Returning to Australia with all the flair of a growling octogenarian swirling a glass of wine in one hand, the brilliantly manic Dylan Moran has announced his brand new comedy tour Off the Hook will be stopping at 12 locations across the country this July to August. The Irish comedian, who won our hearts as the creator and star of Black Books, is celebrated across the globe for his brilliant brand of rambling, brutally sharp stand-up comedy. Though you may hear Moran most frequently described as "curmudgeonly", the charm and intelligence of his manic comedy are hypnotic as he bombards audiences with his thoughts on everything from ageing and politics to kids, love and misery. Moran is coming to Australia straight off the back of a stint touring around the less likely locales of Kiev, Moscow and Kazakhstan — as well as becoming the first Western comic to perform in St Petersburg — with his surly ways winning him acclaim along the way. Bringing an always entrancing stage presence of slurring insights and bizarrely poetic complaints, broken by hysterical cackling and sips of wine, Moran's tour promises you comedy of the highest, most unpredictable kind. DYLAN MORAN'S OFF THE HOOK AUSTRALIAN TOUR Tickets on sale 10 March 10am Friday 10 July Riverside Theatre, Perth, WA Tuesday 14 July Civic Theatre, Newcastle, NSW Saturday 18 July Sydney Theatre, Sydney, NSW Thursday 23 July West Point Entertainment Centre, Hobart, TAS Saturday 25 July Princess Theatre, Launceston, TAS Monday 27 July State Theatre, Melbourne, VIC Tuesday 4 August QPAC Concert Hall, Brisbane, QLD Saturday 8 August Convention Centre, Cairns, QLD Tuesday 11 August Entertainment Centre, Darwin, NT Saturday 15 August Royal Theatre, Canberra, NSW
Those currently working from home have probably seen two major changes to their routine: less shoes and more snacks. To help with the latter, Australia's much-loved biscuit maker Arnott's is opening its vault and releasing some of its coveted recipes — for the first time in history. For weeks one and two of the snack expert's Big Recipe Release it unveiled its Monte Carlo and four-ingredient Scotch Finger recipes. Next up is a much-loved childhood-favourite: the Iced VoVo. Topped with pink fondant, raspberry jam and coconut, it's a little like Arnott's answer to the lamington. This recipe has been adapted for home bakers by Arnott's Master Baker Vanessa Horton, who suggests creating love heart shaped bikkies for mum — but, honestly, you can create whatever shape you like. Have a dinosaur shaped cookie cutter? Go wild. None at all? You can just cut them into squares. As you'd expect, you do, in fact, need flour to make Iced VoVos, but we've rounded up some of the spots selling the essential ingredient across the country, which aren't supermarkets. Australia's oldest baker will continue to release a new recipe for one of its famous biscuits every week until social distancing regulations are lifted. Next up, will it be the Tim Tam? Mint Slice? Pizza Shapes? We'll have to wait and see. In the meantime, though, here's the Iced VoVo recipe: ARNOTT'S ICED VOVO 180 grams unsalted butter, softened 1/2 cup (75 grams) soft icing sugar 1/2 teaspoon salt 2 cups (300 grams) plain flour Royal Icing 1 large egg white 1 1/2 cups (200 grams) icing sugar 1 teaspoon vanilla extract 1 teaspoon glucose syrup 1-2 drops pillar box red colouring 1/2 cup raspberry jam 1/2 cup desiccated coconut Heart-shaped cutter (optional) Piping bag and nozzle (optional) Method Pre-heat fan-forced oven to 160°C. Line two baking trays with baking paper. Using an electric mixer, beat the butter, icing sugar, and salt for two minutes or until pale and creamy. Sift the flour into the butter mixture and mix on low speed until combined. Place half the mixture between baking paper and roll out to approximately five millimetre thickness. Using a six centimetre heart shaped cutter, cut out biscuits, transfer to baking sheets. Repeat rolling and cutting heart shapes with remaining mixture, rerolling scrap dough to make more hearts. Bake for 16–18 minutes or when biscuits start to turn golden. Leave on the tray to cool. Royal icing Place egg white in a clean mixing bowl and mix on low speed with the whisk attachment until the whites begin to break up. Gradually add the icing sugar, vanilla and glucose, whisking until combined and glossy. If the mixture is too stiff add a teaspoon of water to loosen it up but ensure it isn't too runny as it will slide off the biscuit. It should form a smooth surface. Add your colour and stir until combined. Cover surface of icing with cling wrap until ready to use to prevent the icing going hard. Place a small round tip (we used a no. 2 nozzle) and fill your piping bag 1/3 full of icing. Don't overfill your bag. Fill another piping bag with raspberry jam. Pipe a jam strip down the centre of the heart biscuit and pipe pink icing around the edges before filling in the remainder of the heart with icing. Sprinkle with coconut. Place iced biscuits in a single layer of an airtight container to set overnight. Tips Be very light handed when adding your colour to ensure a soft pink colour. If you don't have a piping bag, you can use a snap lock bag and snip the corner off. Biscuits can be made into any shape, including the traditional rectangle.
Been spending the first few months of 2021 pondering the future? Given how the past year has panned out, that's only natural. But come Wednesday, May 26, you might want to look to the skies as well — and feast your eyes on a luminous lunar sight. For folks located Down Under, this is when you'll see this year's 'blood' supermoon. While super full moons aren't particularly rare — two usually happen each year, and one occurred just last month — there are plenty of reasons to peer upwards this time around. It's the last supermoon of 2021, for starters. It's also a total lunar eclipse. If you're wondering what else you need to know, we've run through the details below. WHAT IS IT? If you're more familiar with The Mighty Boosh's take on the moon than actual lunar terms, here's what you need to know. As we all learned back in November 2016, a supermoon is a new moon or full moon that occurs when the moon reaches the closest point to Earth in its elliptical orbit, making it particularly bright. They're not all that uncommon — and because May 2021's supermoon is a full moon (and not a new moon), it's called a super full moon. It's also a flower moon, too, which doesn't refer to its shape — obviously — but to the time of year. In the northern hemisphere, the May full moon usually arrives as spring wildflowers are blooming. Of course, it's currently autumn in the southern hemisphere, but the name still sticks. This May's supermoon also happens to coincide with a total lunar eclipse, which is why it's also called a blood moon. When the astronomical body passes directly into the earth's actual shadow, it turns a blood-red shade thanks to sunlight that's filtered and refracted by the earth's atmosphere. WHEN CAN I SEE IT? If you're keen to catch a glimpse — and you didn't nab a ticket for Qantas' flight above Sydney just for the occasion — you'll want to peek outside on Wednesday, May 26. In the New South Wales capital, and in Melbourne and Brisbane, the lunar eclipse is due to begin at 6.47pm, reach its maximum at 9.18pm and end at 11.49pm, according to Timeanddate.com. In Adelaide, all of those times move forward half an hour — so it'll begin at 6.17pm, reach its maximum at 8.48pm and end at 11.19pm. And in Perth, it'll start at 5.16pm, reach its maximum at 7.18pm and end at 9.49pm. You'll want to have your cameras at the ready, of course — and see if you can outdo previous big batches of supermoon snaps and super blue blood moon pics. WHERE CAN I SEE IT? According to NASA, folks in the Pacific Rim will be best placed to see the supermoon total eclipse — which includes in Australia. Naturally, you'll be hoping for clear skies that evening. You can take a gander from your backyard or balcony, but the standard advice regarding looking into the night sky always applies. So, city-dwellers will want to get as far away from light pollution as possible to get the absolute best view. If you can't get a clear vantage, The Virtual Telescope Project will be live-streaming from the skyline above Rome from 5am AEST. And Timeanddate.com will be hosting its own livestream, too, starting at 7.30pm AEST. The 'blood' supermoon and total lunar eclipse will take place from 6.47pm AEST on Wednesday, May 26. For further information, including about timing, head to either NASA or Timeanddate.com.
