie and Vincent have, having done this now for about ten years. So when you get in a room to do a scene or write a scene for them, you have the weight and the joy of all that history, and these two actors who know it so well." Sana: "Yeah, it feels like the years of storytelling is building to an intense character drama about these two characters — and honestly, how similar they are. They might be different, but they're pretty similar, too." On Daredevil: Born Again Being a Character Study That Highlights the Commonalities Between Daredevil and Kingpin — and Why That Makes Them So Obsessed with Each Other Dario: "They're both carrying duality. That's what's funny. You have a character or person that is Matt Murdock and Daredevil. You have a person that is Kingpin and Fisk. And those are constantly interacting and constantly bouncing into each other, and bringing out the worst in each other at times. And this whole saga, for lack of a better word, this is what it's all about: this dance, this fight between Kingpin and Daredevil. What are the ripple effects it has into the world? What are what these two people's obsessive need to bang heads? What does it mean for everybody and everything in a city around them?" Sana and Dario, in unison: "It's hard to come to terms with your violent nature." Sana: "Truly, they both have a very complicated and similar relationship to violence, and that is something that is really intriguing to show." On Deciding Which Elements to Continue From the Netflix Series — and Where to Stand Apart Dario: "It's really funny — that's a great question, and there's kind of a litmus test for all of it. There's so many people. We're all bringing everything we can to being custodians of this character. When something's right, you literally feel it. And when something's off, you feel it. So in the same way, if I write something for Vincent that just doesn't feel right, he's like: 'hold on, try this'. And when we build a storyline that just doesn't feel on-story — we discarded a few for season two that just didn't feel like what we wanted to do. And the thing is, is that we've taken almost everything that was started over the course of those three seasons, because there's so much in those three seasons, and we've just put it into a context of seven, eight years later and a bigger conflict because Fisk is now, he's the system." Sana: "There's also just us as fans being like 'oh my god, we love this from the old show." Dario: "Gotta do it. Gotta do it." Sana: "We've got to do it. So that's our litmus test. Like Bullseye — you know, we love Bullseye." Dario: "You were like, very early on 'so, we've got to do a oner'. I was like 'yes, we do'. There was no, especially with the two of us, there's very little like 'oh, no, that's not the show'." Sana: "100 percent. We're usually on the same page, which is awesome." Dario: "Yeah." On What Scardapane Learned From Making The Punisher and Amanat From Ms Marvel That Helped with Daredevil: Born Again Dario: "Now wouldn't that be a team-up." Sana: "Oh my god, that'd be awesome. It's like The Last of Us — but yeah." Dario: "You go first." [caption id="attachment_994625" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Sana: "What did I draw on for this? I mean, ultimately the biggest thing for me — obviously the joy of filmmaking and creating and storytelling is just unmatched, and for me, I've been lucky enough to do it at Marvel for so long. It is about the people that you work with, making sure that they feel heard, that they feel like they're bringing their best — and that we're all creating the same thing together, we're all collectively building just this beautiful tapestry of a very hopefully powerful story. And to me that's the same in any genre that you work on. And if you're lucky enough to work with such great collaborators who can help you bring this vision to life, my job really is to help draw the best out of everyone we're working with to be able to tell the best story that we possibly can. And that is the delight, the delight of my job." [caption id="attachment_994626" align="alignnone" width="1920"] Photo by Jamie McCarthy/Getty Images for Disney[/caption] Dario: "The takeaway from The Punisher for me, really — and I will say I had two, for lack of a better word, two great teachers on that job in Jon Bernthal and Steve Lightfoot — was you're writing something that is incredibly dark, incredibly gritty and incredibly violent, but you're always trying to find the humanity inside it. And you're always — when you watch some of Steve's writing, and when you watch some of Jon, what he does with the character — you're always trying to find the heart. And I definitely brought that as best I can to Daredevil. In and amongst all the punching and broken bones and mayhem, you want to find the heart and soul of these characters. You want to really feel." Daredevil: Born Again streams via Disney+. Daredevil: Born Again stills: Giovanni Rufino, courtesy of Marvel Television. © 2024 MARVEL.
Some things are just so stunning that they need to be seen multiple times, and getting to walk through Vincent van Gogh's dazzling artworks at Melbourne's multi-sensory digital art gallery The Lume is clearly one of them. So, the popular exhibition that it first opened with, and that's also toured a version around the country, is coming alive again in the Victorian capital from Boxing Day 2024. Made your own Lego version of The Starry Night? Next, you can walk through the iconic painting projected large across the Melbourne Convention and Exhibition Centre. Arriving a few weeks after Leonardo da Vinci — 500 Years of Genius closes in early December, the timing of the experience's return means that you can pair summer's sunny days with some sunflowers. The big two are back, of course — aka two of van Gogh's most popular works transformed into vivid new guises. Again, when you see The Starry Night, you'll actually be walking through it as it takes over an entire room. Love Sunflowers (the painting, as well as the plant)? Then get ready for the immersive Sunflower room, where golden petals stretch as far as the eye can see. A family-friendly experience, the van Gogh exhibition creates the sensation of diving right into the Dutch artist's paintings — and you definitely won't feel like you're just standing in an ordinary gallery. Attendees encounter van Gogh's world-famous works in fine detail thanks to state-of-the-art technology from the Melbourne-based Grande Exhibitions, which is behind The Lume. Think: high-definition projectors throwing 360-degree images onto four-storey-high walls in a 3000-square-metre gallery, with a classical musical score accompanying the vibrant colours, too, as presented in cinema-quality surround sound. While plenty will be familiar when the experience brightens up Melbourne again — including an immersive cafe inspired by the artist's Café Terrace at Night and an artist studio where you can learn the techniques behind his pieces — Finding Vincent in shared VR is making its global premiere, taking the idea of stepping into van Gogh's creativity up another level.
The war on waste has taken to the skies, with airlines pledging to reduce their reliance upon single-use plastics. Qantas has committed to phase out 100 million disposable items from 2020 onwards, Portuguese charter carrier Hi Fly wants to become the world's first no-plastics carrier within the next 12 months, and now a flight free of the pesky products will make its way to Australia — landing on Earth Day. Departing from Abu Dhabi on Sunday, April 21 and arriving in Brisbane at around 5.30pm on Monday, April 22, the Etihad flight will become the world's first long-haul commercial flight to dispense with single-use plastic items, replacing more than 95 objects — and over 50 kilograms that'd usually be headed to landfill — with environmentally friendly alternatives. It's not the first ever flight to do so, with Hi Fly jetting between Portugal and Brazil sans plastic waste late last year; however it is the first to achieve the feat over such a hefty distance. Eco-conscious cups, cutlery, dishes, headset bags, cart seals and toothbrushes will replace regular plastic versions, and sustainable amenity kits, eco-plush toys and eco-thread blankets will also be loaded onboard — with coffee cups made from natural grain products and nothing coming wrapped in disposable plastic. Where Etihad was unable to find a single-use plastic free alternative to a standard item, it removed the item from the service completely. The move comes as part of Etihad's plan to drastically reduce its use of throwaway items, setting itself a number of milestones. By June 1, the airline has pledged to remove up to 20 percent of single-use plastics from its flights — totalling 100 tonnes by the end of the year. And by the end of 2022, it has committed to reducing its disposable plastics use by 80 percent across the entire company.
West End's massive West Village precinct continues to get bigger and bigger. While the project is still in development, it has held everything from ice cream festivals to weekend providore markets since it was approved in 2016. And, as of Saturday, October 2018, the $800 million project had some hefty new additions. The former Peters Ice Cream Factory site is now home to The Garden Pantry and The Common. The former is a casual dining precinct featuring multiple eateries, plus indoor and outdoor seating, while the latter is a 24-hour public space brimming with grass, trees, plants, a water installation and a field of lights. In short, the inner-city development has gained a heap of new dining options and a lush place to hang out. The Garden Pantry's restaurant lineup includes Cheeky Poke Bar, Mr. Bunz and Salt Meats Cheese as its first tenants, which means that West Enders can now devour Hawaiian-inspired bowls, pan-Asian baos and Italian eats. It all comes from tried-and-tested sources, with each of the three headline eateries setting up its second Brisbane locations. In SMC's case, the chain is also introducing a new tuckshop-inspired menu that focuses on ten different pizzas by the slice, rotating gnocchi specials and three frozen cocktails that nod to Italian granitas. Think jalapeno salty margaritas, Aperol spritz frozès and espresso tiramisu martinis. That's not the end of the story for SMC either — because making food is as fun as eating it, West Village will also be the site of its first Brisbane cooking school, which'll open its doors in Factory Lane in 2019. Joining the restaurant's usual array of cheese wheel pasta dishes, all-you-can-eat pizza nights and plentiful cocktails, the cooking school will host hands-on classes on how to make gnocchi, other pastas and desserts, including gluten-free options. Unsurprisingly, in terms of decor, the new spaces play up the garden theme — both in The Garden Pantry space, which is decked out tropical-style, and in The Commons' greenery-filled garden area. Later this year, West Village will open Factory Lane, and add a new arts and events studio called The Bromley Room #2. West Village is located at 97 Boundary Street, West End.
You've binged your way through HBO's excellent Chernobyl mini-series. If you're a Melburnian, or you've taken a trip to the Victorian city recently, you may have wandered through a recreation of the exclusion zone around the exploded nuclear reactor as well. Soon, you also might be able to sip shots of vodka from the region — made from grain from the Ukrainian area that has been off limits for more than three decades. The tipple in question is called Atomik Vodka. Brewed by a team of scientists from the UK and Ukraine, it's part of a three-year research project investigating the transfer of radioactivity from the soil to crops grown in the closed-off spot, as well as in the Narodychi District within the Zone of Obligatory Resettlement. (People still live in the latter location, but the land isn't officially allowed to be used for agriculture.) While the grain itself showed some signs, all traces of Chernobyl-derived radioactivity was lost in the distilling process, which inherently reduces impurities — leaving the vodka with the same level of natural radiation that you'd find in any other spirit. The vodka also uses local mineral water, sourced from a deep aquifer below the town of Chernobyl, around 10 kilometres south of the nuclear power station. It's been found to possess chemistry similar to water from limestone aquifers, like the one in the Champagne region of France, and was used to dilute the distilled alcohol to 40 percent. At present, only one bottle of the vodka exists. And, if you're curious about giving it a taste, it's not for sale. But the team behind Atomik hope that will change, and, that after clearing a few legal hurdles, they'll be able to begin a small-scale experimental run of the grain spirit by the end of this year. If they're successful in their efforts, they plan to donate 75 percent of Atomik Vodka's profits back to the affected Ukrainian community. It's also hoped that the research project will assist residents around the exclusion zone by showing that the land is now safe to be used for agriculture, opening up further investment and economic benefits. For more information, visit the Atomik Vodka website. Via the University of Portsmouth.
Like the producers of expensive Swiss watches, artisanal chocolate and complicated pocket knives, Movenpick ice cream is committed to Switzerland's seemingly national standard of perfection. If you haven't yet sampled the gourmet brand's indulgent flavours, (made from real Swiss cream), then what better time to taste test than on the country's national day? On August 1, Movenpick is offering the first 250 customers to their NSW, Victoria and Queensland stores a complimentary scoop of Switzerland in a cone (or a cup, if that's more your thing). Be torn between 24 flavours, such as velvety caramelita, crunchy meringue in double cream or their famous classic Swiss chocolate. Head to the following stores for your free scoop: NSW: Bondi, Darling Harbour, Manly, Newcastle. VIC: Doncaster, Boxhill, Melbourne Central, QV Melbourne (Highpoint). QLD: Brisbane CBD, Brisbane Emporium, Portside, Surfers Paradise, South Bank, Broadbeach, Cairns, Carindale, Harbour Town, Paddington, Indooroopilly. Opening times and locations vary; see the website for details.
On September 23 and 30, Palace Centro will become the most magical place in Brisbane, as all nine films grace the Fortitude Valley cinema's screens for 20 hours of wizarding wonder. BYO time-turner if you don't think you'll be able to stay awake. Nine films, you say? Yep, this really is a celebration of every Potter-related flick there is, which means the eight movie versions of J.K. Rowling's original seven books, plus the film adaptation of Fantastic Beasts and Where to Find Them as well. Watch Harry, Hermione, Ron and co. spend their first day at Hogwarts, play quidditch, search for the deathly hallows and battle He Who Must Not Be Named. And, then jump back several decades earlier to explore the exploits behind one of their textbooks — as presented in glorious 70mm, too. With no new Potter-related films due until the Fantastic Beasts sequel next year, this will help you get your big screen spellbinding fix — and, let's face it, you've already watched your DVDs hundreds of times. Kicking off at 11am and screening through until the following morning, Potterfest — A Harry Potter Marathon will also include plenty of other Potter fun, with dressing up in costume as highly recommended as a pint of butterbeer.
Edgar Wright's Don't and Rob Zombie's Werewolf Women of the SS must be on their way to the big screen soon. With Thanksgiving's arrival, three of the five films teased as trailers in 2007's Grindhouse — and at the time only conceived to exist as those faux trailers — have come to full-length feature fruition. So, the double of Robert Rodriguez's Planet Terror and Quentin Tarantino's Death Proof didn't just give the world biochemical zombies and a murdering stuntman, but Machete, Hobo with a Shotgun and now Eli Roth's turkey-holiday slasher horror. In this first stint behind the lens since 2021 documentary Fin, plus 2018's vastly dissimilar Death Wish and The House with a Clock in Its Walls before that, the Cabin Fever and Hostel filmmaker knows the right mood: when you're plating up a film that began as a gag ad, leaning into both tropes and a knowing vibe is the best choice for carving a path forward. There's a downside to the joke beginning and happy winking now, though: Thanksgiving sure does love sticking to a tried-and-tested recipe. Roth and screenwriter Jeff Rendell, both returning from 16 years back and sharing a story credit, have taken to the whole "Halloween but Thanksgiving" approach with the utmost dedication — because it's as plain as a roasted bird centrepiece that that's what they've purposely cooked up. The mood, the nods, the derivation: they don't add up to a new masterpiece, however, genre-defining, cult or otherwise. But there's something to be said for a film that commits to its bit with this much relish, so bluntly and openly, and with the tongue-in-cheek attitude that was baked into the Grindhouse package slathered on thick. And yes, the image that no one has forgotten for almost two decades returns, alongside other signature shots from Thanksgiving's proof-of-concept sneak peek. As they splatter around gore, not gravy, plus guts that don't belong to poultry, Roth and Rendell have given themselves a task: reverse-engineering an entire feature from a spoof trailer that made fun not just of holiday horror flicks, but of Roth's part in torture porn's boom. They're also eager to ensure that their picture locks in its place on the occasion-centric viewing calendar. The raucous Thanksgiving slides in before Black Christmas and New Years' Evil, dates-wise, and joins a roster that also spans My Bloody Valentine and April Fools' Day. This slice of the scary-movie spectrum isn't small, both in general and with past Thanksgiving-themed fare — for the latter, see also: Blood Rage, Black Friday, Blood Freak, ThanksKilling and Boogeyman, and more — but, blatantly angling for sequels as well, Roth and Rendell don't just want to dish up one serving. Thanksgiving could go by Black Thursday, the shopping opportunity that's also been dubbed Grey Thursday and Brown Thursday, because that's when and why its carnage commences. The place is still Plymouth, Massachusetts, and the slasher who'll start offing teens still nabs disguise cues from pilgrims — wearing a John Carver mask specifically, which noticeably resembles not just Plymouth Colony's first governor but V for Vendetta's Guy Fawkes mask — but the 2022-set opening is all about a crushing trip to score bargains. At RightMart, the masses gather when it's traditionally dinnertime, demanding with increasing ferocity to be let inside. The shoving and shouting becomes a stampede after the crowd sees Jessica Wright (Nell Verlaque, Big Shot) and her friends enter early because it's her dad Thomas' (Rick Hoffman, Billions) store. For some, the results are fatal, whether via being caught underfoot, copping shards of glass or getting scalped by trolleys. In adding to the bowl while spooning in pieces from horror classics, Roth and Rendell take inspiration not just Halloween but from Dawn of the Dead — aka that shopping spree gone savage — as well as A Nightmare on Elm Street, Friday the 13th and The Texas Chain Saw Massacre. If Thanksgiving was a feast itself, it'd be everything from dark and light meat with cranberry sauce to sweet potatoes and pumpkin pie smashed together in a blender. Here's another mission on Roth's list: crafting killer setpieces and slayings, with the Black Thursday onslaught at the top of the heap. Not every death is inventive, but this movie and its director are all about the audience impact, with endeavouring to incite cheers, screams and laughs their stuffing and seasoning. That said, Thanksgiving is strongest when it's fresh out of the oven, then dutifully works through its recreated offings from the Grindhouse trailer and soon proves content with a stock-standard cat-and-mouse game. The bulk of the flick occurs a year following the RightMart riot, when Jessica and her fellow survivor pals Gabby (Addison Rae, He's All That), Evan (Tomaso Sanelli, Holly Hobbie), Scuba (Gabriel Davenport, Mistletoe Time Machine) and Yulia (Jenna Warren, The Young Arsonists) get tagged in a creepy social-media post. Then a diner employee turns up dead not long after waiting on them, a spree begins, and Sheriff Newlon (Patrick Dempsey, Disenchanted) and his colleagues aren't much help. Although biting into consumerism's worst impulses is on the menu, as is satirising the chase for viral fame in these always-posting times, the themes and plot aren't the main course. That status goes to upping the body count with bloodthirsty and grisly enthusiasm. The key thing to be thankful for here is that Thanksgiving's creative forces are patently having schlocky fun, including with their McDreamy casting, practical effects and some visual moments — and they don't ever stomach being subtle about it. Ditching the throwback look hasn't meant scrapping the 70s-esque tone or toning down the revelling in getting gruesome. There's a difference between appreciating how much enjoyment went into whipping up the movie and consistently having more than a by-the-numbers time with it, though. Excited chefs can still cook average meals with sprinklings of flavour, as Roth does. There's also one goal that Thanksgiving threw out with the bones: creating a picture that doesn't make viewers certain that they saw most of the best bits in that years-ago trailer.