As much of the TV-watching world is, Ashley Zukerman is a Succession fan. Unlike almost everyone else, however, his affection was partly built from inside of the award-winning series. In a recurring role across the HBO masterpiece's four seasons, he played political strategist Nate Sofrelli, whose past romantic relationship with Shiv Roy — portrayed by fellow Australian Sarah Snook (Memoir of a Snail) — kept spilling over into their present professional and personal spheres. But "there was periods where I didn't know if I was coming back", Zukerman tells Concrete Playground, "and there were periods where I just became more fan than part of it". A role in one of the best TV shows of the 21st century, plus a range of others in fellow international fare — big-screen horror-western The Wind and drama Language Arts; television's A Teacher, The Lost Symbol and City on Fire; and the three straight-to-streaming Fear Street movies among them — kept Zukerman away from home for years. Then In Vitro, an Aussie sci-fi thriller that premiered at the 2024 Sydney Film Festival and hit local cinemas in general release on Thursday, March 27, 2025, came his way. Before this, he hadn't worked on a homegrown project since 2017's The Easybeats miniseries Friday on My Mind. Prior to that, he'd hopped between the Australian and Aussie-made likes of The Pacific, Rush, Terra Nova, Underbelly and The Code, and Manhattan, Fear the Walking Dead, Masters of Sex and Designated Survivor overseas. Starring in In Vitro eventuated because he initially met two of the film's co-writers and fellow actors, Will Howarth (who also co-directs with Tom McKeith) and Talia Zucker, in Los Angeles when they were all stateside endeavouring to establish their careers. Due to release timing, audiences who didn't catch In Vitro on its 2024 festival run will have seen Zukerman pop up in homegrown efforts in Aussie limited series Apple Cider Vinegar first, earlier in 2025. Later this year, he also has Australian-made, New Year's Eve-set time-travel film One More Shot heading to Stan. Only In Vitro has him playing a cattle breeder in an eerie vision of the potential near future, though — a livestock farmer experimenting with biotechnology in a world, and an industry, decimated by the climate crisis and struggling to adapt to the new reality. As Jack, husband to Zucker's (Motel Acacia) Layla, Howarth (Toolies) and McKeith's (Beast) movie also tasks Zukerman with exploring the distance that clearly lingers in the the feature's central marriage, digging into the source of Jack and Layla's domestic disharmony, and unpacking the impact of controlling relationships. More than two decades have now passed since Zukerman's initial screen role, also in an Australian film, with playing Thug #2 in Tom White his debut performance. Looking back on it, "so that was my first-ever thing, and I hadn't gone to the Victorian College of the Arts yet. I had no idea what I was doing", he advises. "My family, no one in my family, was in creative industries at all. I was just trying to brute-force my way through, trying to get headshots and making cold calls and just trying", Zukerman continues. "And then when that called and I got a role, I thought it was the craziest thing in the world. Then I get there and I do it, and I'm in a scene with Colin Friels [Interceptor] and Dan Spielman [Black Snow], who I ended up playing brothers with in The Code years later. And I thought that was just very, very special at the time. Dan was on, I think, The Secret Life of Us, and Colin Friels on Water Rats, and they were heroes of mine at the time. And then to be able to revisit that with Dan years later as, I guess, equals, was very special." [caption id="attachment_997134" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] From the outside, the success that Zukerman has enjoyed over the last few years with Succession, Fear Street, City on Fire, A Teacher, The Lost Symbol and more seems huge. It is huge. He's also added Apple TV+'s Silo to his resume. For him, however, "it hasn't felt huge, but I don't think I necessarily ever have that feeling of looking at things from the outside", he reflects. "From the inside, I'd say that it's felt really fun. I know that the thing I love most is when I love the project and I feel like I'm close to the coalface of something. I thought that they were all great projects, and so that has been fun." "You're right, it's been a really nice few years, and it felt comfortable," Zukerman goes on. "I guess I'll say I've just never really stressed work. I've always known things will come, and I've always been aware that if I'm not chosen for something that it's because the person, the artist in charge of it, just doesn't need my specific colour, my specific paintbrush, and so I've never really sweated it if things haven't come to me. But the last couple of years, it's just been really enjoyable to just work on special things — and to be able to have a continuous run of that, I do feel very full now. I'm not someone who enjoys acting all the time, I don't necessarily love the experience, but I do love it when I feel that there are certain elements there, and I've been on a run projects now where those elements were largely there. It has been a really fun few years for that." From what excited Zukerman about In Vitro, his read on his complicated character and the research that went into his performance, to farewelling Succession, returning home and his initial acting dream, our chat with Zukerman covers them all — and more — as well. On What Excited Zukerman About In Vitro, and About Making His First Australian Project Since Friday on My Mind "So I knew Tahlia and Will. I'd known them before. We all met in LA when we were all younger and hustling out there. It was just this coffee shop that we all ended up frequenting, and that's where we got to know each other. It was during the pandemic that they sent the script and said 'we've been working on this, we've been thinking about you for it'. And I read it and I thought 'wow'. And I was honoured that they thought of me for it. But I thought that they had done something just really special. I think that the horror genre or the thriller genre is interesting when it's used to explore other themes. And so the thriller part of it didn't necessarily pop for me, but I thought that they were able to thread together some nuanced questions about a few issues that we're dealing with in the world, and finding a connection between them — with the climate crisis; domestic violence; how we use tech to brute-force our way through solutions; and how some people in our world don't really care about our world or the natural world or each other as the actual life that exists in it, but just what they can take from it. And I think that they were able to thread all those ideas in a very nuanced way, offering something new to the questions of 'what do we do in this world?' and 'how are we going to deal with all of these issues we have?'. The climate crisis, like so many of us, that keeps me up at night. One of the things I worry most about it is this idea that it's happening just, just slow enough that we get used to it, and it's so hard to talk about. It's so difficult to engage with it, because it's so scary for so many of us. As soon as, I know for me personally, it's hard for me when I see an article written about it for me to click on it, for me to actually open that page and delve into it. It's hard for me to watch something about it. And I thought that what they did here was they did it in a very nuanced way, where they offered something very new to that conversation, and in a way that I thought was going to be very useful and interesting — and human. It was just that the film seemed to have a very new idea to approach this issue, and that's I think what moved me about it. And then, as we went on, there were questions about the character that became far more important for me to ask. But when I first read it, that's what touched me." On Zukerman's Read on Jack and His Motivations "I think it depends how far back we go with him. If we go from what we know backwards, I think he's gotten to a stage where he has lost his sense of humanity and he's just so far down the rabbit hole on this that he can't actually turn back. I was working on this show, The Lost Symbol, the Dan Brown thing, at the time that I read this, and I was researching these secret societies and how people who were doing bad things justified them. And I came across this quote, which was from the Bible: 'to the pure, all things are pure'. I think that that is key to Jack, that because he felt he was doing something worthy and important, everything else he was doing was fine and justified … It's this idea that he's probably just a bucket with a hole in it. It doesn't matter what you pour in, he's always going to be empty. I think he's one of these just incredibly ordinary people who thinks that he's a vulnerable genius, and no one is giving him the adulation he deserves, and he will never get enough love from his partner, and that then leads to control and violence. So I think those are the things that are at play in him." On Playing a Part That's a Puzzle for the Audience as They Try to Piece Together the Full Story "Typically, the more complex a character, the less challenging I find it, because then there are just so many things underneath the surface. So those things were great, and once I knew the approach, what we were trying to do, we talked, Will, Tom and Tahlia and I talked early about this idea that we'd be doing a disservice to this story if he was arch — especially the domestic control, domestic violence story. And that he had to be so ordinary in that way, that if we were trying to portray a villain, it would do a disservice to Tahlia's story and it would be doing a disservice to the wider story. So the fact that we could let all of that complexity live in him, that gave me a lot of freedom. But you're right that the challenging thing in any of these stories is how we bury the lead when we choose to drop breadcrumbs, how we lean on awkward moments as clues for the idea — like leaving just enough the information for the audience to question what is going on to lead them down the rabbit hole with us ,but gently. That is the more challenging thing, because that's not necessarily about just living in the scene naturally. That's trying to plan the larger story. I was buoyed when I saw it — I thought we did that quite well. I really loved especially how they put it together in the edit, leaning on those awkward interactions, I thought was quite nice." On the Research That Goes Into Playing a Part Like This, Digging Into Coercive Control, Biotech and More "Typically I do love a lot of research, and I started down the path of him being an engineer. I wanted to make sure those thoughts were in there. I wanted to know where we were at with that stuff. But I think ultimately where I got to was, all that stuff — like you like feel at the end of the film — I think is window dressing in a way. I needed to know enough about that so that I could know what he was doing, but ultimately the key to him is what we're talking about — how to actually think about these men who do these things, like 'what is the wiring going on in in them?'