UPDATE: MARCH 31, 2020 — Grassfed is now offerings its eight different vegan burgers, loaded potato gems and curly fries for takeaway (call 3180 2242) and delivery via UberEats. Running between South Brisbane's Grey and Manning streets, Fish Lane is the city's little roadway with a big impact. Everything from wine bars, beer cafes and rib shacks to hawker-style Asian restaurants, retro fish 'n' chipperies and famous gelato joints can be found along its expanse. Now welcoming customers is Grassfed, which ranked among the street's most exciting new inclusions of 2019. A collaboration between ex-Urbane chef Alejandro Cancino and Brisbane Vegan Markets' Jonny Garrison, it's a vegan burger bar that takes the meat out of everyone's favourite bread-based meal, but keeps plenty of flavour. Think mock pork, chicken and beef, as well as stacked veggie burgs, plant-based sides, cold Young Henry's beers, vegan shakes topped with soy spray cream and four varieties of vegan ice cream.
In 2017, Australia scored a brand-new arts festival: Asia TOPA, aka the Asia-Pacific Triennial of Performing Arts, which fills Melbourne venues with a banquet of Asian arts and culture. Then came the early days of the pandemic, putting the event on hiatus since 2020. Thankfully, that gap is ending in 2025 — and bringing a lineup featuring 33 performances, 18 of which will make their world premiere, to locations across the Victorian capital. Asia TOPA is announcing its roster for Thursday, February 20–Monday, March 10, 2025 in stages, with its performance strand its headline program, as well as the first to unveil its details. One big highlight, which was revealed in October: KAGAMI, a mixed-reality concert experience that lets audiences watch a virtual avatar of the late, great Japanese composer Ryuichi Sakamoto at the piano. Making its southern-hemisphere premiere at the festival, the production sees attendees don headsets, enjoy ten original Sakamoto compositions and pay tribute to the music icon. KAGAMI heads Down Under after seasons in New York and UK, and also Singapore prior to Asia TOPA. [caption id="attachment_979460" align="alignnone" width="1920"] Tin Drum[/caption] Another of the fest's standouts was also unveiled before the full performance lineup drop — and it's another event with an interactive element. Home Bound by Daniel Kok and Luke George is asking a variety of Melbourne communities to come together to make a woven installation that'll transform Arts Centre Melbourne's forecourt. Whether you take part or not, the results will be a sight to see. Just announced in Asia TOPA's opening-night slot: Milestone from William Yang. As he'll also do at 2025's Sydney Festival, the now 80-year-old artist will reflect upon his life at the one-night-only event, with his photos and stories paired with a new score by Elena Kats-Chernin performed live on stage. In Melbourne, Milestone is headed to Hamer Hall — and the Melbourne Symphony Orchestra will also be part of the show. [caption id="attachment_979461" align="alignnone" width="1920"] George Gittoes[/caption] Dance company Chunky Move joins the lineup with U>N>I>T>E>D, which will take to the Sidney Myer Music Bowl stage, feature techno beats inspired by Javanese trance and gamelan, and feature six dancers wearing exoskeleton costumes. At Arts Centre Melbourne's Playhouse, Yolŋu, Paiwan and Amis artists hailing from North East Arnhem Land and Taiwan will join forces for cross-cultural collaboration Gapu Ŋgupan (Chasing the Rainbow). And Chinese mourning rituals provide the spark for Mindy Meng Wang and Monica Lim's Opera for the Dead (祭歌) at Space 28 at the University of Melbourne. Patrons can also look forward to Ane Ta Abia, a choral concert featuring singers and musicians from Papua New Guinea and Australia; the tunes, lasers and projections of Oblation by Tamil Australian electronic composer Vijay Thillaimuthu; queer Indigenous arts collective FAFSWAG's dance piece SAUNIGA; and an ode to cute animals via theatremaker Ran Chen's Tiny, Fluffy, Sweet. Or, there's also the return of A Nightime Travesty after its YIRRAMBOI Festival 2023 sellout run, Yumi Umiumare's ButohBAR 番狂わせ OUT of ORDER II turning Abbotsford Convent into a nightclub and family-friendly puppet show Goldfish. [caption id="attachment_979462" align="alignnone" width="1920"] Cam Matheson[/caption] With the NGV about to go dotty for Yayoi Kusama — starting to already, in fact — for it summer blockbuster exhibition, Melanie Lane's Pulau (Island) is another of Asia TOPA's must-sees. Specifically commissioned for the festival, it's a site-specific response that'll be performed beneath Kusama's Dots Obsession installation, and it's only on the program for two days. "I hope this edition of Asia TOPA resounds with the resilience, joy and creativity of the artists from our region. We want the triennial to be a way for people to build new connections and imagine new futures," said Asia TOPA Creative Director Jeff Khan, announcing the performance strand program. "I hope you join us for this celebration of the inspiring artistry, ideas and possibilities that are so unique to Asia-Pacific art and culture." [caption id="attachment_979463" align="alignnone" width="1920"] Gianna Rizzo[/caption] [caption id="attachment_979464" align="alignnone" width="1920"] Chen Chou Chang[/caption] [caption id="attachment_979465" align="alignnone" width="1920"] Michael Pham[/caption] [caption id="attachment_979466" align="alignnone" width="1920"] Dewie Bukit[/caption] Asia TOPA 2025 runs from Thursday, February 20–Monday, March 10, 2025 at venues across Melbourne. Head to the festival's website for more details and tickets. Top image: Samuel James.
Having a bad day? Had a forgettable week, month or start to 2022 so far? Here's something that cures all woes: Nicolas Cage. It's impossible to be annoyed or frustrated when you're watching one of the greatest actors alive make on-screen magic as only he can, whether he's in an excellent or awful movie. And when he's going all in on being himself, as he is in the new trailer for The Unbearable Weight of Massive Talent, it's balm for even the crankiest and weariest of souls. As announced back in 2021, and dropping its first sneak peek last year, too, Cage's new movie stars Cage as Cage — and he's visibly having a ball doing so. Whether the film itself turns out to be any good is clearly yet to be seen, but the Cage glimpsed in the two trailers so far knows everything that's ever been said or written about him, leans in and goes for broke. Serious Cage, comedic Cage, out-there Cage, OTT Cage, short-haired Cage, floppy-haired Cage, slick Cage, gun-toting Cage, every-facial-expression-imaginable Cage: they're all accounted for. There is a story behind the film's excellent idea, obviously. The fictionalised Cage is in a career lull, and is even thinking about giving up acting, when he accepts an offer to attend a super fan-slash-billionaire's birthday. Getting paid $1 million is just too much to pass up, and he needs the money. But when it turns out that he's now working for and palling around with one of the most ruthless men on the planet (played by Pedro Pascal, Wonder Woman 1984), as a couple of intelligence agents (The Afterparty co-stars Tiffany Haddish and Ike Barinholtz) eventually tell him, things get mighty chaotic. Also joining Cage playing Cage — not to be confused with his work in Adaptation, where he played two characters — are Sharon Horgan (This Way Up) and Neil Patrick Harris (The Matrix Resurrections). And, Are We Officially Dating? filmmaker Tom Gormican sits in the director's chair, because if there's anything else that this movie also needs, it's the director of a Zac Efron and Michael B Jordan-starring rom-com pivoting to total Cage worship. Again, whether this'll be one of Cage's undeniable delights or pure cinematic mayhem won't be discovered until the film hits cinemas — but seeing him play and parody himself really does demand everyone's eyeballs. And, although we're never too far away from a new Cage project, nothing yet has indulged the world's collective case of Cage fever like this appears to. That's the thing about Cage: when an actor adds new movies to their resume quickly — popping up in new flicks every couple of months or so, and never proving far from their next film — there's a chance they might run out of worthy on-screen opportunities, but that never applies to him. He's prolific, he stars in far too many terrible flicks, when he's at his best he's downright brilliant, and he always has something interesting around the corner. In 2021 alone, he shouted expletives from Netflix, battled demonic animatronics and teamed up with one of Japan's most out-there filmmakers. He also played a truffle hunter on a quest for revenge after his pet pig is stolen, in the aptly named Pig, which was one of the year's definite movie highlights. The latter saw him turn in one of the best performances of his career, in fact, but Cage has obviously been preparing for The Unbearable Weight of Massive Talent his entire life. Yes, we've seen Cage break out of Alcatraz, sing Elvis songs, run around the streets convinced that he's a vampire, let his long hair flap in the wind and swap faces. He's voiced a version of Spider-Man, driven fast cars, fought space ninjas and stolen babies as well. Staying in his own shoes definitely stands out, though, with The Unbearable Weight of Massive Talent hitting cinemas in April. Check out the trailer for The Unbearable Weight of Massive Talent below: The Unbearable Weight of Massive Talent will release in Australian and New Zealand cinemas on April 21, 2022.
Like eating? Drinking? Tasting something new? Sampling as many delicious bits and pieces as you can? Being taught the tricks of the trade by culinary masters? Don't we all. Thankfully, chances to do all of the above keep popping up. Southeast Queensland foodies have yet another cuisine and vino event to get excited about — and no, the Gold Coast Food & Wine Expo isn't the same as the Good Food & Wine Show. Held at the Gold Coast Convention and Exhibition Centre between Friday, January 10–Sunday, January 12, this dining and sipping showcase offers a fresh round of all the things food show fans know and love: tucking into the good stuff. The stall lineup includes everyone from Stone & Wood and Brisbane Gin to The Smelly Cheese Shop and Bad Boys Doughnuts, with more than 75 gourmet exhibitors set to serve up the best dish possible. Yes, we're talking about free samples. When you're not hopping between stalls, you can also get comfy at the oyster and sparkling bar. As always, the usual advice applies: arrive hungry.
Hanami and Japan go hand in hand, but what if you could indulge in the art of flower viewing (yes, that's what the term translates to in English) a bit closer to home? Well, that's where the Sydney Cherry Blossom Festival comes in. It's a celebration of everyone's favourite pink flora in Sydney's west. Between Saturday, August 17 and Sunday, August 25, the Auburn Botanic Gardens will transform its Japanese Gardens into a beautiful, blooming wonderland. You'll be able to ramp up your appreciation of the fleeting natural phenomena that is cherry blossom season by attending a massive viewing party in the lead up to spring. Tis the season, after all. And taking in the spectacular scenery isn't the only thing you'll be doing. Over the two weekends of the festival (that is August 17-18 and 24-25), you'll be able to get your fill of Japanese entertainment. There'll be guided shinrin-yoku or 'forest bathing' therapy in the gardens, live Japanese blues music and ikebana (the Japanese art of flower arrangement) workshops. For the kidults, you can also expect a cinema dedicated to one of Japan's most popular characters Gudetama (Lazy Egg), laser tag in an anime-themed arena and Hello Kitty makeovers and stage shows. This year, the festival is ramping up its food offering, too. As well as eating your way through an array of Japanese food trucks, you'll also be able to try a heap of cherry blossom-inspired eats. Former Masterchef Australia winner (and national treasure) Adam Liaw has even created a Cherry Blossom Festival Bento Box for the occasion. A pop-up izakaya will serve up sake and Japanese craft beer, too, and Sydney's Sakeshop will be selling limited cups of Hanamikura Aya sake — which is made from a yeast extracted from the cherry blossom flower. If you've got a day off and want to skip the crowds, it'll also be opening during the week (August 19–23), with Costa from ABC's show Gardening Australia hosting a jam-packed, hands-on gardening day on the Tuesday and an educational day on the Friday. Tickets cost $7.50 for early birds, $10 for general admission and is free for Cumberland residents. Early bird tickets are now on sale for the Sydney Cherry Blossom Festival and can be purchased here. Images: Destination NSW.
Six years after launching its first-ever store in Sydney, salad chain Fishbowl is finally making the move north. From Saturday, July 16, Brisbanites will be able to head to Newstead to tuck into the brand's Japanese-inspired bowls, with its debut Queensland outpost opening up at Gasworks. For newcomers to Fishbowl, the chain heroes fast but healthy vegetable-filled bowls, all revolving around its range of house favourites. So, you can enjoy its original salmon sashimi number, its coconut chicken bowl and a warm 12-hour braised brisket option — among other varieties — but personalise it by choosing from brown rice, sushi rice, glass noodles, mixed cabbage, mixed leaves and soba noodles as bases. Down south, where Fishbowl operates 22 stores in Sydney and five in Melbourne, the company serves up more than 10,000 bowls of its most popular dish — The OG, that salmon sashimi bowl with kale, savoy, beets, shallots, edamame, red onion, roasted sesame dressing, seaweed salad, tobiko and crispy shallots — every week. Since first making its name in Bondi in 2016, back when founders Nathan Dalah, Nic Pestalozzi and Casper Ettelson were all uni students, the brand has clearly expanded its footprint considerably. But it's not just about tucking into bowls; Fishbowl has also set up run clubs and created its own surf team, and also opened smoothie and salad bar Side Room, seafood eatery Fish Shop and takeaway joint FSH MKT. For Brisbanites keen to give Fishbowl a try, it's celebrating its Queensland launch with free bowls for its first 100 Newstead customers on opening day. There'll also be free seltzers, live tunes and giveaways — if you need something to tempt more than your tastebuds. Find Fishbowl at Gasworks, 76 Skyring Terrace, Newstead from Saturday, July 16. Images: Nikki To.
Your wallet is empty but your wardrobe and shelves are filled with nice-looking stuff: it's the epitome of a #firstworldproblem. You're probably not used to thinking much more about it, but Nancy Stilianos is. She has even created an entire art show on the topic. All the Pretty Things ponders the effects of overconsumption, while also presenting an ongoing search for remedies to our spend-happy society. And yes, to make her point, Stilianos does use attractive objects — but that's just the beginning, of course. First, she studied mass-produced decorative items and was inspired to create homegrown and handmade alternatives. Then, she realised that stuff has a life beyond its obvious use, and drew upon that discovery to get creative. Next came a contemplation of richness, complexity and diversity, both of the objects and within society. In Stilianos's hands, pretty things become much, much more than the obvious. Join the opening night event on Friday, June 26, from 6–8pm.
Consider Dine BNE City the festival that does both: kicking off winter, it gets Brisbanites eating and sipping out of the house, patronising the River City's restaurants and bars; it also serves up wallet-friendly deals that let you wine and dine without busting your budget. Luxe experiences are equally on the menu at this month-long event, but snapping up a special for lunch, dinner or drinks is the main attraction. For 2025, it's back for the entirety of June again, although it officially starts on Friday, May 30 with annual outdoor feast Fireside at St Stephen's Cathedral. This year's launch event will again combine openair dining — with dishes on offer from Dark Shepherd, Naldham House's The Brasserie and The Fifty Six, plus Doughcraft and Walter's Steakhouse; the drinks come courtesy of Club Felix — with entertainment under the stars. Expect to tuck into prawn saganaki, lamb souvlaki, baked Queensland blue swimmer crab and sweet treats from the crumble station, as soundtracked by DJs and live music. That's how Dine BNE City is beginning for 2025. Returning for the fifth time after initially starting in 2021 when Brisbane's dining scene was struggling through the early part of the pandemic, the festival's latest lineup spans more special events, plus reasons to make plans for every lunchtime, after-work drinks and dinner across the month. In the first category, the Urban Wine Walk is strolling around the CBD, Tillerman is doing banquet lunches, Gather Bistro is putting on Friday-night parties, and Naldham House has everything from five-course truffle dinners to high tea and bubbles on its itinerary. If lunch is your favourite meal of the day, the Let's Do Lunch program features specials for $25 and $35. The first price point includes two courses with a drink at Cheeky Poke, a BLT and a beer at Santa Monica, pinza and beer at Doughcraft, a burger and beer at Gather Bistro, and either slow-braised pork belly or golden skin chicken at New Shanghai, among other options. The second expands your picks to gnocchi at overwater restaurant Stilts, a Japanese set menu at Tenya, one of three mains choices at Brisbane Phoenix, the same with French-inspired Vietnamese at Longwang, chicken or beef shawarma at Little Miss Sunshine, and steak and salad at The Walnut, to name just a few deals. For dinner, prices vary — but you could be sharing paella at Mulga Bill's, also getting communal at Babylon Brisbane, tucking into a Donna Chang mini banquet, enjoying Boom Boom Room's yakitori showcase, digging into Harajuku Gyoza's salaryman banquet and seeing how much you can handle at Navala Churrascaria's all-you-can-eat Brazilian BBQ experience. A tasting menu at The Lex, Matt Moran's slow-roast lamb shoulder at Riverbar & Kitchen, $30 lobster brioche with bubbles at Hibiscus Bar & Terrace: add them to your list as well. Or, make the most of the city's after-work bar scene, including for bao and beverages at Luc Lac, wagyu beef sandos with Moscow mules at The Charles, skewer platters and umeshu at Bar 1603, a French spread with bubbles at Pompette, oysters and champagne at Rothwell's, and spritzes and charcuterie at Blackbird. Dine BNE City runs from Friday, May 30–Monday, June 30, 2025. Head to the festival's website for further details.
Maybe you first saw Britain's Penguin chocolate biscuits in the supermarket during a UK holiday. Perhaps you have a British partner or pal who raves about how delicious they are. Or, like almost all Australians, you could just really love Tim Tams — and, as a result, you're eager to give any biscuit that even remotely resembles them a try. Whichever category you fall into, you can now get your hands on Penguins in all their famed glory, as they've just landed on Aussie shelves for the first time. You'll need to head to Coles to pick up a six-pack, which'll set you back $2.80. If you're currently thinking "hmmmm, but we already have Tim Tams", these chocolate-covered, chocolate cream-filled bikkies actually pre-date them. Penguins have even been dubbed "the original Tim Tam", which might sound almost sacrilegious Down Under — but, although they're longer and crunchier than the Aussie biscuit we all know and love, they first debuted in Britain in 1932, more than three decades before Australians started munching on Tim Tams in 1964. Discovering whether another bikkie really is as great as a Tim Tam is probably all the motivation you need to "p-p-pick up a Penguin!", as its slogan encourages, and give them a try. If you need more, though, Penguins also come with penguin-themed jokes printed on the wrapper (maybe keep them away from your dad). And, back in the 70s, the British treats inspired quite the advertisement — which you can watch here. Six-packs of Penguin biscuits are now available at Coles for $2.80.
Now this will make everyone turn up to boring ol' Monday meetings. British furniture designer Christopher Duffy has obviously spent too many meetings in horribly regular chairs, as he's gone and designed this genuinely high-fiveable solution — meeting swings instead of meeting chairs. Meet the King Arthur Round Table — yep, its actual name. Jensen's giving the annual growth report? Stay awake by swinging. Fire drill training? Swing it out. Duffy's straight-up clever King Arthur set is available from 12-seat down to four-seat options, and you can opt for walnut or birch tops. And predictably, the 12-seat will set your boss back a cheeky $16,000 before tax or shipping. But think of the PowerPoint presentations you could swing through. Attendance would be through the roof. "As soon as people sit in it, they instantly open up, their posture changes and they start smiling," Duffy told Fast Company. "There's a different feeling when you're hanging from something than when you're sitting and you're supported from underneath." If you're not content simply swinging your way through daily meetings, Duffy's also designed a whole two-level swing bar set-up, so you can swing through post-work drinks too. Via Fast Company.
Disney is getting into the streaming game, and it's unleashing its new platform upon Australian and New Zealand audiences this year. Called Disney+, the service was first revealed in 2018, but just when it'd hit local screens had remained a mystery. Now, anyone eager to watch new Star Wars and Marvel TV shows — plus all of Disney's animated movies — should mark November 19 in their diaries. It's great news for folks Down Under. The Mouse House announced the service's US launch date a few months back, but had left things vague otherwise, explaining that it "plans to be in nearly all major regions of the world within the next two years". While Disney+ was expected to be operational in Australia and New Zealand sometime in 2020, locals will only be left waiting a week after the service's American debut. With Disney recently merging with competitor Fox, Disney+'s range is hefty, spanning Disney, Marvel, Star Wars, Pixar and National Geographic. During its first year of operation, it's due to release more than 25 original series and ten original films, documentaries and specials — including five Marvel series (Loki, WandaVision, The Falcon and The Winter Soldier, Hawkeye and Marvel's What If), and two Star Wars shows (The Mandalorian from The Lion King director Jon Favreau, plus a spinoff from Rogue One about Diego Luna's Rebel spy Cassian Andor). Two new Toy Story projects, as well as science series The World According to Jeff Goldblum, are also on Disney+'s lineup. Going big when it comes to bringing the company's well-known properties to the new streaming platform, a High School Musical TV series, another show based on Monsters, Inc. and a live-action Lady and the Tramp movie will be on the bill, too. https://www.youtube.com/watch?v=FrXNtj84owc Price-wise, subscriptions will cost AU$8.99 and NZ$9.99 per month (or AU$89.99 and NZ$99.99 per year). Disney has also unveiled the devices that'll feature Disney+, which will be available both HD and 4K. Viewers will be able to access the service via Apple products (iPhone, iPad, iPod touch and Apple TV), Google devices (Android phones, Android TV devices, Google Chromecast and Chromecast built-in devices), Roku, Xbox One, PlayStation 4 and all Android-based Sony TVs. Disney+ will launch in Australia New Zealand on November 19. To sign up for further updates, visit the streaming platform's website. Top image: The Mandalorian.
Stargazers in Tasmania and New Zealand are happy they didn't skip town for Vivid last weekend. On Sunday night, Aurora Australis made a pretty dramatic appearance, filling the horizon with a spectrum of light. Also known as the Southern Lights, Aurora Australis tends to show up when a coronal mass ejection (CME) occurs. To cut a long story short, a CME happens when the sun releases a bunch of plasma filled with electrons and protons (the bits inside atoms, Year 7). This plasma travels 150 million kilometres before hitting the Earth's magnetic field at a speed of six million kilometres per hour. The result is a wild geomagnetic storm. As the atoms slow down, they send out light of various colours, which we see most easily at the North and South Poles, where the atmosphere is thinnest. In the North Pole, the aurora is called Aurora Borealis. Like earthquakes, auroras are rated according to their power. While most rate around 1 or 2 kp (out of a possible 9), Sunday night's hit 7, making it particularly spectacular. It's difficult to predict when the next Aurora Australis will appear — your best bet is to keep an eye on the official Facebook page, where hopeful activity is reported. If you're keen to cop an eyeful, then you'll need to head as far south as possible. It's also a good idea to get away from towns and cities, so light pollution doesn't corrupt your view. In Australia, that means making tracks to Tassie. On social media, epic photos of Sunday night's show came in from Devonport and Bruny Island. However, the lights were also seen as far north as New South Wales, including in Merimbula, Bawley Point and Williamstown. Meanwhile, in New Zealand, the place to be was the South Island. Over the weekend, Aurora Australis was seriously impressive in Lake Te Anau, Dunedin, Invercargill, Waipapa Point and Queenstown, among other spots. Here's a few otherworldly Instagrams to give you an idea: How lucky have we been in #MySouthland this week with this breathtaking #auroraaustralis light show! Spectacular 📷 @the_curious_kiwi #nzmustdo #southlandnz A post shared by Southland, New Zealand (@southland.nz) on May 30, 2017 at 5:19pm PDT Sunday's breathtaking Aurora Australis as captured by staff member @purnellpictures out on the Otago Peninsula.😍#dunnerstunner #OnlyOtago #auroraaustralis A post shared by University of Otago (@universityofotago) on May 29, 2017 at 10:02pm PDT Incredible #AuroraAustralis in Tasmania's skies 😮. Tassie's the best spot in Australia to view the Southern Lights. Basically, the further south, the better. 📷: Sophie Fazackerly A post shared by ABC News (@abcnews_au) on May 28, 2017 at 7:33pm PDT NIGHT LIGHTS. The Milky Way with a hint of Aurora over Mount Iron earlier this week. Wanaka, NZ. #nightsky #milkyway #stars #aurora #auroraaustralis #southernlights #nzmustdo #purenewzealand #landscape #nofilter #astrophotography #stargazing #stars #starlight #lovewanaka #wanaka #mtiron #southisland #newzealand #longexposure #canon_photos A post shared by @the_viewfinda on May 30, 2017 at 7:57pm PDT After posting a photo of the Southern Lights yesterday people have asked me if I could really see them with the naked eye. The answer is YES. For a few very special minutes they danced like laser beams on the horizon line. The Milky Way stole the limelight afterwards. 🌌✨ A post shared by Kyle Te Kiwi | New Zealand (@barekiwi) on May 30, 2017 at 3:04am PDT After posting a photo of the Southern Lights yesterday people have asked me if I could really see them with the naked eye. The answer is YES. For a few very special minutes they danced like laser beams on the horizon line. The Milky Way stole the limelight afterwards. 🌌✨ A post shared by Kyle Te Kiwi | New Zealand (@barekiwi) on May 30, 2017 at 3:04am PDT Top image: Ben (Flickr).
Movies don't have pores, but How to Have Sex might as well. Following a trip to Greece with three 16-year-old best friends who want nothing more than to party their way into womanhood — and to get laid, too — this unforgettable British drama is frequently slick with sweat. Perspiration can dampen someone when they're giddily excited about a wild getaway, finishing school and leaving adolescence behind. It can get a person glistening when they're rushing and drinking, and flitting from pools and beaches to balconies and clubs. Being flushed from being sozzled, the stickiness that comes with expending energy, the cold chill of stress and horror, the fluster of a fluttering heart upon making a connection: they're all sources of wet skin as well. Filmmaker Molly Manning Walker catalogues them all. Viewers can see the sweat in How to Have Sex, with its intimate, spirited, like-you're-there cinematography. More importantly, audiences can feel why protagonist Tara (Mia McKenna-Bruce, Vampire Academy) is perspiring, and the differences scene to scene, even when she's not quite sure herself. How to Have Sex also gets those watching sweating — because spying how you've been Tara, or her pals Em (debutant Enva Lewis) and Skye (Lara Peake, Halo), or lads Badger (Shaun Thomas, Ali & Ava) and Paddy (Samuel Bottomley, The Last Rifleman) in the neighbouring resort unit, is inescapable. Walker has been there herself, with parts of her debut feature as a writer and director drawn from her own time as a Tara, Em or Skye while also making the spring break and Schoolies-like pilgrimage from England to the Mediterranean. When the movie doesn't lift details directly from her own experience, it shares them with comparable moments that are virtually ripped from western teendom. One of the feature's strokes of genius is how lived-in it proves, whether Tara and her mates are as loud and exuberant as girls are when their whole lives are ahead of them, its main character is attempting to skip her troubles in a sea of strobing lights and dancing bodies, or slipping between the sheets — but not talking about it — is changing who Tara is forever. If a film called How to Have Sex had arrived in cinemas in the 80s, 90s or 00s, viewers would've known exactly what was in store from its title. Indeed, more than a few teen comedies of the era, American Pie especially, could've adopted the non-Google-friendly moniker. But Walker's picture isn't those flicks, despite starting with Tara and company almost dizzy with euphoria about wrapping up their exams, farewelling secondary schooling and dashing eagerly into their vision of adulthood. Rather, How to Have Sex is a portrait of the details that don't typically get seen and definitely aren't stressed when garnering laughs about coursing hormones is the aim of the game. As it unpacks consent and coercion in a real and raw way, Walker's feature is steeped in the confusion, the hurt, the quiet "yeah" that isn't a hearty yes, the peer pressure and rivalries, and the fact that sex is almost everywhere — in one based-on-reality sequence, oral sex is a basically a contest in front of a vast crowd — but any genuine and considered "how to" is far from everyone's thoughts. In its first half, there's a woozy buzz to How to Have Sex that matches the slinky outfits, glittery faces, neon lights and constant chase for the best holiday ever. Tara, Em and Skye are in Malia, Crete, but there's no time for sightseeing when there's shots after shots to down, dance floors to cut loose on, splashes to be had, and Badger and his crew to pursue. "Oi, smokeshow" is how the bleached-blonde fellow Brit first greets Tara from across their balconies. There's a goofiness to him that pairs well with her bubbliness; her "angel necklace" and his "hot legends" neck tattoo also appear to match. But Skye doesn't approve, in the way that besties who don't always want what's best for their friends can nix someone's crush because they're thinking about themselves. After dubbing Badger a clown, she suggests with forcefulness that Tara set her sights on the supremely confident Paddy instead. If you're not aware going into the movie that Walker is also a cinematographer, it's evident in every frame of a film that she doesn't actually shoot herself. Nicolas Canniccioni (A Respectable Woman) takes on that gig, but How to Have Sex is made with a meticulous sense of colour and light, as Walker's lensing on the also-visually expressive Scrapper similarly possessed. While the in-the-moment flavour to the imagery thrusting Tara's plight to the screen doesn't subside, the hues and the gleam reflect the delicate tonal rollercoaster her story takes. In its second half, then, all that shines, fluoresces and fizzes isn't shimmering with exhilaration. After Paddy takes her to the beach alone, and Tara drunkenly loses the virginity her mates have been just as adamant that she can't go home with, nothing looks or feels the same. How Tara regards herself, not clocking the myriad of reasons why her situation has been so many other teen girls' situation and the societal underpinnings behind that truth, also shifts shatteringly. The before, the after, the seesaw from hedonistic bliss to gutwrenching discomfort, the sensitive lack of judgement shown to both How to Have Sex's women and men, the utter unwillingness for the feature to never stop being frank: with them all, Walker beams as brightly as a glowstick that she's an exceptionally talented, perceptive and compassionate filmmaker. At the centre of the booze and the horniness, so does McKenna-Bruce; that they've both been collecting accolades and awards attention, including Cannes' Un Certain Regard Award and BAFTA nominations for Walker, plus the British Independent Film Awards' Best Lead Performance and BAFTA Rising Star prize for her main actor, is deeply deserved. Calling this a launching pad for McKenna-Bruce isn't accurate, though, because her How to Have Sex performance should always be mentioned whenever her name comes up from now on out. Brassy, energetic, vulnerable, insecure, disoriented, regretful, dread-filled, let down by a fantasy of growing up that's never real, still picking herself back up: her stunning portrayal has it all, and she shouldn't ever want to soar away from it. It isn't just teen-comedy antics that How to Have Sex eschews; this story would never be easy to tell or witness, and nor should it, but Walker clearly doesn't pour it into the standard dramatic template. As much as it brings them both to mind at times, her film isn't Aftersun-meets-Spring Breakers, either — two excellent pictures themselves — but it's as honest and potent, and also as intensely immersive. Charlotte Wells' tender father-daughter trip played like a haunting memory and desperate attempt to hold onto someone lost. Harmony Korine's bacchanalian crime-comedy jaunt to Florida was rendered with a dreamlike air. How to Have Sex stares unblinkingly, knowing how many women have stood in Tara's shoes, how many men in Paddy's, and how a definitive resolution where everything falls where it should is a rarity. Sweat is far from the only aspect, then, that's messily real.