. That's the work of understanding this character. It's the domestic work. It's the human work. And to try to explain, empathise, not absolve, but just to understand what makes these people do those things. I think that was the work with him." [caption id="attachment_997132" align="alignnone" width="1920"] Succession, Macall Polay/HBO[/caption] On Saying Goodbye to Succession, and What It Meant to Zukerman to Be a Part of It "I think it's so nice that that show will exist forever. I think it's now part of television canon, and to be a part of it, I'm just so proud. So I think it will just always have a life. I grew up loving The Sopranos and Six Feet Under and The Wire and Oz, and those seminal TV shows — and The West Wing. I knew characters that were there for an episode, that were there for three episodes. I was so aware of every little storyline on all of those shows, and I was just like 'if only I could be in something like that, that would be it'. Like, 'I would be fine'. [caption id="attachment_997133" align="alignnone" width="1920"] Succession, Peter Kramer/HBO[/caption] And I'm lucky that I got to do one of those, and I got to be there for a little bit, and I got to witness how they made it, and I got to be around those people. I just feel so lucky. I was there and I was a part of it, but I got to also be an audience just as much as, I think, in it. It's an interesting question. It was something just so special about that production that I think I'll continue to try to, I guess, understand and learn from and think about. [caption id="attachment_997137" align="alignnone" width="1920"] Succession, David Russell/HBO[/caption] All I love about any work is how close to the creative muscle I can be, and I think what was special about that show was that. I was on the periphery. There were moments when I was a little more forward in the story, but largely I was orbiting the story. And I think what was special about that is that it doesn't matter how big your role must have been — that's both the cast and crew — everyone on that set felt like they were a part of it, that they had agency to make decisions, that they were genuinely like what was being asked of them was what was special about them to only bring that. That was what was special, and that's what I'll remember. And I think it left something with me that I've taken to other things. I think it's that energy that I've brought with me after that show. " [caption id="attachment_997145" align="alignnone" width="1920"] Apple Cider Vinegar, courtesy of Netflix © 2025[/caption] On Heading Back to Australia After a Significant Run of Roles Overseas "It was never by design that I would be away. It was just that the right things didn't come up, or scheduling got in the way, or something happened for me over there that meant that I couldn't come back for various things. And it was just always I missed it. I really missed being back. I really love it here. I love the way we work. I love how fast we are, how efficient we are. We work with few resources sometimes, but it's an advantage, it creates the style of TV and film that we make. It all goes into it. It ends up on camera, that energy. And it kind of has become our visual language sometimes. [caption id="attachment_997144" align="alignnone" width="1920"] One More Shot, Ben King/Stan[/caption] And I also guess there is something about being overseas and an expat which means I'm always playing someone else in a way. There's something about home, is what I'm saying, that's important. That I know the rules of Australia. I know how people interact, that there's the micro gestures between us all, how we all interact. I guess that is home for me, that when I get back to Australia my shoulders drop and I just know how to live here. Even though the US isn't that different, it's different enough that it changes me. It requires something else of me to live there. And that's a joy sometimes. I mean, to leave is wonderful — but to come back is really, it's home. It's just a very special thing. And also, I feel very fortunate because of what I've been able to do overseas, I can now come back and work on these great things, and help these great things get up." On the Initial Dream for Zukerman's Acting Career When He Was First Starting Out "It's such a great question, because it's so rare to look back and go 'what was it that that younger person had actually wanted, and are you there now?'. That's a very special question that I don't really often give myself time to do. But I think I probably had a lot of chutzpah and a lot of ambition back then. I probably had ideas, but I didn't know what the job was, even. I didn't know what the work of being an actor was. I had a feeling that acting gave me the ability to do something I couldn't do in life, that I loved the analysis of human beings, and I loved being able to express things that I didn't express in my normal life. I loved that. But that hadn't really congealed yet, and probably at the time I just had ideas about wanting to play these big roles and do these big things, but I didn't know what it was. [caption id="attachment_997146" align="alignnone" width="1920"] City on Fire, Apple TV+[/caption] Once I started studying and I started understanding what it was, I think very quickly the only goal of mine was to have choice — just to be able to do the things I love. Like I said, it's just not always the case that I love acting, and I knew that early on that sometimes the experience can be difficult for myriad reasons. But to be able to get to a point where I can just, from project to project — based on, whether it's the quality of the work or it's the quality of the people, or both — that I could just choose to do that. I think that's nice to think about that. I think I have it, I am doing that now. I get to be pretty picky with what I do, and I get to do things for the right reasons." In Vitro opened in Australian cinemas on Thursday, March 27, 2025.
Charlotte Smith has a wardrobe most can only wish for. Inherited from her godmother, Doris Darnell, Smith’s collection is valued at over a million dollars, containing thousands of pieces dated from 1790 through to 1995, with originals from Dior and Chanel. The vast collection inspired Smith to author two books, Dreaming of Dior and Dreaming of Chanel, sharing the stories of the women who wore the clothes before they came into her possession. But words are not enough – reading about a Chanel suit is not the same as being able to see a Chanel suit in the flesh. And so the QUT Art Museum is bringing these stories to life with the Dreaming of Chanel exhibition. Curated by Nadia Buick, Dreaming of Chanel showcases 40 pieces from the Darnell collection, bringing Smith’s stories to life and giving lovers of fashion a glimpse into the collection that most can only dream of. The exhibition runs every day from August 26 to October 16, giving you 51 chances to ogle and dream about a Chanel collection of your very own.
For the past couple of years, Woolloongabba's South City Square has played host to a sprawling market setup every now and then — and it's back. Get ready to browse your way around a collection of stalls selling plenty of items from 10am–2pm on Sunday, October 23. That's when The Market Folk will once again take over the place, putting on a spring pop-up. We hope you like clothes, jewellery, ceramics, plants, pots, homewares and art, because you'll find it all here. Expect a big focus on design — so you won't be browsing and buying just any old wares. More than 45 local boutiques will be selling items, and it all tales place in a brick-lined, industrial-style space — which'll make you feel like you're wandering around a European-style market. As well as the shopping, live music and creative workshops are also on the bill. There'll be bites to eat as well, thanks to a range of food trucks.
A new food/art installation in Tokyo is offering a multi-sensory eating experience that combines delicate Japanese cuisine with stunning projections and sound. Located inside Sagaya, a Saga beef restaurant in the city's Ginza district, the permanent installation, titled Worlds Unleashed and then Connecting, was created by art collective teamlab and serves just eight guests each day. Projections depicting Japanese scenery and wildlife illuminate the walls and table, and react different to each artfully presented dish on the rotating monthly menu. https://www.youtube.com/watch?v=JLYxixvQ_hw "When a dish is placed on the table, the world contained within the dish is unleashed, unfolding onto the table and into the surrounding space," explains the collective. "A bird released from one dish can perch on the branch of a tree unleashed from another. The trees that grow from each dish are not identical; their sizes and shapes are affected by the worlds unleashed by the other dishes on the table. These unleashed worlds are also affected by your behaviour. If you stand still, a tiny bird might alight on your hand; if you move suddenly, it might fly away." Pretty lofty, but we're never opposed to ambitious creativity on our plates. Via Designboom.