The Coachella lineup has landed. Over the course of two autumnal weekends — April 11-13 and 18-20 — California's music-loving valley will welcome some of the world's most original, inventive and popular acts into the fold. There's a major headliner scheduled for each day — the long-rumoured and at last reunited Outkast on Friday; England's rebellious, alt-rockers Muse on Saturday; and Canada's indie favourites Arcade Fire on Sunday. While Muse just finished up an Aussie tour, Arcade Fire will soon be packing their suncream and surfboards —l they’ll be headlining Big Day Out on January 19. We Antipodeans are getting quite a look-in at Coachella, too. As you might've guessed, New Zealand teenager and singing, songwriting phenomenon Lorde is on the program. She'll be joined by fellow Kiwis The Naked and Famous. Australia has abundant representation in the form of electro duo Empire of the Sun; Sydney rockers The Preatures; multi-instrumentalist, producer and DJ Flume; psychedelic specialists Jagwar Ma; dance music trailblazer Anna Lunoe; and indie DJs Flight Facilities. As for the rest of the planet, the list includes The Replacements, Broken Bells, Queens of the Stone Age, The Knife, Pharrell Williams, Beck, Lana del Rey, Motorhead, Skrillex and Sleigh Bells. Tix go on sale this Friday at 10am (California time) at www.coachella.com/festival-passes
In a year that's already seen The Zoo say goodbye (ahead of its space reopening as the new Crowbar), another go-to for Brisbane's music fans is also bidding farewell. A West End favourite for over a decade, record store Jet Black Cat Music is shutting up shop before 2024 is out. More than just a place to buy tunes, the Vulture Street venue has also hosted gigs and parties — and held its own music festival over at The Tivoli. Your last day to head by: Saturday, December 28, 2024, which gives you somewhere to splash your Christmas cash to send off this inner-city haunt. While its physical digs are closing, Jet Black Cat Music will live on, however, thankfully keeping its website up and running. The JBCM team announced the news on social media, noting that "we are shape-shifting, moving on from our bricks-and-mortar shop in West End, and taking on a few form as we continue to grow into our new life which is all about bringing great music and people together through touring and events". The statement continued: "Jet Black Cat Music on the corner of Thomas and Vulture streets in downtown West End has been the most wonderful and lengthy chapter of my life so far, WOW! The store has been a magical portal, we have hosted so many of my favourite artists such as Aldous Harding, Julia Jacklin, Angie McMahon, Dick Diver, Twerps, Courtney Barnett, Jen Cloher, Haley Heyndrickx, The Beth's, M Ward, Weyes Blood, Sharon Van Etten, Frankie Cosmos, Sampa The Great, Marlon Williams, Phantastic Ferniture, Toro Y Moi, Dry Cleaning, Charli xcx, Marina Allen, Christian Lee Hutson, Big Scary, Floodlights ... and opened up a pathway into promoting tours and presenting great shows in far and wide locations". View this post on Instagram A post shared by Jet Black Cat Music (@jetblackcatmusic) Before settling into its current home, Jet Black Cat Music began its life at Davies Park Markets. It plans not only to remain online, but to also be part of "pop-ups, markets, festivals, listening parties and things that haven't even been dreamt up yet", the crew also revealed. January 2025 would've marked 14 years of JBCM on Vulture Street — and just as long of lengthy lines around the corner on Record Store Day, as well as spotting the store's black tote bags around town. Find Jet Black Cat Music at 72 Vulture Street, West End — open 9am–4pm Thursday–Saturday — until Saturday, December 28, 2024. The store will live on online; head to the Jet Black Cat Music website for more details. Top image: Google Maps.
Twenty years. Twelve seasons, plus a round of revival specials. Oh-so-many music and comedy guests. As at 2025, that's the Spicks and Specks story. This year marks two decades since the series first debuted on the ABC — and through cancellations, new hosts, bringing back its OG talents and more, the music quiz show has become a firm Australian favourite. To celebrate that longevity, its latest run will arrive in June. The ABC announced back in 2024 that Spicks and Specks would return this year. Now there's an exact date: Sunday, June 15. Adam Hills, Myf Warhurst and Alan Brough are all back — this time joined by Megan Washington, Marcia Hines, Kram, Lucy Durack and Robert Forster among the musicians, plus comedians Julia Morris, Tom Ballard, Dave O'Neil and Sara Pascoe. Hands on buzzers, again. Get ready to bust out all that music knowledge, and also to play along with one of the nation's most-beloved television shows once more, too. Among everything that the ABC has ever broadcast, be it news, entertainment, after-school kids shows, oh-so-much Doctor Who and late-night music videos to keep you occupied after a few drinks all included, Spicks and Specks is among the all-time highlights. 2025's season will also feature performances by Spiderbait, Montaigne, Paul Kelly, Emma Donovan, Pseudo Echo, Barry Morgan and The Living End. In the mid-00s, when the ABC decided to take a few cues from Britain's music quiz and comedy panel TV series Never Mind the Buzzcocks by creating Spicks and Specks, Australia's national broadcaster likely knew that it had a hit on its hands — but it mightn't have realised just how popular that the show would become. Here's how it works, if you need a refresher: the contestants answer questions, compete for points and just generally prove funny, too, all while the series puts Aussie musos and comedians against each other. Spicks and Specks was a weekly favourite when it first aired between 2005–2011 — and it keeps being resurrected. In fact, it has enjoyed more comebacks than John Farnham, although that has meant different things over the years. When the program was initially revived back in 2014, it did so with a new host and team captains, for instance. And when it started to make a return with its original lineup of Hills, Warhurst and Brough, it first did so via a one-off reunion special. That 2018 comeback became the ABC's most-watched show of that year. So, the broadcaster then decided to drop four new Spicks and Specks specials across 2019–20 and, for 2021, to bring back Spicks and Specks in its regular format. In 2022, ten new episodes hit — and then the show returned again in 2024. To tide you over until the 2025 episodes arrive, here's a clip from 2024's Spicks and Specks run: Spicks and Specks returns to ABC TV and ABC iView from Sunday, June 15, 2025.
Austin Butler will be in the building at Sydney Film Festival 2024. After scoring an Oscar nomination and Golden Globe win for playing the king of rock 'n' roll in Elvis, which was shot in Australia, the actor has locked in a visit to the Harbour City to launch his latest movie The Bikeriders at the State Theatre. When the full 2024 SFF program was announced, The Bikeriders was among its big-name titles. It stars not only Butler, but also Jodie Comer (Killing Eve), Tom Hardy (Venom: Let There Be Carnage) and Mike Faist (Challengers), so that's understandable. But the movie's place on the lineup is now even heftier with Butler hitting the fest and the country in person. He'll be at the session — complete with a red carpet event — on Thursday, June 6. Written and directed by Jeff Nichols, in what marks the Take Shelter, Mud and Midnight Special filmmaker's first feature since 2016's Loving, the picture casts Butler as Benny, a member of The Vandals, a midwestern motorcycle club. It's the 60s in Chicago, and Comer's Kathy is the audience's guide through the movie. She's also Benny's wife. Hardy plays The Vandals' leader, while Benny is the gang's newest member — and if you've seen a tale of a motorcycle club on-screen before (American TV series Sons of Anarchy and Ryan Corr-starring Australian drama 1% might come to mind), you'll know that loyalty tend to play significant parts in the story. Michael Shannon (The Flash), Norman Reedus (The Walking Dead: Daryl Dixon), and Australians Toby Wallace (The Royal Hotel) and Damon Herriman (The Artful Dodger) also feature. If you can't make it to SFF, the film will hit Aussie cinemas in general release on Thursday, July 4. On Sydney Film Festival's guest lineup, Butler is joined by the members of Midnight Oil for opening night's world-premiering documentary The Hardest Line, New Zealand director Lee Tamahori for The Convert, Jemaine Clement for The Moon is Upside Down, Rachel House in filmmaker mode for her directorial debut The Mountain and Aussie icon Peter Weir for a retrospective session of The Cars That Ate Paris — and plenty more, of course. Check out the trailer for The Bikeriders below: Sydney Film Festival 2024 takes place from Wednesday, June 5–Sunday, June 16 at various cinemas and venues around Sydney. For more information and tickets, head to the festival's website. Images: Kyle Kaplan/Focus Features. © 2024 Focus Features. All Rights Reserved.
Waking up to a perfect sunrise on an almost empty beach. Spotting a true-blue Aussie icon. Or sticking your head out of the window when you're cruising with the fam. Each one of these TikTok videos has us dreaming of epic adventures with our besties, lazing in the sun, and rising early to catch a wave or two. In short, they make us miss the best parts of summer — and make us want to extend that carefree holiday vibe into autumn, too. To help inspire you to live your best life, we've teamed up with TikTok to bring you five videos that'll have you handing over that resignation and GTFO to bigger and brighter things. [embed]https://www.tiktok.com/@kendallandglenn/video/6885137289199095042[/embed] Kendall and Glenn are really channeling that sun-kissed, no-worries Australian dream right now. The couple is travelling around Australia in a VW — called Vance — and they're capturing the best (and worst) parts of living on the road together. They've been to Magnetic Island, Uluru, Flinders Ranges and the Fleurieu Peninsula. Here they're really flexing that perfect #vanlife morning. [embed]https://www.tiktok.com/@yeetus_mcfeetus/video/6716434036241206534[/embed] In 2010, the Big Prawn came close to death when the Ballina Shire Council voted in favour of its demolition. Luckily, the public had other ideas and today you can still find it in Ballina, NSW. KT, or @yeetus_mcfeetus, picked a true-blue legend to soundtrack their encounter with two other Aussie greats: Bunnings and the Big Prawn. Make like KT and plan your own trip to see these extremely Australian big things for yourself. [embed]https://www.tiktok.com/@genuine_spud/video/6858869469809249541[/embed] Emilee Flood's 'Electric Love' is one of those tracks synonymous with TikTok. (It's a real Sad Girl TikTok banger). But here, Kel-C uses that 'lightning in a bottle' lyric to show us all their feels about a perfect summer road trip — kangaroos, beaches, sunsets and snacks. Take. Us. Back. [embed]https://www.tiktok.com/@gemmacatherine29/video/6828566161651666181[/embed] How good's WA? Gemma Catherine, maker of this extraordinarily good case for getting out of bed before sunrise, shows us it's the state to be in for escaping iso and getting out for a surf. Now, being back at work isn't strictly the same as iso, but we're feeling the itch to travel all the same. If you're looking for inspiration, here are ten must-visit locations in Australia. [embed]https://www.tiktok.com/@_.lilyhaynes._/video/6894561223736691969[/embed] If there's one video in this roundup that speaks to us most it's this gem from Lily Haynes. She's filmed her pup Alfie living his best self, chilling with the fam, seeing what's up, riding shotgun. If that doesn't push you to book a long weekend on the road, we don't know what will. Alfie, we ❤️ you. Download TikTok to watch more blissful travel videos. Top image: Wikimedia Commons
On the silver screen, Australia's golden landscape is frequently the place where pain dwells. Even when spinning fiction, films such as Mystery Road, Goldstone, Sweet Country, High Ground, The Furnace and The Survival of Kindness scorch reality's horrors and heartbreaks into celluloid with ample help from an ochre-hued backdrop that can only belong to the land Down Under. In Sweet As, the red earth of Western Australia's Pilbara region similarly couldn't be more pivotal; however, this coming-of-age drama from first-time feature director and writer Jub Clerc (The Heights) — who previously contributed segments to anthology movies The Turning and Dark Whispers: Volume 1, draws upon her own adolescent experiences for her full-length debut, and crafts the first WA flick that's helmed and penned by an Indigenous female filmmaker — deploys its patch of Aussie soil as a place where teenagers find themselves. Sweet As often lets its chosen terrain stretch as far as the eye can see, which homegrown cinema adores doing. As the movie roves lovingly over the Pilbara's plains and gorges, cinematographer Katie Milwright (Deadloch, The Clearing) sees its vivid hues, craggy surfaces, and dusty scrubland over and over. More than that, Clerc and her director of photography revel in the details and the beauty, conveying the power of Country, and of travel, in every patient and lingering shot. Indeed, watching Sweet As feels like communing with its surroundings; the picture itself is, and enthusiastically shares that sensation with viewers. As it peers and percolates — absorbs, too — the film also spies a canvas for hopes and dreams. It soaks in the inescapable potency of land that has meant so much to the planet's oldest continuous culture for so long, and now proves revelatory for a group of adolescents sent bush on a photo safari. Murra (Shantae Barnes-Cowan, Firebite) is one such shutterbug, albeit not by choice. With her mother Grace (Ngaire Pigram, also a Firebite alum) grappling with addiction, the 16-year-old is traversing a path to child services' care when her police-officer uncle Ian (Mark Coles Smith, Mystery Road: Origin) enrols her on a trip that she doesn't initially want to take. With youth workers Mitch (Tasma Walton, How to Please a Woman) and Fernando (Carlos Sanson Jr, Bump) as their guides and chaperones, Murra, Kylie (newcomer Mikayla Levy), Elvis (Pedrea Jackson, Robbie Hood) and Sean (fellow first-timer Andrew Wallace) are soon hurtling into the outback on a minibus with cameras in their hands — to snap the sights away from their ordinary lives, and also step beyond everything that they know, form new friendships, gain a different perspective and gaze as intently at themselves as they do at the earth from behind a lens. IRL and in the film, sending kids to capture the inimitable Australian scenery one photo at a time, and to roam over its vastness, is a simple yet profound concept. Murra and her companions — all strangers when they board the bus, and all considered at-risk due to their own troubles — are far too familiar with being scrutinised by others, but now get to do some clocking themselves in a cathartic way. They're tasked with judging what's worthy of their time and attention, and of being immortalised in their snapshots. As they point and shoot, they're given the freedom to express and inspect anything that can be glimpsed at through a viewfinder. They're empowered to be bold, break moulds and discover what no one else perceives. Creativity can be an escape, and it can also be an exorcising release and a catalyst to adopt new viewpoints. As its teen characters segue from apprehensive and rebellious to being grateful what they're doing, and where and why, Sweet As explores and appreciates the straightforward acts of road tripping and taking photographs along the way for everything they can offer. Thanks to its origins in her own tale, Clerc's feature unsurprisingly feels personal. Just as crucially, it feels lived in. Bringing a disparate group of high schoolers together isn't a novel storyline, nor is having them glean life-changing insights in the process — The Breakfast Club has notched up nearly four decades of affection for nailing the formula — but Sweet As never merely ticks recognisable plot boxes. Even as Murra's journey involves crushes, questionable choices and underage drinking, the film always values its characters over the teen rites of passage they undertake. While so much about no longer being a kid but not yet being an adult is universal, the most potent examinations of what that's genuinely like refract teendom's markers and milestones through the people going through them. As told by Clerc, Murra's plight is deeply relatable, including while anchored in being an Indigenous youth in Australia today, but it's also exactly what it is because of who the movie's protagonist uniquely is — and, again, why. Consequently, casting is as important to Sweet As as Clerc's formative years, script (as co-penned with Seriously Red actor and Rush screenwriter Steve Rodgers), and calm and confident guiding hand. This is just the fifth entry on Barnes-Cowan's resume after Operation Buffalo, Total Control, Firebite and Wyrmwood: Apocalypse, and it's the young Adnyamathanha woman's fifth exceptional performance — the fifth in a career that, based on her excellent efforts so far, is only going to keep growing and expanding. Naturalism and resilience have swiftly become consistent hallmarks of her work, each assisting in making Murra seem like she's walked into the frame from reality. Clerc benefits from both, too, observing Barnes-Cowan as Murra observes the world, and finding an entire universe of emotion blossoming. What does it mean to truly take notice — of people, personalities, Country, cultures, history, existence's big and small highlights, and also everything that's often overlooked — and to be taken notice of in return? They're questions that Sweet As endeavours to sit with. As set to all-Indigenous soundtrack, the film is happiest surveying, contemplating and being in the moment; like protagonist, like movie. Sweet As also shines as an example of what it means to cherish a shared exchange, thoughtful glance, bonding experience, radiant hue, gorgeous vista and perfectly captured instant. This buoyant feature brims with all of the above, beaming as brightly as the distinctively Australian landscape it can't and won't stop treasuring.
More than seven months after kicking off a huge renovation, Fortitude Valley favourite The Wickham is finally reopening its doors. Come Monday, March 27, the heritage-listed Wickham Street mainstay will unwrap its latest revamp, complete with a made-over beer garden that can host festivities all year round no matter the weather, plus two newly done-up indoor spaces. "As a historic Fortitude Valley icon, throughout the revamp it was important for us to respect The Wickham's heritage whilst bringing it into the future, and we feel we have achieved this," said Australian Venue Co's Chief Operating Officer Craig Ellison. "We can't wait to swing open the doors on 27th March and welcome Brisbane's LGBTQIA+ community back to experience The Wickham's next chapter." [caption id="attachment_680674" align="alignnone" width="1920"] Grace Smith[/caption] When the makeover was announced back in August 2022, Australian Venue Co advised that it'd be putting $1.5 million into The Wickham's fresh look. Now, as well as revealing when Brisbanites can hit up the 138-year-old venue again, the hospitality company has advised that The Wickham's do-over cost $3.1 million. That sum has gone into a new design by Newline Design — well, as new as the site's heritage listing allows. Accordingly, the revamp is all about balancing historic charm with upgrades. The beer garden has been weather-proofed, for instance, so that its parties and shindigs can happen rain, hail or shine; a new kitchen has been put in; and existing areas of the pub have been given a new lease on life. So, say goodbye to The Wickham's old corner bar and studio spaces. They're now known as The Peacock Room and Garland Room, respectively, with decor to match. The first is decked out with vintage furniture, work by local artists — heroing LGBTQIA+ talent — plus nods to the Wickham's peacock Frankie, and is being put forward as an option for cruisy drinks. The second is the venue's new club space, which means that DJs, performers and parties will be filling it ASAP. The Wickham's reopening will see it bring back Thursday night trivia in the beer garden, live tunes from Friday–Sunday and drag shows on Friday and Saturday evenings. The Peacock Room will also host bottomless burlesque brunch sessions once a month. [caption id="attachment_864342" align="alignnone" width="1920"] Markus Ravik[/caption] Executive Chef Dylan Kemp is overseeing a new menu, so get ready to enjoy stone-baked pizzas, bar snacks and late-night options, including a sizeable range of vegan, vegetarian and gluten-free dishes. On offer: cauliflower hot bites, fried quail with truffle mash, deep fried Golden Gaytimes and fairy bread — and a menu just for dogs that'll span crispy pig skin, meat balls, gravy and peanut butter. Taking cues from the 70s and its fondness for disco, the drinks list is getting a once-over as well under Beverage Director Kevin Peters. Think: Disco Fruit Tingles, which'll be served in disco balls; Glitter Bellinis, complete with edible glitter; and frozen G&Ts made with pineapple tonic. If you're keen on a tipple without the booze, the venue is upping its non-alcoholic range of wines, spirits, beers and cocktails as well, which'll feature a No-groni and the Espresso Marti-no. The Wickham is no stranger to nips and tucks during its century-plus existence, of course, including last undergoing a refresh back in 2014 and gaining five completely new spaces in the process. Australian Venue Co has been spearheading makeovers at a number of Brisbane pubs over the past few years, as seen as spots such as Cleveland Sands Hotel, Salisbury Hotel, the Crown Hotel in Lutwyche and Bribie Island Hotel. It's also revamping Riverland in the CBD, with the results set to be unveiled in 2023, too. The Wickham will reopen at 308 Wickham Street, Fortitude Valley on Monday, March 27, with bookings open from Monday, March 13. Top image: Markus Ravik.