When the middle-of-the-week blues hit, there are two solutions. Hitting a bar for a midweek drink is a tried-and-tested pick-me-up, while listening to someone else sing away their troubles also remains an old favourite. Acoustic Wednesdays, The Triffid's Wednesday night acoustic session, combines both — and the free music series is livening up your hump day almost every week. The music lineup changes each time, but that just means that you've got multiple excuses to head along. The Triff usually announces its artists in monthly batches — and if you make a music date for Wednesday, February 23, you'll be seeing Meg Ripps take the mic, as well as Karlou. In March, Zander Rhodes and Georgie Taylor are on the bill on March 2, Zoe Quinn and Cryss Coleman on March 9, Harry Kidd and Nick Marks on March 23, and Ryan Nak and Nathan MT on March 30 These talented performers will do their unamplified thing and make your midweek brighter, with the laidback festivities taking over the Newstead hangout at 6.30pm. The venue's relaxed beer garden proves the perfect place for it, and an ideal spot for grabbing a few beverages — and even a bite to eat.
It won six Oscars, was nominated for four more, and made a mint at the box office — and now Mad Max: Fury Road has been named the best Australian movie of the 21st century so far by the country's film critics. George Miller's high-octane post-apocalyptic effort — the fourth in his Mad Max franchise, which came 30 years after the series' third instalment — was picked as the top recent local effort in the biggest survey of Aussie critics ever conducted. And it's in great company, with the top 25 spanning plenty of highlights from the industry's last 18 years. Crime drama Animal Kingdom nabbed second place, while Samson & Delilah, Chopper and Lantana rounded out the top five — and everything from The Babadook to Sweet Country to Snowtown also ranked highly. It's a list big on drama, though musical Moulin Rouge! was 11th, comedies The Dish and Kenny came in at 16th and 20th respectively, documentary Sherpa took 21st position and the animated effort Mary and Max secured 22nd spot. The survey was conducted by Australian film website Flicks.com.au, with 51 critics — 26 male, 25 female — taking part. David Stratton and Margaret Pomeranz were among the participants, unsurprisingly, with other critics hailing from a wide range of major news outlets, trade publications, magazines, commercial and community radio, websites, podcasts, TV and blogs. Disclaimer: Sarah Ward participated in Flicks.com.au's Australian film poll, and contributes to the site. She is also one of Concrete Playground's senior film writers and weekend editor.
UPDATE, December 20, 2022: Everything Everywhere All At Once is available to stream via Prime Video, Google Play, YouTube Movies and iTunes. Imagine living in a universe where Michelle Yeoh isn't the wuxia superstar she is. No, no one should want to dwell in that reality. Now, envisage a world where everyone has hot dogs for fingers, including the Crouching Tiger, Hidden Dragon icon. Next, picture another where Ratatouille is real, but with raccoons. Then, conjure up a sparse realm where life only exists in sentient rocks. An alternative to this onslaught of pondering: watching Everything Everywhere All At Once, which throws all of the above at the screen and a helluva lot more. Yes, its title is marvellously appropriate. Written and directed by the Daniels, aka Swiss Army Man's Daniel Kwan and Daniel Scheinert, this multiverse-hopping wonder is a funhouse of a film that just keeps spinning through wild and wacky ideas. Instead of asking "what if Daniel Radcliffe was a farting corpse that could be used as a jet ski?" as their also-surreal debut flick did, the pair now muses on Yeoh, her place in the universe, and everyone else's along with her. Although Yeoh doesn't play herself in Everything Everywhere All At Once, she is seen as herself; keep an eye out for red-carpet footage from her Crazy Rich Asians days. Such glitz and glamour isn't the norm for middle-aged Chinese American woman Evelyn Wang, her laundromat-owning character in the movie's main timeline, but it might've been if life had turned out differently. That's such a familiar train of thought — a resigned sigh we've all emitted, even if only when alone — and the Daniels use it as their foundation. This isn't a movie that stays static, however, or wants to. Both dizzying and dazzling in its ambitions, the way it brings those bold aims to fruition, the tender emotions it plays with and the sheer spectacle it flings around, Everything Everywhere All At Once is a magnificent dildo-slinging, glitter cannon-shooting, endlessly bobbing and weaving whirlwind. Everything Everywhere All At Once is the movie version of a matryoshka set, too. While Russian Doll nods that way as well, the possibilities are clearly endless when exploring stacked worlds. Multiverses are Hollywood's current big thing — the Marvel Cinematic Universe, the DC Extended Universe, the Sony Spider-Man Universe and Star Trek have them, and Rick and Morty adores them — but the concept here is equally chaotic and clever. It starts with Evelyn, her husband Waymond (Ke Huy Quan, Indiana Jones and the Temple of Doom's Short Round and The Goonies' Data) and a hectic time. Evelyn's dad (James Hong, Turning Red) is visiting from China, the Wangs' daughter Joy (Stephanie Hsu, Shang-Chi and the Legend of the Ten Rings) brings her girlfriend Becky (Tallie Medel, The Carnivores) home, and IRS inspector Deirdre Beaubeirdra (Jamie Lee Curtis, Halloween Kills) is conducting a punishing audit. Then Evelyn learns she's the only one who can save, well, everything, everywhere and everyone. There's a great gag in that revelation, playing smartly yet savagely with perspective — because Everything Everywhere All At Once is all about how we choose to see things. Imagine trudging over to your local tax department, trolley full of receipts in hand and possible financial ruin in front of you, only to be told mid soul-crushing bureaucratic babble that it all means nothing since the very fate of the universe is at stake. But, at the same time, imagine realising that it's the simplest things that mean the most when space, time, existence and every emotion possible is all on the line. Although that isn't how a different version of Waymond puts it to Evelyn, it's what sparkles through as she's swiftly initiated into a battle against dimension-jumping villain Jobu Tapaki, discovers that she can access multiple other iterations of herself by eating chapsticks and purposefully slicing herself with paper cuts, and gets sucked into a reality-warping kaleidoscope. For Evelyn 1.0, everything the film throws her way is overwhelming, unsurprisingly. The Daniels have done a stellar job of ensuring viewers feel the same. Everything Everywhere All At Once splashes around more gleefully overstuffed absurdity than even a 139-minute-long movie can usually handle, but relentlessness is part of the point. When you're making Spider-Man: Into the Spider-Verse meets Inception meets Eternal Sunshine of the Spotless Mind meets The Matrix meets Hong Kong marital-arts cinema, a notion few folks in any multiverse could dream up, havoc comes with the territory. As shot by Larkin Seiple (Swiss Army Man) and edited by Paul Rogers (Scheinert's solo flick The Death of Dick Long) with unfaltering flair that's 100-percent designed to overload the senses, that on-screen anarchy is what makes the movie so immersive and Evelyn's plight so relatable. And, it's essential to anchoring the feature's 'nothing matters, everything is fleeting, revel in the small stuff' mantra. While it was penned for Jackie Chan, Yeoh is the movie's chosen one well beyond the script. Her casting lets the Daniels see acting stardom in one of Evelyn's other lives, but it's her flexibility and grounding that's crucial. Everything Everywhere All At Once walks such a thin tightrope between the raucous and the ridiculous that plenty could've faltered. In another universe, it did. But always beating away at the centre of this film in this reality, amid the countless costume changes, hairstyles and all (with enormous credit due to the inventive behind-the-scenes teams), is Yeoh. She deploys the quiet ferocity that's marked her performances for four decades, and twists through everything from existential malaise and intergenerational trauma to the everyday struggle that is living a life, including as a mother and wife, that's worlds away from your hopes and dreams. Yeoh is a joy to watch in whatever is lucky to have her — including Last Christmas, Boss Level, Gunpowder Milkshake and Shang-Chi and the Legend of the Ten Rings recently — and her work here shakes her entire career to-date together, then lets the best, boldest and most bizarre possibilities shine. Everything Everywhere All At Once is a tribute to its lead as much as anything else, but it's also so much else: a marvellous calling card for Hsu, a glorious return for the exceptional Quan, and a movie that makes weird and wonderful use of Curtis, too. It's an anything-goes free-fall through interdimensional mania where everything does and can happen — as brilliantly choreographed — and a clear-eyed examination of the ties and troubles of family, of uprooting your existence to strive for a future that mightn't come, and of weathering the mundane and the sublime in tandem. It's a whirl, a swirl, a trip, a blast and a juggle as well and, in this universe, the Daniels wouldn't have it any other way.