Keen to escape the hustle and bustle of Brisbane? The ancient rainforest and breathtaking lookouts of heritage-listed Main Range National Park are sure to soothe your soul. Covering over 30,170 hectares, the national park has rugged mountain ranges, cliff tops, rainforests, open eucalypt forest and rare wildlife. There are plenty of walks, including the Scenic Rim Trail, which is a four-day, three-night hike for experienced bushwalkers. For those looking for a more leisurely stroll, there are lots of easier tracks, such as the 30-minute Sylvesters lookout track, a 1.6-kilometre rainforest circuit and a two-kilometre loop around Queen Marys Falls, which has a great picnic spot, too. Then, head to the Maryvale Crown Hotel, found just a short drive from the park. Image: Scenic Rim Trail, Tourism and Events Queensland
The high tea tradition dates back to the early 19th century. At a time when it was common for dinner to be served around 9pm, Anna, the Seventh Duchess of Bedford, came up with an ingenious way to keep hangriness (angriness caused by hunger) at bay. She would while away the afternoon by indulging with sweet and savoury treats accompanied by cups of tea shared with friends. Swapping stories over treats became a popular social activity, and today high tea has retained its elegance. The great company and excess of food remains, but now a welcomed glass of champagne has also been thrown into the mix. Many venues around Brisbane offer high tea, each with their own take on this tradition. Spring Food + Wine Within Spring's black cast iron gates lies a treasure trove of delights. This restaurant and cafe feels homely, yet oozes a modern elegance and is a breath of fresh air in the heart of the CBD. Stylish low-hanging lights, a fresh colour palette and an abundance of plants sets the scene for a high tea session. Their high tea is offered only on a weekend (between 2-4pm) and is priced at $55 which includes a $10 donation to Chicks in Pink, in support of women with breast cancer. On the bottom tier you will find generously filled sandwiches, the Tasmanian smoked salmon and honey roast ham and mustard were definite winners. The petite chocolate eclair and a large pink macaroon were also favourites. Spring offers loose leaf tea and coffee with their high tea, as well as a glass of sparkling champagne. 26 Felix Street, Brisbane City, 4000 Customs House The coupling of Customs House's delectable high tea ($43 per person) and the stunning view of the Story Bridge and Brisbane River makes for a truly elegant sitting. Both inside and outside dining areas radiate sophistication and help to create a refined, yet exciting atmosphere. Customs House high tea is available in a morning session (10-11.30am) or in the afternoon (2-3.30pm). Standouts of the three-tiered delight include the mini chocolate cake with pop-rock icing and a ridiculously cute carrot cake. The staff regularly offer tea or coffee and for an extra $5 per person a glass of bubbly will await you. Customs House would be perfect for a bridal shower or a special occasion because of its downright classiness. 399 Queen Street, Brisbane City 4001 Bacchus Upon walking into Bacchus, the high tea experience commences. Starting at $36, the high tea is well-priced and the décor of Bacchus easily lends itself to a fancy tea party. Waiter, Jean-Baptiste ensures he imparts his wisdom regarding all things tea related. His friendliness and passion for tea makes the experience all the more enjoyable. The freshly made food, including sandwiches, a mini croissant with salami, scones and gorgeous mini desserts, are very filling and will please your tastebuds. However, it is in the tea department that Bacchus really shines. Unique and exotic tea choices such as, Paris and African Autumn, will add a little extra to the sitting. 9 Glenelg Street, South Bank 4101 Room with Roses If anyone knows how to do high tea, it's the team at Room with Roses. Climb the stairs at the Brisbane Arcade to discover this traditional English teahouse. It boasts a charming interior, featuring cute lampshades, floral printed couches and a vase with a single rose on each table. Room with Roses are immensely proud of their high tea ($42), and rightly so. All sandwiches, petite fours and scones are homemade, including the jam. The ginger scone with a touch of ginger marmalade and Chantilly cream was an absolute knockout. Having the texture best described as a mix between a cake and a scone, its lightness and subtle bite is heavenly. 160 Queen Street, Brisbane City 4000 The Marriott The Marriott's high tea includes a glass of French champagne on arrival ($50 per person) and is offered daily between 11.00am-4.30pm. The impressive customer service will make you feel comfortable and staff are very knowledgable regarding their teas. The tea list is quite impressive, try the Spiced Black Chai or Arctic Fire for a nice alternative to plain old English Breakfast. A lovely twist to their high tea is found on the top tier. Accompanying the plain and sultana scones were individual jam jars with a bowl of Chantilly cream topped with shards of white chocolate. Furthermore, mini desserts and pastries were almost too artfully presented to eat. Quality service and ample tea choices make The Marriott's high tea truly indulgent. 515 Queen Street, Brisbane 4000 Vintaged Bar and Grill Nestled in the middle of the stunning Hilton Hotel atrium, Vintaged Bar and Grill offers a fabulous modern setting that provides a sleek escape from reality. The high tea ($50 per person) is as chic as its setting and features all of the traditional trimmings plus a glass of Veuve Clicquot Champagne. The top-tier had a few surprising and delicious treats such a raspberry friand, sticky date and a tasty opera square. Why not stick around after the high tea sitting and head to the bar for cocktails. While you may not be able to eat another bite, a leisurely drink will round off the delightful experience. 190 Elizabeth Street, Brisbane City 4000 The Shingle Inn This quaint venue has a history as long as its selection of teas and an old timely charm that gives it a unique quality. The Grande Duke High Tea ($45 per person) is a decadent three tiered super-treat and includes all of the quintessential high tea players. The camembert, pistachio, fig and ginger confit ribbon sandwiches were delicious, as was the mini crème brûlée. Chai Marsala or Organic English Breakfast tea compliment the food beautifully as does the glass of sparkling Seppelt Salinger Cuvee 2009. Bookings are required for the high tea, served daily from 2:30pm - 4:30pm and between 11.30am - 1.30pm on weekends. City Hall, King George Square, Brisbane City 4000
Ask any ski addict where the best resort is in Australia, and you'd best gear up for a fierce defence. "Mine's got the best terrain!" "Mine's got the best powder!" "Mine's got a goddamn day spa!" These spirited answers just go to show that, despite having an international reputation for sun and surf, we don't fare too poorly on the snow front either. In fact, the country just had a stellar start to the ski season and , in the middle of winter, all of the snowy bits of the Aussie Alps are actually bigger in surface area than Switzerland. Take that, Northern Hemisphere. So, now you know that Australia is actually a secret winter wonderland, where should you head for some frosty good times? We take a look at ten of the country's best resorts, helping you choose the one that suits you — whether you're looking for gnarly vertical drops or a massage and a glass of fine wine between runs. THREDBO, NSW If you're into extremes, then get yourself to Thredbo. Here, you'll find the longest run in Australia — the mighty, five-kilometre-long Crackenback Super Trail — as well as the country's highest lifted point, Karel's T-Bar, at 2037 metres. Then, for complete and utter terror, there's the super-steep Balls to the Wall pitch as well. Beginners are catered to, too, thanks to friendly Friday Flat, where many an Aussie has conquered his/her first snow plough. All in all, more than 50 runs weave their way across the resort. In between skiing and snowboarding, try snow-shoeing in back country, tobogganing in the Snow Play Park, eating at Australia's highest restaurant or apres-skiing in Thredbo Village, where you can sip champagne while star gazing in the Alpine Hotel's outdoor jacuzzi. The resort also has a heap of events going on all season, which you can check out here. Thredbo is about 490 kilometres or five-and-a-half hours' drive southwest of Sydney and about 530 kilometres or six-and-a-half hours' drive northeast of Melbourne. PERISHER, NSW Reckon size matters? Make tracks to Perisher, the biggest ski destination in the Southern Hemisphere. It became so in 1995 when the four resorts within it — Perisher, Smiggins, Blue Cow and Guthega — joined forces. You get 1245 hectares, 47 lifts, seven mountains and five terrain parks to carve up on. One of the trickiest runs is Olympic, on Back Perisher Mountain, while, for newbies, Smiggins Holes makes falling over not-too-scary. If you're keen to take a break from down hill skiing, there are 100 kilometres of marked cross-country tracks to try. On-snow sleepovers abound, but Perisher also allows the affordability of a stay in Jindabyne (try this cabin). From there, drive to Bullocks Flat and catch the Ski Tube. Perisher is about 490 kilometres or six hours' drive southwest of Sydney and about 600 kilometres or seven hours' drive northeast of Melbourne. CHARLOTTE PASS, NSW Charlotte Pass is the fine wine of ski fields. Just 50 hectares in size, with only five lifts, it doesn't attract the crowds and hype of Thredbo or Perisher. But, it does have the magical advantage of being the only snowbound resort in Australia. A car won't get you there; you have to catch an over-snow buggie from the Skitube. Thredbo might have the nation's highest chair lift, but Charlotte Pass isn't far behind — at 1765 metres at its lowest point and 1954 at its highest, it makes for rather reliable snowfall. The limited accessibility is definitely an excellent excuse to stay on-snow in the irresistibly cute Charlotte Pass Village. Charlotte Pass is about 500 kilometres or six hours' drive southwest of Sydney and about 620 kilometres or seven-and-a-half hours' drive northeast of Melbourne. SELWYN, NSW For affordability, Selwyn is hard to beat. Here, $599 buys you a pass for the entire season. That said, Selwyn doesn't offer the excitement of Thredbo or the scale of Perisher. Like Charlotte Pass, it's on the compact side, with just ten kilometres of runs in total. However, it's closer to sea level, the lowest point being 1492 metres and the highest 1614 metres, which makes the season shorter. If you're new to skiing or boarding, though, and are looking to develop your skills, Selwyn's a top choice. Overall, the terrain is pretty gentle and you won't have to worry about aggressive types cutting you off while you're bravely snow-ploughing your way along screaming internally with your eyes firmly closed. Selwyn is about 500 kilometres or five-and-a-half-hours' drive southwest of Sydney and about 540 kilometres or six hours' drive northeast of Melbourne. MOUNT HOTHAM AND DINNER PLAIN, VIC Another spot that'll have you towering above mere, grass-bound mortals is Hotham, the highest resort in Victoria. Like Thredbo, it comes with spectacular vistas and, on good days, promises bucketloads of powder. If you're keen to take a break from doing all the work yourself, casually join a dog sled ride, which involves a bunch of huskies whooshing you across the snow, or book a snow mobile journey in back country. In between conquering the mountain, you can slip into an on-snow day spa or grab a gluhwein (a traditional Austrian beverage with red wine, cinnamon, oranges and cloves) in your pick of 20 bars and restaurants. There are a bunch of hotels, lodges and chalets on Mount Hotham; alternatively, hob nob at Dinner Plain, a village ten kilometres away that specialises in luxury stays, pretty snow gums and an outdoor onsen. Mount Hotham is about 700 kilometres or eight hours' drive southwest of Sydney and about 380 kilometres or four-and-a-half hours' drive northeast of Melbourne. [caption id="attachment_628046" align="alignnone" width="1920"] Andrew Railton[/caption] MOUNT BULLER, VIC Mount Buller is only three hours from Melbourne, so you can ski it as part of a day trip if you don't mind an early start. It's also got more lifts than any other Victorian resort, with 22 lifts across 300 hectares. Pro skiers should head to the south side of the mountain, where they'll find plenty of black (read: difficult and scary) runs, while intermediates will be happier on the northern side, scooting down blue runs. If you've never even so much looked at a pair of skis before, grab a Discovery Pass, which includes a lesson and access to eight beginner's lifts. You can do husky rides here, too. Off-snow, you can take five in Australia's highest day spa, go rock climbing and hop between 30 bars and restaurants. Not keen to drive back to Melbourne? There are 7000 beds in Mount Buller Village. Mount Buller is about 800 kilometres or eight hours' drive southwest of Sydney and about 230 kilometres or three-and-a-half hours' drive northeast of Melbourne. FALLS CREEK, VIC Falls Creek might be a third of the size of Perisher, but it's still the largest ski resort in Victoria. 450 hectares give you 15 lifts and more than 90 runs. The terrain is less dramatic than at other spots, which means that a whopping 80 percent of it suits beginner and intermediate skiers. And, in between downhill escapades, you can investigate 65 kilometres of cross-country trails. If you're around at the end of August, check out the Kangaroo Hoppet, a marathon 42-kilometre-long ski race which happens to be the Southern Hemisphere's biggest snow sport event. Falls Creek is about 670 kilometres or seven hours' drive southwest of Sydney and about 380 kilometres or four-and-a-half hours' drive northeast of Melbourne. LAKE MOUNTAIN, VIC If your main objective is to get to snow — any kind of snow — as quickly as possible, then head for Lake Mountain. It's just two hours' drive from Melbourne, so it's an even easier day trip than Mount Buller. However, the terrain is for cross-country skiing only, which means no downhill thrills. The adventure here is more about strapping on a pair of cross-country skis or, if you'd prefer to walk, snow shoes, and having a bit of an explore of the 37 kilometres of trails. There's also a park dedicated to snow people and a flying fox that bears you through the air for 240 metres. Lake Mountain is about 840 kilometres or nine hours' drive southwest of Sydney and about 120 kilometres or two hours' drive northeast of Melbourne. MOUNT BAW BAW, VIC Mount Baw Baw is officially the closest downhill ski resort to Melbourne, being just two-and-a-half hours' drive away. It's not as vertical as Mount Buller, but less flat than Lake Mountain. Plus, like Charlotte Pass and Selwyn, it's little, offering just ten kilometres of runs. So, it's another sweet spot for beginners, especially nervy ones. When you're ready to take a break, go careering around back country in a sled led by huskies, experiment with snow shoeing or swing by stunning Red Rock Spa, surrounded by giant-sized granite boulders and snow gums. Mount Baw Baw is about 900 kilometres or ten-and-a-half-hours' drive southwest of Sydney and about 180 kilometres or two-and-a-half hours' drive northeast of Melbourne. BEN LOMOND, TAS Despite being our southernmost and therefore coldest state, Tassie isn't well-known as a skiing destination. There's no shortage of snow though, and the resorts are small, laid back and friendly. Plus, if you go in June, you can combine your skiing with a moment or two at Dark Mofo. The best-known resort is Ben Lomond, on Tassie's second highest peak, and getting there is an adventure in itself: it's at the end of a long, narrow road that twists and turns its way up the mountainside. The scenery is epic, but just don't expect fancy facilities, as at Australia's major resorts — things are kept pretty simple and rustic here. Ben Lamond is about 220 kilometres or three hours' drive north of Hobart.
We should all be well aware of the vast benefits that recycling brings to us individually, to our communities, and, of course, to the environment, and many of us make an effort to contribute as much as we can to this vital movement. Yet, some more than others have taken this dedication to reusing and recycling to an entirely new level. Artists and architects around the world have, over recent years, come up with ingenious creations made completely from recycled paper and cardboard. Buildings constructed using recycled paper are not only incredibly environmentally friendly but also cheap, lightweight, and easy to assemble. The structures can also be particularly distinguishable and aesthetically pleasing thanks to the creative methods needed to make use of the renewable materials. Here are seven of the most eco-friendly and remarkable structures made entirely from recycled paper. Dratz&Dratz Architekten's Office After passing by a recycling station and being inspired by the unexpected durability and functionality of recycled paper, Ben and Daniel Dratz of Berlin constructed this unique 2045 square foot workspace made from 550 bales of compressed recycled paper. The duo funded the project through a $200,000 grant from Essen's Zollverein School of Management and Design to build this pioneering 'paper house' on the grounds of a former mining complex and a UNESCO World Heritage Site. The duo stacked and designed the building so that it could withstand several days of rain and then dry in the sun. Not only is this a wondrous architectural feat but it is also a mysterious construction with countless scraps of information and hidden secrets embedded deep within its walls. Shigeru Ban's Takatori Catholic Church One of the most famous paper structures from one of the world's most famous paper architects, the Takatori Catholic Church is not only an unfathomable achievement in architectural design, but it is also an incredibly important construction, which helped rebuild the spirit and unity of the Takatori community following the devastating Great Hanshin Earthquake in 1995. Paper tubes were used as the structural elements of the rescue base and church — hence its nickname, 'Paper Dome' — and in 2005 these were then transferred to Taiwan to help the victims from the 921 Earthquake before being reused as a place of worship. Mode:lina Architekci's TRIWA Pop-up Store Nine hundred cardboard tubes were required to pull off this distinctive store for the up-market Swedish watch brand TRIWA. Aside from wanting to gain an alternative edge over their competitors, the company wanted low-cost, renewable materials that could quickly and easily be erected and which would increase their global brand awareness. The store is located in Poznan Plaza Shopping Mall in Poznan, Poland and consists of cabinets made from chunky chipboard panels, placed upon stacks of cardboard tubes made from OSB wood panels. Zouk Architect's Paper Tube Office Zouk Architects decided to adopt some eco-friendly methods for the construction of their very own open-plan office. Rather than simply discarding the unwanted moving waste when relocating their office, they decided to take full advantage of the cheap and highly structural materials to create an avant-garde office with a modern and renewable twist. Sumer Erek's Newspaper House In 2007, artist Sumer Erek made a call-out to the people of London to collate the newspapers lying inside their homes and scattered on the streets and add them to his creation, made entirely of 120,000 rolled newspapers. The transformative art- and think-piece is aimed to alter the perceptions of how Londonites, and everyone the world over, view rubbish and the mess we all contribute to. In an attempt to address the growing issue of free papers littering the streets of England, Erek wanted to reinforce the idea of 'reduce, reuse, recycle' and make the public realise that everyone is part of the problem, as well as the solution. Erek's expressive project was revealed in March 2008 and has since toured around England and various parts of Europe. Masahiro Chatani's Origamic Architecture On a slightly smaller scale, Masahiro Chatani's origamic architecture demonstrates the ways reused paper can be (re)used to create amazingly detailed and accurate depictions of famous buildings from around the world. Chatani invented the art of cutting paper simply using a knife to produce complex and beautiful paper structures in 1981 and since then many other artists have taken up the trend and added their own flair to it. Shigeru Ban's Tea House This tea house made entirely from recycled paper is another awe-inspiring creation from the hands of Japanese architect Shigeru Ban, yet with a slightly more commercial edge. Ban wants to send out a message to the world, as many of these architects do, to stress the importance of reusing and recycling in order to save our planet from the heavy burdens we place upon it through the never-ending mounds of waste we continually create. Following true Japanese tradition, this 5-metre-long construction is complete with a table and four chairs as well as a waiting area with a bench — the perfect environmentally friendly location to sit back and enjoy a rejuvenating green tea.
It's easy to delay playing tourist in your own backyard. We've all done it, thinking that we'll head overseas now and see Australia's sights later. Looking for motivation to make 2025 the year that you finally visit some Aussie must-sees, wandering around Uluru, relaxing on Hamilton Island or touring Tasmania? Virgin Australia's latest sale on domestic flights is here to help. You've got until Sunday, March 2 to nab a discounted fare — unless they're all snapped up earlier — for flights between Wednesday, April 30, 2025–Wednesday, February 11, 2026. That gives you options for most of this year and the start of next, and across all four seasons, whether autumn, winter, spring or summer getaways best suit your schedule. Prices start cheap at $49. Where can you head? To Byron Bay from Sydney for that low fare, which covers a one-way flight. Other specials include Brisbane–Proserpine from $59, Melbourne–Launceston for the same price, Sydney–Gold Coast from $65, Sydney–Sunshine Coast from $69, Melbourne–Adelaide for $85, Brisbane–Hamilton Island from $105 and Melbourne–Uluru for $109. Or, travel from Sydney–Hamilton Island, also from $109; Brisbane–Uluru from $129; Melbourne–Perth from $189; and Brisbane–Darwin from $195. The list goes on. This sale kicked off on Tuesday, February 25, 2025 — and the cheap fares, which cover both directions between each point in the discounted route, start with Virgin's Economy Lite option. With the travel periods available, all dates vary 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 spend some, part or even most of April 2025–February 2026 anywhere but home. [caption id="attachment_976496" align="alignnone" width="1920"] Darren Tierney[/caption] Virgin's 'Gotta get away' sale runs until 11.59pm AEST on Sunday, March 2, 2025 — 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.
Things are looking up in the middle of the Brisbane CBD, particularly if you like drinking at a sky-high bar underneath a Queensland sky. Add Sixteen Antlers to the city's list of rooftop hotspots — and add peering out over King George Square and the City Hall clock tower, sipping craft beer and cocktails, and snacking on small plates to your spring and summer must-do list. The new hangout is perched 16 stories above the ground, in case you hadn't already guessed from the name. Taking over the top level at Pullman and Mercure Brisbane on the corner of Ann and Roma streets, it might just boast one of the best inner city views in Brissie. As for the other part of the venue's name, that stems from what they're calling roof 'branches', with the space as leafy in decor as it is lofty in location. While you'll find eye-popping views aplenty, don't go expecting Sixteen Antlers to match its vast vistas with big crowds — instead, it's a relatively intimate 120-person bar. They're still hosting live music and DJ sets on Friday and Saturday nights, offering up a hefty drinks list, and serving the likes of mini brioche sliders, beetroot and goats cheese arancini, and cheese and antipasto boards, though. Expect to eat, knock back beverages and enjoy Brisbane from a new perspective after 3pm from Thursday–Saturday each week. Updated August 13, 2020.
Spring is only one month in, but we already know where and when St Jerome's Laneway Festival will help wrap up summer come February 2025. If you like ending the warmest part of the year with a day of tunes at one of the most-beloved music fests in Australia and New Zealand, grab your diary now: the event started by Danny Rogers and Jerome Borazio in the mid-00s has announced its dates and venues. Laneway has also revealed another pivotal detail — no, not the lineup yet, but when its roster of talent will drop. If you're all about who'll be playing, you'll find out on Wednesday, October 9, 2024. For now, just know that Laneway has locked in returns in Brisbane, Sydney, Adelaide, Melbourne, Perth and Auckland, all at familiar venues. Western Springs in Auckland is the first stop on Thursday, February 6, before the Australian dates kick off on Saturday, February 8 at Brisbane Showgrounds. Next comes stints at Sydney Showground on Sunday, February 9, then Melbourne's Flemington Park on Friday, February 14 — which is one way to spend Valentine's Day. After that, the festival hits up Bonython Park in Adelaide on Saturday, February 15, before finishing its 2025 leg on Sunday, February 16 at Wellington Square in Perth. Stormzy, Steve Lacy, Dominic Fike and Raye were among this year's Laneway headliners, while HAIM, Joji and Phoebe Bridgers did the honours in 2023 — if that helps you start speculating who might follow in their footsteps in 2025. Laneway joins the list of events locking in their comebacks after a tough year of cancellations across the music festival scene. Also returning: Golden Plains, Bluesfest (for the last time), Wildlands, Good Things, Lost Paradise, Beyond The Valley and Meredith. Laneway Festival 2025 Dates and Venues Thursday, February 6 – Western Springs, Auckland / Tāmaki Makaurau Saturday, February 8 — Brisbane Showgrounds, Brisbane / Turrbal Targun Sunday, February 9 — Sydney Showground, Sydney / Burramattagal Land & Wangal Land Friday, February 14 — Flemington Park, Melbourne / Wurundjeri Biik Saturday, February 15 — Bonython Park, Adelaide / Kaurna Yerta Sunday, February 16 — Wellington Square, Perth / Whadjuk Boodjar St Jerome's Laneway Festival is touring Australia and New Zealand in February 2025. Head to the festival's website for further details, and to register for ticket pre sales (which kick off at 10am local time on Tuesday, October 15, 2024) — and check back here for next year's lineup when it drops on Wednesday, October 9, 2024 Images: Charlie Hardy / Daniel Boud / Maclay Heriot / Cedric Tang.
From futuristic Supertrees to idyllic beaches and tropical gardens, Singapore weaves leafy stretches of nature throughout its bustling urban landscape. But reconnecting with nature doesn't have to mean trekking through forests or sleeping in a tent — it can also be farm-to-table dining with local produce, urban parks and luxe hotels with verdant spaces. In partnership with Singapore Tourism, we've pulled together a few imaginative ways to eat, stay and play in nature around Singapore, without straying too far from the middle of the city. [caption id="attachment_976861" align="alignnone" width="1920"] Marklin Ang[/caption] Play Known as the Garden City, Singapore is home to both hidden pockets and wide expanses of greenery, even in the middle of the city. Take the iconic Gardens by the Bay, which boasts temperature-controlled conservatories filled with exotic plants and flowers from around the world, towering Supertrees, freshwater wetlands and a Japanese zen garden. The UNESCO World Heritage-listed Singapore Botanic Gardens is equally impressive with a more classic slant — think elegant swans, a heritage museum and bandstand, and a national orchid garden with over 1000 species. [caption id="attachment_980992" align="alignnone" width="1920"] Danny Santos[/caption] For a dose of history on your outdoor adventure, head to Fort Canning Park to explore nine historical gardens, a spice garden dating back to 1822, two informative galleries and various colonial monuments. Fort Canning was home to the palatial resorts of Malay kings during the 14th century, before it was used by the British as military headquarters until WWII. As you exit to Penang Road near Dhoby Ghaut station, be sure to admire the sunlight and foliage streaming in from the top of the Fort Canning Park Tree Tunnel. If you're looking to get out of the city for a day, hop on a 15-minute ferry ride to Pulau Ubin from Changi Point Ferry Terminal. One of Singapore's former kampongs (villages), the island still retains some of the landmarks from its rich history, including a model kampong house, Fo Shan Ting Da Bo Gong Temple and the German Girl Shrine. For wildlife lovers, Pulau Ubin is home to a diverse range of native plants, birds and animals, many of which cannot be found on the mainland. Discover these critters at sites such as Butterfly Hill, Chek Jawa Wetlands and Sensory Trail Pond on foot or by bike. Eat and Drink You don't have to venture out to get a taste of the great outdoors. Sample fresh local produce while paying respect to the land at these sustainability-driven restaurants. Located a short distance from Orchard Road, Open Farm Community's menu focuses on produce sourced from its very own urban farm, along with local suppliers. Visitors are welcome to join in on a farm tour before enjoying farm-to-table fare with locally inspired flavours. Kaarla also boasts its own urban farm — at 51 stories high, the 1-Arden Food Forest is the tallest urban farm in the world. The restaurant prepares Australian cuisine on a wood-fired grill, with produce sourced from the surrounding farm, as well as Singaporean and Australian producers. Helmed by chef LG Han, Labyrinth's new Singaporean cuisine and sustainable efforts have been rewarded with a Michelin Star and the Flor de Caña Sustainable Restaurant Award. Han takes inspiration from hawker fare and traditional Singapore flavours to create his innovative dishes, using locally sourced ingredients and carefully utilising all parts of the produce. Influenced by Danish principles of sustainability, FURA is a sleek cocktail bar that uses environmentally friendly ingredients with a low carbon footprint, such as insect proteins, invasive species or produce that is widely available throughout Asia. For a picturesque dining experience among the trees, look no further than 1-Flowerhill. The elegant chateau houses three restaurants — Camille, Wildseed Cafe, and Wildseed Bar and Grill — and sits atop Sentosa's Imbiah Hill with views across the island. Stay Bring nature to you at one of these luxe hotels in the heart of Singapore, which champion sustainability and integrate greenery into their design. Aptly named, the ParkRoyal Collection hotels in Pickering and Marina Bay incorporate environmentally conscious processes, including solar panels, filtered water systems, biodegradable amenities and rooftop urban farms. Similarly, The Pan Pacific Orchard adopts sustainable practices throughout the hotel, such as energy-saving glass, motion sensors and integrated energy, water and waste systems. The hotel also features four nature-inspired terraces — the Forest, Beach, Garden and Cloud Terraces — with abundant tropical foliage. You can't miss Oasia Downtown amongst the Singapore skyline — the 27-storey building is wrapped in over 20 species of plants woven throughout the aluminium mesh exterior. As the plants continue to grow across the building, they provide shade and a cooling effect throughout the building. The greenery continues inside, with 33 species of plants in communal areas such as the lobby, rooftop pools and Sky Terrace. A short stroll from the Singapore Botanic Gardens, The Singapore Edition is a tranquil retreat with lush tropical plants, a rooftop pool and trendy bars. The hotel's eco-friendly initiatives include using carbon-neutral and biodegradable room keys, recycled materials and green cement. The hotel restaurant, Fysh, is also acclaimed Australian chef Josh Niland's first international foray, with an emphasis on sustainable seafood and responsibly sourced produce. Book your Singapore holiday now with Flight Centre. All images courtesy of Singapore Tourism Board.
Travelling across Japan via train is a bucket list experience: everyone wants to do it, and for good reason. There's nothing like taking in the country via locomotive, but if you haven't hit their railways yet, you might want to update your plans. You might want to start saving too. The Train Suite Shiki-shima is the type of train that would make all other vehicles quiver with jealousy if we were living in a certain popular children's cartoon series or a car-focused Pixar franchise. Forget whatever glamorous locomotive setups you've seen in old movies — they've got nothing on this. It was designed by man also responsible for luxury cars such as the Ferrari Enzo, the Porsche AG and the Maserati Quattroporte, after all. Venturing between Tokyo and Hokkaido, the ten-car train can accommodate 24 passengers in its 17 opulent suites, with some rooms decked out with baths and fireplaces. Other features include front and rear glass-walled observatory cars, a lounge with a piano, and a dining room. In the latter, the seasonal ingredients cooked up — from a menu by a Michelin-starred chef — change according to the region the train is passing through. In good news, the Shiki-shima is has been riding the rails since May 1, with one-, two- and three-night journeys available. In not-so-good news, due to demand, applications have already closed for trips up until March 2018. When bookings are accepted again, they'll set you back between 450,000 and 1,050,000 yen — or between AU$5,500 and $13,000 — but doesn't it just look and sound worth it? Via Travel and Leisure. Images: Train Suite Shiki-shima
Watching any film by Apichatpong Weerasethakul, it's easy to pick that the Thai director is also a visual artist, even if you didn't already know going in. In every one of his features to play in cinemas, including his Palme d'Or-winner Uncle Boonmee Who Can Recall His Past Lives, Asia Pacific Screen Awards Best Film recipient Cemetery of Splendour and the Tilda Swinton (The Room Next Door)-starring Cannes Jury Prize awardee Memoria, peering deeply is rewarded. So is soaking in imagery that no other filmmaker could conjure up, as well as being immersed in his movies at a patient, reflective pace. The above films, a trio from among Weerasethakul's four most-recent releases, all had dates with the big screen in Australia — but A Conversation with the Sun (Afterimage), his next creation, isn't heading to a picture palace. Instead, the acclaimed director has crafted the cinematic installation especially for the Museum of Contemporary Art Australia in Sydney. [caption id="attachment_1013104" align="alignnone" width="1920"] Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, BANGKOK CITYCITY GALLERY, Bangkok, Thailand, 2022, image courtesy the artist and BANGKOK CITYCITY GALLERY, photograph: Miti Ruangkritya.[/caption] 2025 marks a decade and a half since Uncle Boonmee Who Can Recall His Past Lives collected one of the world's most-prestigious film prizes thanks to its 2010 Cannes victory. This is also the year that A Conversation with the Sun (Afterimage) will grace the MCA, displaying from Thursday, August 14, 2025–Sunday, February 8, 2026. Musing on cinema and its emotional impact, fittingly, as well as memory, making images and time's passing, the large-scale work is a collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid, who hail from Bangkok-based collective DuckUnit. Inspired by pondering the sun while walking in nature, featuring video diaries projected onto floating fabric, and designed to provide a dream-like experience that appears to fade and return thanks to the curtain, it will take over a five-by-16-metre space in the MCA Macgregor Gallery. [caption id="attachment_1013105" align="alignnone" width="1920"] Chayaporn Maneesutham[/caption] Weerasethakul calls the piece "a meditation". The same word applies to every one of his movies — the also Cannes-awarded Blissfully Yours and Tropical Malady, plus the Venice-premiering Syndromes and a Century as well. "A Conversation with the Sun (Afterimage) is a meditation on light, urging us to observe the impermanence of images as they shift, dissolve and reappear. The work explores the nature of projection and perception. Surfaces shift, and meanings transform. The projectors serve as both light sources and vehicles of memory, evoking sunlight, cinema and the passage of time," explains the filmmaker. [caption id="attachment_1013103" align="alignnone" width="1920"] Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, How to Hold Your Breath – 2024 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2024, image courtesy of the artist, photograph: Apichatpong Weerasethakul.[/caption] "Apichatpong Weerasethakul is one of the world's most-innovative artists working at the intersection of visual art, moving image and cinema. It is a privilege to be presenting his new collaborative work that has been made especially for the Museum of Contemporary Art Australia. It is an exciting moment for Sydney and our visitors," said Jane Devery, MCA Australia Senior Curator, Exhibitions. Weerasethakul will also be part of an Artist in Conversation session at MCA Australia on Saturday, August 16, 2025, while a range of his short films from between 2007–24 will screen at the venue on Saturday, October 25, 2025. [caption id="attachment_1013101" align="alignnone" width="1920"] Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, How to Hold Your Breath – 2024 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2024, image courtesy of the artist, photograph: Apichatpong Weerasethakul.[/caption] A Conversation with the Sun (Afterimage): Apichatpong Weerasethakul in collaboration with Rueangrith Suntisuk and Pornpan Arayaveerasid displays at the Museum of Contemporary Art Australia (MCA Australia), 140 George Street, The Rocks, Sydney, from Thursday, August 14, 2025–Sunday, February 8, 2026. Head to the venue website for more details. Top image: Apichatpong Weerasethakul in collaboration with DuckUnit, A Conversation with the Sun (installation), 2022, installation view, How to Hold Your Breath – 2024 Asian Art Biennial, National Taiwan Museum of Fine Arts, Taichung, Taiwan, 2024, image courtesy of the artist, photograph: Apichatpong Weerasethakul.