There are lots of ways you can throw your support behind native wildlife conservation, but there's no doubt which one is the tastiest. That would be the new Koala Choc Caramel ice cream the team at Paddle Pop has created in collaboration with wildlife rescue organisation WIRES. Hitting shelves today, Monday, September 7, the koala-shaped frozen treat marks the start of an ongoing partnership between the two groups, which aims to help raise awareness for koala conservation projects across the country. The themed ice cream features a blend of chocolate and caramel, made with all-Aussie dairy products. It's debuting at convenience and petrol stores from this week, scheduled to hit Coles and IGA stores later this month. If you're in NSW, you can pick one up from Sydney Zoo, which, throughout September and October, is also donating ten percent of all Koala Paddle Pop sales to WIRES. It's fitting timing for both the ice cream launch and the announcement of the new joint venture, as Australia today celebrates National Threatened Species Day. Paddle Pop's two-year partnership with WIRES also launches at an important time, with a report released by the NSW government estimating that 5000 koalas — a third of the state's population — were wiped up by last summer's devastating bushfires. The Streets ice cream brand will help support three of WIRES' key initiatives, including the Water Drinkers Project — which aims to install 800 animal water drinkers in drought- and bushfire-impacted areas — and the Koala Rehabilitation Facilities program, planning new facilities to help a variety of native species. It'll also support the Koala Health Hub at the University of Sydney, backing its research, management and education efforts. Find the new Koala Choc Caramel Paddle Pop at convenience and petrol stores, as well as at Sydney Zoo, from September 7. It'll hit shelves at your local Coles and IGA stores later this month.
Take a historical figure, but someone from several centuries back who isn't a worldwide household name. Use them as the basis for a new comedy series which doesn't promise to stick to the facts for a second. And, enlist famous hilarity-inspiring folks to tell the tale. The above description sums up Our Flag Means Death, which has sadly departed the streaming seas after being cancelled following a two-season run. It also fits Apple TV+'s upcoming six-part effort The Completely Made-Up Adventures of Dick Turpin, with The Mighty Boosh's Noel Fielding in the titular role. Where Our Flag Means Death's Stede Bonnet was an 18th-century pirate, The Completely Made-Up Adventures of Dick Turpin's namesake stuck to land in the same era as a highwayman. You can look up how his story turned out, or you can see how the series gives it the comic treatment from Friday, March 1, as it follows Turpin and his gang of fellow outlaws. As the just-dropped trailer demonstrates, working in plenty of dick jokes — well, it is the show's main character's moniker — is high on The Completely Made-Up Adventures of Dick Turpin's agenda. So is Fielding in his usual comic mode, as seen on The Great British Bake Off and Never Mind the Buzzcocks as well. Turpin's quest: to evade the corrupt Jonathan Wilde (Hugh Bonneville, Downton Abbey: A New Era), who fancies himself as a thief-taker, and just generally stay alive. And if you're wondering what kind of antics are in store, Fielding is also one of the series' writers, so anything could happen. Wild costume changes are a given. So is Fielding playing charming but chaotic. "I know what you're thinking: who is this guy with the incredible cheek bones? Where does he get his hair done? One day, I'll be the most-famous highway man in all of England," Turpin tells a crowd to start of the show's sneak peek — only for it to be revealed that he's standing on a gallows, about to be hanged. Joining Fielding in the cast: Ellie White (Wonka), Marc Wootton (High & Dry), Duayne Boachie (You Don't Know Me), Tamsin Greig (Sexy Beast), Asim Chaudhry (Barbie), Dolly Wells (The Outlaws) and Joe Wilkinson (Sex Education) — and also Noel's brother Michael (also The Mighty Boosh) and his Never Mind the Buzzcocks host Greg Davies (The Cleaner). Check out the trailer for The Completely Made-Up Adventures of Dick Turpin below: The Completely Made-Up Adventures of Dick Turpin streams via Apple TV+ from Friday, March 1, 2024.
Stare at The False Mirror at Magritte, one of the Art Gallery of New South Wales' just-announced big summer exhibitions, and the masterpiece of a painting from 1929 will peer right back. One of Belgian surrealist René Magritte's most-famous creations, the piece features a giant eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of the 2024–25 Sydney International Art Series. Another striking painting that's hitting the Harbour City from Saturday, October 26, 2024–Sunday, February 9, 2025: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. [caption id="attachment_959955" align="alignnone" width="1920"] René Magritte 'Golconda (Golconde)' 1953, oil on canvas, 80 x 100.3 cm, The Menil Collection, Houston, V 414 © Copyright Agency, Sydney 2024, photo: Paul Hester.[/caption] At Magritte, which is exclusive to Sydney, The False Mirror, Golconda and 1952's The Listening Room (La Chambre d'Écoute) — which shows an oversized apple — will have ample company at AGNSW's south building Naala Nura. In total, 100-plus works are set to display. This will not only be a huge retrospective dedicated to the artist, but also Australia's first retrospective dedicated to the artist. More than 80 of the pieces will be paintings, demonstrating why he's considered one of the most-influential figures in 20th-century surrealism; however, archival materials, photographs and films will also feature. Sydney International Art Series isn't just about one major exclusive showcase, of course. From Saturday, November 30, 2024–Sunday, April 13, 2025, AGNSW will also host Cao Fei: My City. Over at the Museum of Contemporary Art Australia from Friday, November 29, 2024–Sunday, April 27, 2025, Julie Mehretu will be on display as well. [caption id="attachment_959956" align="alignnone" width="1920"] René Magritte 'The listening room (La chambre d'écoute)' 1952, oil on canvas, 45.2 x 55.2 cm, The Menil Collection, Houston, gift of Fariha Friedrich, 1991-53 DJ © Copyright Agency, Sydney 2024, photo: Adam Baker.[/caption] Cao Fei: My City is also an Australian-first retrospective and the largest showcase of its namesake's pieces Down Under, putting the Guangzhou-born, Beijing-based artist in the spotlight. Expect cyber futurism to grace AGNSW's walls in a 1300-square-metre space in Naala Badu, the gallery's south building, as part of an exhibition designed by Cao Fei with Hong Kong's Beau Architects. Your entry point: a replica of a Beijing cinema from the 60s. And your exit point isn't a gift shop, but a Sydney yum cha restaurant. As for Julie Mehretu, it will be the southern hemisphere's first major survey of the Ethiopia-born, New York-raised artist's output, spanning over 80 paintings and works. Some will date back as far as 1995. Others have been created just for the exhibition. Mehretu herself will also be in Sydney for the showcase's opening. [caption id="attachment_959957" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] "Magritte and Cao Fei are giants of their respective times and leading figures in both the modern and contemporary art worlds. Magritte will consider the Belgian artist's groundbreaking contribution to surrealism in an exhibition that highlights the uniqueness and independence of his artistic vision. This Art Gallery-exclusive exhibition will give Australian audiences the chance to experience Magritte's practice in deeper and more profound ways than ever before, providing a real glimpse into the evolution of his practice," said Art Gallery of New South Wales Director Michael Brand. "Naala Badu, our new SANAA-designed building, allows us to stage inventive kinds of exhibitions as never before, and the imaginative format of Cao Fei: My City is Yours befits the playfulness of one of the world's most prominent and innovative living artists. This exhibition builds upon the Art Gallery's proud history of staging exhibitions of Chinese art since the 1940s, and with this show we celebrate the pioneering creativity of this globally acclaimed artist, as well as the boundless possibilities that art offers for deeper understanding and connection. With both Cao Fei and Magritte on show this summer, we have an unmissable offering for visitors to Sydney and local art lovers alike," Brand continued. [caption id="attachment_959961" align="alignnone" width="1920"] TRANSpaintings (green ecstatic), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (emergence), 2023–24, courtesy the artist and Marian Goodman Gallery; TRANSpaintings (recurrence), 2023, Pinault Collection; TRANSpaintings (skull), 2023, courtesy the artist and White Cube; TRANSpaintings (mask), 2023, courtesy the artist and White Cube; Your Eyes are two blind eagles, That Kill what they can't see, 2022–23, private collection. Installation view, Julie Mehretu. Ensemble, 2024, Palazzo Grassi, Venezia. Ph. Marco Cappelletti © Palazzo Grassi, Pinault Collection.[/caption] "The Museum of Contemporary Art Australia is delighted to be presenting to audiences in Australia this remarkable exhibition by an artist who is undoubtedly one of today's most exciting living painters, and whose dynamic language of abstraction speaks so powerfully to the contemporary world in which we live," added MCA Australia Director Suzanne Cotter about the Julie Mehretu exhibition. "The experience of Mehretu's paintings is nothing short of a visual and physical event. We are proud to present this year's Sydney International Art Series with Julie Mehretu to build upon the MCA's history of introducing to the public in Australia the work of today's most influential artists." [caption id="attachment_959954" align="alignnone" width="1920"] René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.[/caption] Sydney International Art Series 2024–25: Saturday, October 26, 2024–Sunday, February 9, 2025 — Magritte, Art Gallery of NSW Friday, November 29, 2024–Sunday, April 27, 2025 — Julie Mehretu, Museum of Contemporary Art Australia Saturday, November 30, 2024–Sunday, April 13, 2025 — Cao Fei: My City, Art Gallery of NSW [caption id="attachment_959963" align="alignnone" width="1920"] Cao Fei 'Nova' 2019, single-channel HD video, colour, 5.1 sound, 97:13 min, 2.35:1 © Cao Fei, Vitamin Creative. Courtesy Sprüth Magers.[/caption] Sydney International Art Series 2024–25 runs from October 2024 — head to the AGNSW and MCA websites for further details. Top image: excerpt of René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.
A drug kingpin disappearing into a new life, clashing cousins, voting popes, a veteran actor trying to reclaim her career with the help of a mysterious liquid, Adrien Brody surviving history's horrors again, fierce tennis competitors: films about all of the above have earned Golden Globes in 2025. Stressed-out chefs, stand-up comedy greats, Japanese warriors, Gotham villains, determined detectives: TV shows about them are all also in the same category. And, they each have a heap of company. Held on Monday, January 6 Australian and New Zealand time, this year's Golden Globes ceremony started with host Nikki Glaser cracking gags about everything from Dune: Part Two's running time to Nicole Kidman making awards-nominated work to get away from Keith Urban's strumming and Adam Sandler pronouncing Timothée Chalamet's name. It then threw in excited shouts and enthusiastic speeches aplenty among the winners. Picking up the first award of the night — but not the only award for Emilia Pérez — Zoe Saldaña (Special Ops: Lioness) delivered both alone. Other highlights from the hijinks: Catherine O'Hara (The Wild Robot) and Seth Rogen (Mufasa: The Lion King), co-stars in upcoming streaming series The Studio, making up a whole lot of accolades for fake Canadian projects; The White Lotus favourite Jennifer Coolidge being Jennifer Coolidge; Emilia Pérez songwriter Camille calling the whole shebang "such an American experience"; and Vin Diesel (Fast X) starting his presenting stint with "hey Dwayne". And more standouts among the awards: gorgeous Latvian independent animation Flow taking out its category, in the first time that a movie from the nation has been at the Golden Globes; Kieran Culkin winning the supporting actor Succession battle for A Real Pain over Jeremy Strong for The Apprentice; Shogun's well-deserved swag of gongs; Demi Moore's touching sentiments about believing in your own value; A Different Man winner Sebastian Stan demanding that tough films still get made; and also Feranda Torres emerging victorious for I'm Still Here over Nicole Kidman (Babygirl), Pamela Anderson (The Last Showgirl), Angelina Jolie (Maria), Tilda Swinton (The Room Next Door) and Kate Winslet (Lee). Not every ace nominee could snag a statuette, of course. Not every worthy movie and TV series even made the roster of contenders. They're truths that everyone should remember at every awards ceremony. Still, the rundown of newly minted 2025 Golden Globe winners spans an array of deserving folks and projects — and comes in less than a fortnight before the Oscars joins in, announcing its nominees on Saturday, January 17 Down Under time. Will the Academy Awards follow in these footsteps? And the Emmys later in the year, too? What else received some love? Here's the full list of 2025's Golden Globe winners and nominees (and you can also check out our rundown of victorious films and TV shows to watch right now): 2025 Golden Globe Winners and Nominees Best Motion Picture — Drama The Brutalist — WINNER A Complete Unknown Conclave Dune: Part Two Nickel Boys September 5 Best Motion Picture — Musical or Comedy Anora Challengers Emilia Pérez — WINNER A Real Pain The Substance Wicked Best Motion Picture — Animated Flow — WINNER Inside Out 2 Memoir of a Snail Moana 2 Wallace & Gromit: Vengeance Most Fowl The Wild Robot Cinematic and Box Office Achievement Alien: Romulus Beetlejuice Beetlejuice Deadpool & Wolverine Gladiator II Inside Out 2 Twisters Wicked — WINNER The Wild Robot Best Motion Picture — Non-English Language All We Imagine as Light Emilia Pérez — WINNER The Girl with the Needle I'm Still Here The Seed of the Sacred Fig Vermiglio Best Performance by a Female Actor in a Motion Picture — Drama Pamela Anderson, The Last Showgirl Angelina Jolie, Maria Nicole Kidman, Babygirl Tilda Swinton, The Room Next Door Fernanda Torres, I'm Still Here — WINNER Kate Winslet, Lee Best Performance by a Male Actor in a Motion Picture — Drama Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Daniel Craig, Queer Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Best Performance by a Female Actor in a Motion Picture — Musical or Comedy Amy Adams, Nightbitch Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora Demi Moore, The Substance — WINNER Zendaya, Challengers Best Performance by a Male Actor in a Motion Picture — Musical or Comedy Jesse Eisenberg, A Real Pain Hugh Grant, Heretic Gabriel Labelle, Saturday Night Jesse Plemons, Kinds of Kindness Glen Powell, Hit Man Sebastian Stan, A Different Man — WINNER Best Performance by a Female Actor in a Supporting Role in Any Motion Picture Selena Gomez, Emilia Pérez Ariana Grande, Wicked Felicity Jones, The Brutalist Margaret Qualley, The Substance Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Best Performance by a Male Actor in a Supporting Role in Any Motion Picture Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Denzel Washington, Gladiator II Best Director — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Edward Berger, Conclave Brady Corbet, The Brutalist — WINNER Coralie Fargeat, The Substance Payal Kapadia, All We Imagine as Light Best Screenplay — Motion Picture Jacques Audiard, Emilia Pérez Sean Baker, Anora Brady Corbet, Mona Fastvold, The Brutalist Jesse Eisenberg, A Real Pain Coralie Fargeat, The Substance Peter Straughan, Conclave — WINNER Best Original Score — Motion Picture Volker Bertelmann, Conclave Daniel Blumberg, The Brutalist Kris Bowers, The Wild Robot Clément Ducol, Camille, Emilia Pérez Trent Reznor, Atticus Ross, Challengers — WINNER Hans Zimmer, Dune: Part Two Best Original Song — Motion Picture 'Beautiful That Way', Andrew Wyatt, Miley Cyrus, Lykke Zachrisson, The Last Showgirl 'Compress / Repress', Trent Reznor, Atticus Ross, Luca Guadagnino, Challengers 'El Mal', Clément Ducol, Camille, Jacques Audiard, Emilia Pérez — WINNER 'Forbidden Road', Robbie Williams, Freddy Wexler, Sacha Skarbek, Better Man 'Kiss The Sky', Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi, The