If you haven't been able to book a trip to Spain over the past few years (for obvious reasons, and also life, your budget and everything else that gets in the way), this one-night-only dinner special may be a very tasty consolation. South Bank restaurant Olé is serving up bottomless paella to celebrate World Paella Day on Tuesday, September 20. For $55, with seatings starting at 6pm, guests will have endless access to multiple takes on paella — including a live cooking demonstration featuring the venue's signature mixta paella. That dish comes filled with chicken, king prawns, chorizo, calamari, green peas, pimientos, cherry tomatoes and saffron rice, and watching it get whipped up is sure to make you hungry. Booze-wise, this isn't an all-you-can-drink affair to match the all-you-can-eat paella — but you will get two drinks included in your ticket. Yes, you can pay for your beverages (hello sangria) from there. Bookings are recommended, and the night will also feature flamenco dancers if you weren't already yearning for a Spanish getaway while you're eating.
There's something rather cool about being ahead of the curve when it comes to cinema, watching the latest and greatest flicks on the silver screen well before anyone else. And at Australia's biggest short film festival, you can do just that. The internationally acclaimed Flickerfest is also celebrating its 32nd year in 2023, so you can expect an A-class lineup of cinematic delights. The annual short film festival is Australia's leading Academy Award-qualifying short film fest, and is backed with BAFTA recognition too. For one-night only in March, you can catch a long night of short films at the James St Palace Cinemas. [caption id="attachment_888955" align="alignnone" width="1920"] 'Katele'[/caption] Get a window into the most exciting contemporary short films with both national and international acclaim. The films featured are handpicked as the most inspiring, provocative and entertaining among the whopping thousands of submissions this year. Six out of eight films screened on the night are Queensland-made, and all starred in the Academy-qualifying Flickerfest competition in Sydney earlier this year. Thursday, March 2 will be a night for the Best of Australian Shorts, kicking off at 7pm with complimentary drinks on arrival. Here, you'll get to mingle with a bunch of incredible Queensland filmmakers fresh from their Flickerfest premieres. The local filmmakers will be sharing the big screen with Australian festival award-winners and acting legends — ready to enjoy Australian premieres like Wonder Down Under and A Stretching Moment. There'll also be Katele (pictured above), a Torres Strait drama shot in Brisbane and on Sabai island, which scored Flickerfest's Best Australian Short Film Award. To see the full Flickerfest 2023 program and grab tickets, head to the website. Flickerfest hits Brisbane for one-night only on Thursday, March 2 from 7pm to 9.15pm, and will continue touring nationally until October 2023. Top images: 'Wonder Down Under', 'A Stretching Moment'
Forget simply relaxing in hot tubs. You can watch movies in them, sing in them — and now, thanks to Japan's newest amusement park, you can take rides in them too. After originally floating the idea late last year, the city of Beppu in Oita Prefecture has made every spa-lover's dreams come true, opening a theme park dedicated to sitting in steaming water. Yes, an onsen merry-go-round, a hot tub-themed rollercoaster that spurts bubbles and foam dance parties are on offer at Beppu Rakutenchi, all coming to fruition after the concept proved such a hit. When Beppu Mayor Yasuhiro Nagano pledged his support in a video that understandably went viral, more than AU$900,000 was raised by eager, would-be hot tub theme park goers to turn the kind of concept you'd expect to see in a sci-fi comedy into a reality. If you're wondering why this spa-tastic park has come really about — other than the obvious response: why not? — the city's geography has the answer. Located on the island of Kyushu, Beppu is known for its eight hot springs and 2900 vents, so making a fun attraction out of the natural feature was always going to happen at some point. The park's initial run lasted three days, with no word yet on how and when it might continue. Via Japan Today. Image: Fredrik Rubensson via Flickr.
Before the pandemic, when a new-release movie started playing in cinemas, audiences couldn't watch it on streaming, video on demand, DVD or blu-ray for a few months. But with the past few years forcing film industry to make quite a few changes — widespread movie theatre closures will do that, and so will plenty of people staying home because they aren't well — that's no longer always the case. Maybe you haven't had time to make it to your local cinema lately. Perhaps you've been under the weather. Given the hefty amount of titles now releasing each week, maybe you simply missed something. Film distributors have been fast-tracking some of their new releases from cinemas to streaming recently — movies that might still be playing in theatres in some parts of the country, too. In preparation for your next couch session, here are 12 that you can watch right now at home. Anatomy of a Fall A calypso instrumental cover of 50 Cent's 'P.I.M.P.' isn't the only thing that Anatomy of a Fall's audience won't be able to dislodge from their heads after watching 2023's deserving Cannes Film Festival Palme d'Or-winner. A film that's thorny, knotty and defiantly unwilling to give any easy answers, this legal, psychological and emotional thriller about a woman on trial for her husband's death is unshakeable in as many ways as someone can have doubts about another person: so, a myriad. The scenario conjured up by writer/director Justine Triet (Sibyl) is haunting, asking not only if her protagonist committed murder, as the on-screen investigation and courtroom proceedings interrogate, but digging into what it means to be forced to choose between whether someone did the worst or is innocent — or if either matters. While the Gallic legal system provides the backdrop for much of the movie, the real person doing the real picking isn't there in a professional capacity, or on a jury. Rather, it's the 11-year-old boy who loved his dad, finds him lying in the snow with a head injury outside their French Alps home on an otherwise ordinary day, then becomes the key witness in his mum's case. Also impossible to forget: the performances that are so crucial in telling this tale of marital and parental bonds, especially from one of German's current best actors and the up-and-coming French talent playing her son. With her similarly astonishing portrayal in The Zone of Interest, Toni Erdmann and I'm Your Man's Sandra Hüller is two for two in movies that initially debuted in 2023; here, she steps into the icy and complicated Sandra Voyter's shoes with the same kind of surgical precision that Triet applies to unpacking the character's home life. As Daniel, who couldn't be more conflicted about the nightmare situation he's been thrust into, Milo Machado Graner (Alex Hugo) is a revelation — frequently via his expressive face and posture alone. If Scenes From a Marriage met Kramer vs Kramer, plus 1959's Anatomy of a Murder that patently influences Anatomy of a Fall's name, this would be the gripping end result — as fittingly written by Triet with her IRL partner Arthur Harari (Onoda: 10,000 Nights in the Jungle). Anatomy of a Fall streams via YouTube Movies, iTunes and Prime Video. Read our full review. Poor Things Richly striking feats of cinema by Yorgos Lanthimos aren't scarce. Sublime performances by Emma Stone are hardly infrequent. Screen takes on Mary Shelley's Frankenstein couldn't be more constant. For Lanthimos, see: Dogtooth and Alps in the Greek Weird Wave filmmaker's native language, plus The Lobster, The Killing of a Sacred Deer and The Favourite since he started helming movies in English. With Stone, examples abound in her Best Actress Oscar for La La Land, supporting nominations before and after for Birdman or (The Unexpected Virtue of Ignorance) and Lanthimos' aforementioned regal satire, and twin 2024 Golden Globe nods for their latest collaboration as well as TV's The Curse. And as for the best gothic-horror story there is, not to mention one of the most influential sci-fi stories ever, the evidence is everywhere from traditional adaptations to debts owed as widely as The Rocky Horror Show and M3GAN. Combining the three results in a rarity, however: a jewel of a pastel-, jewel- and bodily fluid-toned feminist Frankenstein-esque fairy tale that's a stunning creation, as zapped to life with Lanthimos' inimitable flair, a mischievous air, Stone at her most extraordinary and empowerment blazing like a lightning bolt. With cascading black hair, an inquisitive stare, incessant frankness and jolting physical mannerisms, Poor Things' star is Bella Baxter in this adaptation of Alasdair Grey's award-winning 1992 novel by Australian screenwriter Tony McNamara (The Great). Among the reasons that the movie and its lead portrayal are so singular: as a character with a woman's body revived with a baby's brain, Stone plays someone from infancy to adulthood, all with the astonishingly exact mindset and mannerisms to match, and while making every move, choice and feeling as organic as birth, living and death. In this fantastical steampunk vision of Victorian-era Europe, London-based Scottish doctor Godwin Baxter (Willem Dafoe, Asteroid City) is Bella's maker. Even if she didn't call him God, he's been playing it. But curiosity, the quest for agency and independence, horniness and a lust for adventure all beckon his creation on a radical, rebellious, gorgeously rendered, gloriously funny and generously insightful odyssey. So, Godwin tries to marry Bella off to medical student Max McCandles (Ramy Youssef, Ramy), only for her to discover masturbation and sex, and run off to the continent with caddish lawyer Duncan Wedderburn (Mark Ruffalo, She-Hulk: Attorney at Law). Poor Things streams via Disney+, YouTube Movies, iTunes and Prime Video. Read our full review. Priscilla Yearning to be one of the women in Sofia Coppola's films is futile, but for a single reason only: whether she's telling of teenage sisters, a wife left to her own devices in Tokyo, France's most-famous queen, the daughter of a Hollywood actor, Los Angeles high schoolers who want to rob, the staff and students at a girls school in the American Civil War, a Manhattanite worried that her husband is being unfaithful or Priscilla Presley, as the writer/director has across eight movies to-date, no one better plunges viewers into her female characters' hearts and heads. To watch the filmmaker's span of features from The Virgin Suicides to Priscilla is to feel as its figures do, and deeply. The second-generation helmer is an impressionistic great, colouring her flicks as much with emotions and mood as actual hues — not that there's any shortage of lush and dreamy shades, as intricately tied to her on-screen women's inner states, swirling through her meticulous frames. Call it the "can't help falling" effect, then: as a quarter-century of Coppola's films have graced screens, audiences can't help falling into them like they're in the middle of each themselves. That's still accurate with Priscilla, which arrives so soon after Elvis that no one could've forgotten that the lives of the king of rock 'n' roll and his bride have flickered through cinemas recently. Baz Luhrmann made his Presley movie in Australia with an American (Austin Butler, Once Upon a Time in Hollywood) as Elvis and an Aussie (Olivia DeJonge, The Staircase) as Priscilla. Coppola crafted hers in North America with a Brisbanite (Jacob Elordi, Saltburn) in blue-suede shoes and a Tennessee-born talent (Cailee Spaeny, Mare of Easttown) adopting the Presley surname. The two features are mirror images in a hunk of burning ways, including their his-and-hers titles; whose viewpoint they align with; and conveying what it was like to adore Elvis among the masses, plus why he sparked that fervour, compared to expressing the experience of being the girl that he fell for, married, sincerely loved but kept in a gilded cage into she strove to fly free. Priscilla streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Cailee Spaeny. All of Us Strangers As Fleabag knew, and also Sherlock as well, Andrew Scott has the type of empathetic face that makes people want to keep talking to him. Playing the hot priest in Phoebe Waller-Bridge's (Indiana Jones and the Dial of Destiny) acclaimed comedy, he was the ultimate listener. Even as the Moriarty to Benedict Cumberbatch's (The Wonderful Story of Henry Sugar) Holmes, and with a game always afoot, conversation flowed. All of Us Strangers puts this innate air — this sensation that to be in Scott's company is to want to unburden yourself to his welcoming ears — at its tender and feverishly beating heart, this time with Paul Mescal (Foe) as one of his discussion partners. Dreamy and contemplative, haunting and heartfelt, and also delicate and devastating, the fifth film by Weekend and 45 Years writer/director Andrew Haigh, which is his first since 2017's Lean on Pete, is stunningly cast with Scott in seeing-is-feeling mode as its isolated screenwriter protagonist alone. That Scott is joined by Mescal, Claire Foy (Women Talking) and Jamie Bell (Shining Girls) gives All of Us Strangers one of the finest four-hander casts in recent memory. Awards bodies clearly agree, with nods going around for everyone (alongside wins for Best Film and Best Director, the British Independent Film Awards gave all four of the feature's core cast members nominations, with Mescal scoring the Best Supporting Performance trophy, for instance). Haigh isn't merely preternaturally talented at picking the exact right actors to play his on-screen figures, but it's one of his most-crucial skills, as every performance in his latest shattering picture demonstrates. It comes as no surprise that Scott, Mescal, Foy and Bell are all excellent. It's similarly hardly unexpected that Haigh has made another movie that cuts so emotionally deep that viewers will feel as if they've been within its frames. Combine these stars with this filmmaker, though, and a feature that was always likely to combine its exceptional parts into a perfect sum is somehow even more affecting and astonishing. All of Us Strangers streams via YouTube Movies, iTunes and Prime Video. Read our full review. Drive-Away Dolls No one might've thought of Joel and Ethan Coen as yin and yang if they hadn't started making movies separately. Since 2018's The Ballad of Buster Scruggs, their latest feature together as sibling filmmakers, the elder of the Coen brothers went with Shakespearean intensity by directing 2021's The Tragedy of Macbeth on his lonesome — while Ethan now opts for goofy, loose and hilariously sidesplitting silliness with Drive-Away Dolls. The pair aren't done collaborating, with a horror flick reportedly in the works next. But their break from being an Oscar-winning team has gifted audiences two treats in completely different fashions. For the younger brother, he's swapped in his wife Tricia Cooke, editor of The Big Lebowski, O Brother, Where Art Thou? and The Man Who Wasn't There, on a picture that couldn't slide more smoothly onto his resume alongside the madcap antics that the Coens combined are known for. Indeed, spying shades of the first of those two features that Cooke spliced in Drive-Away Dolls, plus Raising Arizona, Fargo and Burn After Reading as well, is both easy and delightful. As a duo, the Coen brothers haven't ever followed two women through lesbian bars, makeout parties and plenty of horniness between the sheets, though, amid wall dildos and other nods to intimate appendages, even if plenty about the Ethan-directed, Cooke-edited Drive-Away Dolls — which both Ethan and Cooke co-wrote — is classic Coens. There's the road-trip angle, conspiracy mayhem, blundering criminals in hot pursuit of Jamie (Margaret Qualley, Poor Things) and Marian (Geraldine Viswanathan, Cat Person), dumb men (those crooks again) in cars and just quirky characters all round. There's the anarchic chases, witty yet philosophical banter and highly sought-after briefcase at the centre of the plot, too. And, there's the fact that this is a comedic caper, its love of slapstick and that a wealth of well-known faces pop up as the zany antics snowball. The Joel-and-Ethan team hasn't made a film as sapphic as this, either, however, or one that's a 90s-set nod to, riff on, and parody of 60s- and 70s-era sexploitation raucousness. Drive-Away Dolls streams via Prime Video. Read our full review, and our interview with Ethan Coen and Tricia Cooke. May December A line about not having enough hot dogs might be one of its first, but the Julianne Moore (Sharper)-, Natalie Portman (Thor: Love and Thunder)- and Charles Melton (Riverdale)-starring May December is a movie of mirrors and butterflies. In the literal sense, director Todd Haynes wastes few chances to put either in his frames. The Velvet Goldmine, Carol and Dark Waters filmmaker doesn't shy away from symbolism, knowing two truths that stare back at his audience from his latest masterpiece: that what we see when we peer at ourselves in a looking glass isn't what the rest of the world observes, and that life's journey is always one of transformation. Inspired by the real-life Mary Kay Letourneau scandal, May December probes both of these facts as intently as anyone scrutinising their own reflection. Haynes asks viewers to do the same. Unpacking appearance and perception, and also their construction and performance, gazes from this potently thorny — and downright potent — film. That not all metamorphoses end with a beautiful flutter flickers through just as strongly. May December's basis springs from events that received ample press attention in the 90s: schoolteacher Letourneau's sexual relationship with her sixth-grade student Vili Fualaau. She was 34, he was 12. First-time screenwriter Samy Burch changes names and details in her Oscar-nominated script — for Best Original Screenplay, which is somehow the film's only nod by the Academy — but there's no doubting that it takes its cues from this case of grooming, which saw Letourneau arrested, give birth to the couple's two daughters in prison, then the pair eventually marry. 2000 TV movie All-American Girl: The Mary Kay Letourneau Story used the recreation route; however, that was never going to be a Haynes-helmed feature's approach. The comic mention of hot dogs isn't indicative of May December's overall vibe, either: this a savvily piercing film that sees the agonising impact upon the situation's victim, the story its perpetrator has spun around herself, and the relentless, ravenous way that people's lives and tragedies are consumed by the media and public. May December streams via YouTube Movies, iTunes and Prime Video. Read our full review. Mean Girls On years ending in four in even-numbered decades, we watch new Mean Girls films. So goes the 21st century so far, as the hit 2004 teen comedy about high-school hierarchies returns to the big screen in 2024 as a musical, after breaking out the singing and dancing onstage first. Just like donning pink every Wednesday because Regina George (Reneé Rapp, The Sex Lives of College Girls) demands it, there's a dutifulness about the repeat Mean Girls. Tina Fey, writing the script for the third time — basing her first on Rosalind Wiseman's 2002 non-fiction book Queen Bees and Wannabes — seems to fear the consequences for breaking the rules, too. Cue a Mean Girls movie musical that truly plays out as those four words lead viewers to expect: largely the same down to most lines and jokes, just with songs. Anyone looking at the longer running time in advance and chalking up the jump from 97 to 112 minutes to the tunes is 100-percent spot on. The latest Mean Girls also resembles protagonist Cady Heron (Angourie Rice, The Last Thing He Told Me): eager to fit into its new surroundings after being perfectly happy and comfortable elsewhere. That causes some awkwardness, sometimes trying to break the mould, but largely assimilating. Penning her first film script since the OG Mean Girls was her very first, 30 Rock, Unbreakable Kimmy Schmidt and Mr Mayor creator Fey revises details and gags that were always going to need revising. Social media, the internet and mobile phones are all worked in, necessarily so, as is sex positivity. Mean Girls 2024 is primarily dedicated to making Mean Girls 2024 happen, though; here as well, it's exactly as those three words have audiences anticipating. Scrap the songs and choreography (other than the Winter Talent Show performances, of course), and directors Samantha Jayne and Arturo Perez (Quarter Life Poetry: Poems for the Young, Broke & Hangry) would've just remade the first film two decades later. Mean Girls streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Angourie Rice. Force of Nature: The Dry 2 "Nature holds us all to account" is one of Force of Nature: The Dry 2's trailer-friendly lines. Even for those who didn't see the film's sneak peeks in the months between its arrival and the feature's release — a period stretched by Hollywood's 2023 strikes, pushing the picture's date with cinemas from August to February 2024 — it sounds primed for promo snippets when it's uttered in the movie itself. But this Australian detective franchise has earned the right to occasionally be that blunt and loaded with telling importance in its dialogue. And, it makes it work. In 2021's The Dry and here, in a flick that could've been called The Wet thanks to its drenched forest setting, the Aaron Falk saga uses its surroundings to mirror its emotional landscape. Nature holds its characters to account not just in a narrative sense, but by reflecting what they're feeling with astute specificity — so much so that the parched Victorian wheatbelt in the initial movie and the saturated greenery in Force of Nature are as much extensions of the series' on-screen figures as they are stunning backdrops. Chief among this page-to-film realm's players is Falk, the federal police officer that Eric Bana and his Blueback director Robert Connolly treat like terrain to trek through and traverse. His stare has its own cliffs and gorges. His life upholding the law and beyond has its peaks and valleys as well. In The Dry, it was evident that the yellowed, drought-stricken fields that monopolised the frame said plenty about how much Falk and everyone around him was holding back. In Force of Nature, all the damp of the fictional Giralang mountains — Victoria's Otways, Dandenong Ranges and Yarra Valley IRL — speaks volumes about what's streaming through the movie's characters inside. Cinematography is one of this franchise's strengths, and that Andrew Commis (Nude Tuesday) lenses the second picture's location just as evocatively and meticulously as Stefan Duscio (Shantaram) did the first is crucial: these features make their audience see every detail that envelops Falk and company, and therefore constantly spy the parallels between their environs and their inner turmoil. Force of Nature: The Dry 2 streams via YouTube Movies, iTunes and Prime Video. Read our full review, and our interview with Eric Bana and Robert Connolly. Argylle For the past decade, spy films have been Matthew Vaughn's caper, thanks to Kingsman: The Secret Service, Kingsman: The Golden Circle and The King's Man until now. With Argylle, he's still being playful with a genre that he clearly loves but isn't precious about, and he's also approaching espionage antics from another angle. 80s action-adventure comedy Romancing the Stone, which isn't about secret intelligence operatives, is one of this page-to-screen effort's blatant inspirations. Something that both do have at their centres: writers caught up in scenarios that would usually only happen on paper. 2022's The Lost City took the same route — but Argylle throws in a touch of North by Northwest, and also gets meta about its own origins. And no, Taylor Swift didn't write the source material. For his eighth feature, which hits 20 years after he made his directorial debut with the Daniel Craig (Glass Onion: A Knives Out Mystery)-starring Layer Cake, Vaughn adapts the novel that gives Argylle its name; however, the specifics aren't quite that simple. The IRL title was only published as the flick hits cinemas, starting a franchise on the shelf. That said, the film — which is similarly aiming to begin a series — jumps to a later as-yet-unreleased book. Those tomes are credited to Elly Conway, which is the name of the movie version of Argylle's protagonist. In the feature, Elly (Bryce Dallas Howard, Jurassic World Dominion) is also an author who has written a saga about spies. Back in reality, who she really is has sparked a frenzy, hence the theories that she could be one of the world's biggest pop stars amid a massive world tour and a huge concert film. Again, despite Swifties' dreams, that speculation needs to be shaken off. Argylle streams via YouTube Movies and Prime Video. Read our full review, and our interview with Matthew Vaughn. The Color Purple For most, there isn't much in Alice Walker's Pulitzer Prize-winning 1982 novel The Color Purple that screams for the musical spin. Broadway still came calling. On the page, this tale always featured a jazz and blues singer as a key character. When it initially reached the screen in 1985 with Steven Spielberg (The Fabelmans) directing, it also worked in an anthem that earned an Oscar nomination and has been much-covered since; Quincy Jones composed the film's score and produced the movie. But if the idea of lavish song-and-dance numbers peppered throughout such a bleak account of incest, rape, domestic abuse, racism, injustice, violence and poverty feels like hitting a wrong note, claims otherwise keep springing. First arrived 2005's Tony-winning stage adaptation, then 2015's also-awarded revival. Now, joining the ranks of books that became movies, then musicals, then musical movies just like the new Mean Girls, a second feature brings Walker's story to cinemas — this time with belted-out ballads and toe-tapping tunes. With each take, The Color Purple's narrative has predominantly remained the same as when it first hit bookshelves, crushing woe, infuriating prejudice and rampant inequity included. Musicals don't have to be cheery, but how does so much brutality give rise to anything but mournful songs? The answer here: by leaning into the rural Georgia-set tale's embrace of hope, resilience and self-discovery. Ghanaian director Blitz Bazawule follows up co-helming Beyoncé's Black Is King by heroing empowerment and emancipation in his version of The Color Purple — and while the film that results can't completely avoid an awkward tonal balance, it's easy to see the meaning behind its striving for a brighter outlook. When what its characters go through as Black women in America's south in the early 20th century is so unsparing, welcoming wherever light can pierce the gloom is a human reaction, and how Celie (American Idol-winner Fantasia Barrino in her feature film debut) copes. The Color Purple streams via YouTube Movies, iTunes and Prime Video. Read our full review. Madame Web When a spider spins a web, the strands are designed to trap prey for the eight-legged arachnid to consume. Madame Web tries to do something similar. The fourth live-action film in Sony's Spider-Man Universe, it attempts to create a movie meal by capturing bits and pieces from anywhere and everywhere. There's Spidey nods, of course, variations on the "with great power comes great responsibility" line and more than one Spidey-like figure included. Introducing a new superhero to the screen, it's an origin story, complete with a tragic past to unfurl. Set in 2003 but with ample 90s tunes in the soundtrack, it endeavours to get retro as well. In its best touch, Madame Web winks at star Dakota Johnson's (Cha Cha Real Smooth) Hollywood family history, with a pigeon bringing The Birds, as led by her grandmother Tippi Hedren (The Ghost and the Whale), to mind. And, catching inspiration just like flies, the film also strives to be a serial-killer thriller. Look out, though. Here's hoping that spiders have more luck snaring a feast than Sony has in swinging Madame Web into its not-MCU franchise. They're not officially counted as part of the saga, and they're both exceptional unlike this, but the studio's animated Spider-Man: Into the Spider-Verse and Spider-Man: Across the Spider-Verse also help explain Madame Web's existence and approach. In trying to carve out a Spidey space around the Peter Parker version of the webslinger, who is now part of the Marvel Cinematic Universe, Sony has been throwing everything it can at the screen. In the Spider-Verse flicks, that means a kaleidoscope of spider-folk, plus dazzling visuals and creative storytelling to match, demonstrating that people in suits isn't the best way to tell caped-crusader tales in cinema. In the SSU, focusing on a heap of peripheral Spidey figures is instead the tactic — and it's as piecemeal as it sounds. Madame Web streams via YouTube Movies and Prime Video. Read our full review. Next Goal Wins American Samoa's 31–0 loss to Australia in 2001 wasn't the biggest-ever defeat in football history, but it set the world record for the largest trouncing in an international match. It's also the scoreline behind an impassioned quest to achieve something that the US territory in the South Pacific Ocean had never done before in soccer: kick a goal. And, it's the starting point for a documentary and a comedy both called Next Goal Wins, with the first arriving in 2014 and the second now Taika Waititi's eighth feature. Each charts the squad's attempt to qualify for the 2014 FIFA World Cup, and each tells an underdog tale. One strikes charmingly and winningly, the other keeps deserving red cards — and it's Waititi's long-delayed flick, which was initially filmed before the pandemic, underwent reshoots in 2021, then finally premiered at the 2023 Toronto International Film Festival, that shouldn't be on the pitch. Since leaping from New Zealand indies Eagle vs Shark, Boy, What We Do in the Shadows and Hunt for the Wilderpeople to the Marvel Cinematic Universe, Waititi might've won an Oscar for Jojo Rabbit; however, his best post-Thor: Ragnarok work has been on the small screen. Neither Jojo Rabbit nor Thor: Love and Thunder reached the filmmaker's past heights, but the hilarious US TV spinoff of What We Do in the Shadows, sublime Indigenous American dramedy Reservation Dogs and heartwarming pirate rom-com Our Flag Means Death have all proven gems. The current underwhelming cinema streak continues with the Michael Fassbender (The Killer)-led Next Goal Wins, which is as forceful as his last non-MCU picture in wanting to be a quirky, silly and sweet crowd-pleaser, and as clumsy, awkward and thinly sketched. While new takes on already-covered stories never mean that the originals are binned, sending viewers sprinting towards Mike Brett and Steve Jamison's (On the Morning You Wake (to the End of the World)) iteration of Next Goal Wins can't have been Waititi's intention. Next Goal Wins streams via YouTube Movies, iTunes and Prime Video. Read our full review. Looking for more viewing options? Take a look at our monthly streaming recommendations across new straight-to-digital films and TV shows — and fast-tracked highlights from January and February 2024 (and also January, February, March, April, May, June, July, August, September, October, November and December 2023, too). We keep a running list of must-stream TV from across 2024 as well, complete with full reviews. And, we've also rounded up 2023's 15 best films, 15 best straight-to-streaming movies, 15 top flicks hardly anyone saw, 30 other films to catch up with, 15 best new TV series of 2023, another 15 excellent new TV shows that you might've missed and 15 best returning shows.
Brisbane has already welcomed in 2025, but that's not the only new year that demands celebrating. Before January is out, Lunar New Year will hit, kicking off the Year of the Snake. Fancy marking the occasion with street food in South Brisbane's Fish Lane, a rooftop party in Sunnybank, watching the Mt Coot-tha Botanical Gardens light up, listening to the Singapore Symphony Orchestra, dancing to K-pop, giggling to stand-up comedy or enjoying a DJ-spun soundtrack? At BrisAsia Festival, you can. For 13 years now, the River City has commemorated Lunar New Year with a citywide fest, and that isn't changing in 2025. This year's lineup includes 25 events around town, all designed to get you in celebration mode. The Asia Pacific Triennial of Contemporary Art forms part of 2025's program, if you need another excuse to head to Queensland Art Gallery and the Gallery of Modern Art to check it out between now and April, but the bulk of the BrisAsia fun takes place across ten days from Friday, January 31–Sunday, February 9. After debuting in 2024, Asian street festival Lush is back again this year, with Southside Restaurant, Hello Please, Chu the Phat and Bird's Nest set to serve up bites to eat. That's just one of BrisAsia 2025's fests within the broader fest. While the Hội chợ Tết (TET Festival) is taking place in advance, on Friday, January 24, the Vietnamese festivities in Richlands are still included on the lineup. And, Southside by Night is back, once more combining street food with a car meet in Willawong. The Sunnybank Lunar New Year Rooftop Party is always a highlight, showcasing Sunnybank Plaza's eateries, busting out lion and dragon dance performances, and capping the night off with fireworks. Consider it the perfect way to help close out BrisAsia 2025, with the shindig happening on Saturday, February 8. New in 2025 is Lunar New Year in the Gardens at Mt Coot-tha, complete with sitar tunes, martial-arts displays, street food and K-pop. For more of the latter, the Thomas Dixon Centre is hosting a showcase. Other events for your calendar include BrisAsia Stands Up, enlisting Brisbane's Asian Australian comedians; a special presentation at Brisbane Planetarium; Longwang featuring Korean dishes across a Seoul-themed weekend; and Warehouse 25's BEAT STREET party in Milton. Or, albeit just after the fest's official dates — on Sunday, February 16 — you can catch the Singapore Symphony Orchestra at QPAC. Whichever part of the festival piques your interest, expect plenty of company, with more than 25,000 people attending BrisAsia in 2024. "It's such a privilege to curate one of the most innovative and diverse festivals in Australia with an exciting program of events combining elements of traditional and contemporary Asian culture," said BrisAsia Festival Executive Producer Anthony Garcia. "The festival is brought to life by more than 200 artists, producers and creatives whose work allows us to celebrate life and art in a way that brings together people from all walks of life, offering artists opportunities to experiment, collaborate and evolve their practice whilst giving audiences the chance to experience world-class entertainment." BrisAsia 2025 runs from Friday, January 31–Sunday, February 9. For further details, head to the Brisbane City Council website.
With events across the world being cancelled and postponed in a bid to slow the spread of COVID-19, the live music industry is being hit hard. According to website I Lost My Gig, as of 11am on Saturday, March 21, approximately 274,000 events and gigs have been cancelled, which has impacted 599,000 artists and crew, and equated to about $300 million in lost income. And that's just in Australia alone. To help raise money for some of those musicians out of work, a group of global volunteers has created Sofa King Fest. Dubbed an "emergency response online music and arts benefit festival", the website is a curation of all the best music live-streams happening around the world — all in one spot, all available to watch from the comfort of your sofa. Musicians are scheduled to perform at hour or half-hour intervals and have included the likes of Willie Nelson, Cypress Hill, Diplo, Big Freedia and A-Trak. On a more local level, all Aussie artists will be curated by the Mary's Group — who are behind cult-favourite Mary's burgers and the revival of two long-standing Sydney live music venues: The Landsdowne Hotel and Mary's Underground (formerly The Basement). [caption id="attachment_757840" align="alignnone" width="1920"] The Lansdowne Hotel[/caption] While the artists are playing, you can donate directly to out-of-work musicians or to the artist's charity of choice, with all funds controlled by the artist and their team. Melissa Etheridge, who's performing today, Tuesday, March 24, for example, will be donating her funds to the World Food Kitchen. If you're an artist that's keen to be part of the live-stream, you can signup directly via Sofa King Fest website. As well as raising funds for musicians hit hard by the COVID-19 pandemic, the website is a great way to get your culture and music fix while also practising social-distancing or adhering to self-isolation measures. Sofa King Fest is now live and accepting donations. Top image: Willie Nelson by BSC Photography. 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.