Wild Robot 'Mi Camino', Clément Ducol, Camille, Emilia Pérez Best Television Series — Drama The Day of the Jackal The Diplomat Mr & Mrs Smith Shogun — WINNER Slow Horses Squid Game Best Television Series — Musical or Comedy Abbott Elementary The Bear The Gentlemen Hacks — WINNER Nobody Wants This Only Murders in the Building Best Television Limited Series, Anthology Series or Motion Picture Made for Television Baby Reindeer — WINNER Disclaimer Monsters: The Lyle and Erik Menendez Story The Penguin Ripley True Detective: Night Country Best Performance by a Female Actor in a Television Series — Drama Kathy Bates, Matlock Emma D'arcy, House of the Dragon Maya Erskine, Mr & Mrs Smith Keira Knightley, Black Doves Keri Russell, The Diplomat Anna Sawai, Shogun — WINNER Best Performance by a Male Actor in a Television Series — Drama Donald Glover, Mr & Mrs Smith Jake Gyllenhaal, Presumed Innocent Gary Oldman, Slow Horses Eddie Redmayne, The Day of the Jackal Hiroyuki Sanada, Shogun — WINNER Billy Bob Thornton, Landman Best Performance by a Female Actor in a Television Series — Musical or Comedy Kristen Bell, Nobody Wants This Quinta Brunson, Abbott Elementary Ayo Edebiri, The Bear Selena Gomez, Only Murders in the Building Kathryn Hahn, Agatha All Along Jean Smart, Hacks — WINNER Best Performance by a Male Actor in a Television Series — Musical or Comedy Adam Brody, Nobody Wants This Ted Danson, A Man on the Inside Steve Martin, Only Murders in the Building Jason Segel, Shrinking Martin Short, Only Murders in the Building Jeremy Allen White, The Bear — WINNER Best Performance by a Female Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Cate Blanchett, Disclaimer Jodie Foster, True Detective: Night Country — WINNER Cristin Milioti, The Penguin Sofía Vergara, Griselda Naomi Watts, Feud: Capote Vs. The Swans Kate Winslet, The Regime Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television Colin Farrell, The Penguin — WINNER Richard Gadd, Baby Reindeer Kevin Kline, Disclaimer Cooper Koch, Monsters: The Lyle and Erik Menendez Story Ewan McGregor, A Gentleman in Moscow Andrew Scott, Ripley Best Performance by a Female Actor in a Supporting Role on Television Liza Colón-Zayas, The Bear Hannah Einbinder, Hacks Dakota Fanning, Ripley Jessica Gunning, Baby Reindeer — WINNER Allison Janney, The Diplomat Kali Reis, True Detective: Night Country Best Performance by a Male Actor in a Supporting Role on Television Tadanobu Asano, Shogun — WINNER Javier Bardem, Monsters: The Lyle and Erik Menendez Story Harrison Ford, Shrinking Jack Lowden, Slow Horses Diego Luna, La Máquina Ebon Moss-Bachrach, The Bear Best Performance in Stand-Up Comedy on Television Jamie Foxx, Jamie Foxx: What Had Happened Was Nikki Glaser, Nikki Glaser: Someday You'll Die Seth Meyers, Seth Meyers: Dad Man Walking Adam Sandler, Adam Sandler: Love You Ali Wong, Ali Wong: Single Lady — WINNER Ramy Youssef, Ramy Youssef: More Feelings The 2025 Golden Globes were announced on Monday, January 6, Australian and New Zealand time. For further details, head to the awards' website.
Even in 2020, the most unpredictable of years, the end of November marks two things: the shift to warm summer weather and an influx of Black Friday and Cyber Monday sales. While we may not celebrate Thanksgiving here in Australia that doesn't mean we can't enjoy some outrageous deals in the lead-up to the holiday season. To help you sort through all the emails and Facebook ads you're being served up right now, we've collected a few of this year's biggest sales in one place for you — so you can pick up between 20 and 70 percent off a new gym outfit, mattress or reusable cup.
Grab a dose of the world's best short films when the 25th Flickerfest International Short Film Festival comes to Brisbane on its national tour. Kicking off Thursday, February 11 at the Judith Wright Centre, Flickerfest will see three jam-packed nights of shorts, including great local Brissie content, inspiring Australian shorts and four short films that have been nominated for an Oscar this year — Ave Maria, Shok, Stutterer and Alles Wird Gut (Everything Will Be Okay). Flickerfest is the only competitive short film festival in Australia to be both Academy®Accredited and BAFTA-recognised, so expect these films to be top tier. Opening night on February 11 will see the 'Best of Australian Shorts' session, which includes The Meek, the story of a very small person trying to quit a very big bad habit, written and directed by Queensland-based Joseph Brumm and produced by Laura DiMaio, narrated by Myf Warhurst and scored by The Cat Empire’s Ollie Mcgill. Join opening night and you'll nab tickets to the post-screening afterparty. Friday and Saturday night, we'll heads overseas for the 'International' programs including four short films up for Academy awards. A not-to-be-missed highlight of Friday, February 12 is Balcony, winner of the Flickerfest Award for Best International Short Film, a powerful story set in a neighbourhood rife with racial tension. Then, on Saturday, February 12, it's the second 'International' program, with Alles Wird Gut (Everything Will Be Okay) which received a special mention from the Flickerfest jury for Best International Short Film, and sweet UK romantic comedy Stutterer — both nominated for Academy awards. Head to the Flickerfest website for more info on the program.
It's not every music festival that feels like a country weekend fete — and it's definitely not every music festival that feels like a country fete while being headlined by Rodriguez. But, hey, that's exactly what Fairgrounds 2016 promises to be. After a stellar debut last year — with Father John Misty headlining, no less — the boutique camping festival in the small NSW town of Berry is coming back this December. And the lineup has two big thumbs up from us. Taking over the local Berry Showgrounds on December 2 and 3, the two-day festival is making a triumphant return — much to the delight of everyone who went last year (including us). In a huge coup for the small festival in its second year, they've secured the legendary Rodriguez to headline on the Friday night. It's something of a self-fulfilling prophecy as the film in which Rodriguez is the subject, Searching for Sugar Man, was screened at the festival last year. Like last year, they've also nabbed some talent from Victoria's Meredith Music Festival, which will take place the weekend following Fairgrounds. In great news for NSW-bound music lovers, King Gizzard & the Lizard Wizard, Jagwar Ma, Angel Olsen and Japandroids will all be doing back-to-back festival weekends. There's a notable Aussie music presence (go team), with old hats The Drones and the ever-talented Sarah Blasko both playing the festival, along with Big Scary, who should be releasing their new album any day now. With a strong focus on the local NSW South Coast area, Fairgrounds isn't just about the tunes. Last year local nosh, market stalls and the local swimming pool played equally starring roles at this multifaceted festival — something we're sure made Berry residents pretty happy. Between watching films at the openair cinema, sack races, bouts of tug-of-war and dips in Berry's local pool (within the festival grounds and equipped with hectic DJ sets), punters feasted on local delights, from South Coast candy from Berry's own Treat Factory, and fresh rock oysters from An Australian Affair, harvested less than half an hour from the festival site. Plus pies, pies, pies, pies, pies. Straight-up, it warmed our jaded little hearts to see a smaller scale festival like Fairgrounds supporting local nosh, something still spearheaded by the likes of local loving' bigwigs like Bluesfest and Splendour. We can't wait to do it all again this year. Tickets go on sale tomorrow, Friday, August 19 at 9am. But we know what you're here for. Here's the full lineup. FAIRGROUNDS FESTIVAL 2016 LINEUP Rodriguez King Gizzard & The Lizard Wizard Angel Olsen Big Scary Jagwar Ma Japandroids Julia Jacklin Julien Baker Sarah Blasko Sheer Mag Son Little The Drones The Tallest Man on Earth Fairgrounds Festival will return to Berry on Friday 2 and Saturday 3 December, 2016. Onsite camping will once again be available from Friday. Tickets go on sale tomorrow, Friday, August 19 at 9am at fairgrounds.com.au. By Shannon Connellan and Lauren Vadnjal. Image: Andy Fraser.
There's a slight fuzz in the air on the East Coast. Twangy surf pop and singalong garage punk are teaming up in a predicted humdinger of a co-headlining tour — Brisbane charmers Major Leagues and Sydney's rascally trio Bloods have joined forces for one rambunctious escapade. Offering up gems from their Weird Season EP as well as snippets from their upcoming debut album, Brisbane's own Major Leagues have had major deal signings and huge festival appearances on their plate over the last year — prompting many a homegrown high-five and unashamed Brissy bragging rights. Bloods have their own reason to celebrate. Their latest single 'Want It' (to be officially launched on the tour) offers the sneakiest peek into their upcoming debut album, a hotly-anticipated LP set for release through brand new independent label Tiny Galaxy. Meandering into Black Bear Lodge on July 13, the local legends of fuzz, feedback and fun will throw down fast and furious sets one after the other. So gear up in your most easily toe-tappable, hair-thrashable threads and get a healthy dose of fuzz in your earholes, this one's going to be a right royal shindig. https://youtube.com/watch?v=n3NJc5ugGms
If ever your heart could be hugged by a live show, Tiny Ruins will leave yours well and truly cuddled. Following the release of their enchanting folk release Brightly Painted One, the native New Zealanders will head to Australia to crank out their softly spoken repertoire in a national tour. As well as giving their newest album a big ol' run around, Tiny Ruins will revisit tunes from their 2010 release Some Were Meant for Sea as well as their 2013 EP Haunts. Expanding her solo flight into a touring trio, Tiny Ruins' Hollie Fullbrook now hangs with bassist Cass Basil and drummer Alexander Freer as a trio. The threesome haven't had a holiday for quite some time, touring for the past few years through Australia, Europe and the US in highly coveted support slots for Fleet Foxes, Beach House, Joanna Newsom and Father John Misty to name a few. But now's no time for Tiny vacationing, with a national tour ready to kick off this July. The NZ folksters have plenty of Aussie radio feature albums, festival slots and critical accolades under their belts and have been gaining traction over the past few years with folk lovers worldwide. But Tiny Ruins are no stage hogs, inviting their buds Shining Bird and Aldous Harding along for the ride this time. Sydney favourites Shining Bird have spent the last year gaining high fives Australia-wide after the release of their debut album Leisure Coast gained the crew some serious festival appearances. Shining Bird aren't dudes to waste a touring opp, combining their support spot with their brand new 7" single. Aldous Harding is one of those Kiwi musical talents we'll casually be calling our own in a few years. You may not have heard much from her yet, but this Christchurch folk queen is just about to drop her debut album and counts this support slot on her first tour of Australia. Be sure to check her out — by all accounts, she's killin' it across the Tasman. Her self-titled debut so far has just the one single, 'Hunter', with the rest to be released on July 25. These shows are sure to be a very chilled affair — perfect for red wine, big jumpers and melodious swaying. Words by Shannon Connellan and Meg Watson. https://youtube.com/watch?v=jnqc4falhGk
The usually sparse, concrete surrounds of Port Melbourne's Fisherman's Wharf precinct have been given a dramatic facelift, jazzed up with the help of a huge, record-breaking artwork. Gracing the ground of the waterfront stretch, you'll now find a sprawling mural by Melbourne-based large-scale artist Kitt Bennett. And, not only is the 9000-square-metre design the largest mural in the southern hemisphere, but it's also nabbed the title of the world's largest independently produced work of animated 'gif-iti' — a term referring to gif-style graffiti or street art which is viewed online, as coined by UK artist ISNA. Called Revolution, the giant artwork was crafted using satellite technology and over 700 litres of paint, taking Bennett a whole 30 days to complete. Designed to be viewed from above, it features a row of ten individual 30-metre-long figures each in different poses which, when seen together, form separate frames in an animated sequence. A team of animators and designers have also optimised it for audiences, creating a fluid, gif-style animation that audiences will be able to view online. This new piece was born of a collaboration with local street art collective and street art collective and creative agency Juddy Roller, who you might know from teeing up Adnate's Collingwood public housing block mural last year, as well as regional Victoria's famed art silo trail. The Port Melbourne work has stolen the ultimate bragging rights from Perth's new Adnate hotel, which was previously home to the southern hemisphere's largest (and still its tallest) mural. That mural reaches 27 storeys in height, while Revolution covers the equivalent of 90 floors worth of ground space. A short film documenting the whole Port Melbourne mural process has also been created, and will be on show at an exhibition at Juddy Roller next month. It's designed to be seen from an aerial perspective, but Revolution is now gracing the ground at Port Melbourne's Fisherman's Wharf. For further information about Juddy Roller, visit its website. Top image: Nicole Reed.
Do you usually leave your gift purchasing until the last minute? Have you vowed to finally do better this year? Would you like to buy Christmas presents for all of your friends and family members all at once, and in the one spot — even if you currently have zero idea of what you'll get them? Enter The Made Local Market, which is like Etsy IRL — and is hitting Brisbane this spring to lend a hand with your festive shopping. Get a jump on Christmas more than a month early or treat yo'self; whichever fits, you'll have plenty to browse and buy. In the spotlight here: artisans, makers, artists and designers in local communities, with The Made Local Market giving them the opportunity to sell their creations in a physical space. So, whether you're on the hunt for handmade wares or vintage goods, these guys have got you covered. The market will take place in the Exhibition Building at the Brisbane Showgrounds from 9am–4pm on Saturday, November 4 and 9am–3pm on Sunday, November 5 — so spreading across two days. Because it focuses on the best local talent, every market is filled with different stallholders and unique creations, but there'll be more than 140 stalls at this one. Supporting creative small businesses and scoring a killer gift for your loved ones is a win for everyone involved, so head along and get your shopping sorted. Entry costs $2 — and, the whole thing will be cashless, so don't forget your cards. There'll also be craft workshops, maker demonstrations, food trucks slinging bites to eat, and plenty of places to get caffeinated.
Gone are the days when every image that flickered across the screen did so within an almost square-shaped frame. That time has long passed, in fact, with widescreen formats replacing the 1.375:1 Academy aspect ratio that once was standard in cinemas, and its 4:3 television counterpart. So, when a director today fits their visuals into a much tighter space than the now-expansive norm, it's an intentional choice. They're not just nodding to the past, even if their film takes place in times gone by. With First Cow, for instance, Kelly Reichardt unfurls a story set in 19th-century America, but she's also honing her audience's focus. The Meek's Cutoff, Night Moves and Certain Women filmmaker wants those guiding their eyeballs towards this exquisite movie to truly survey everything that it peers at. She wants them to see its central characters — chef Otis 'Cookie' Figowitz (John Magaro, Overlord) and Chinese entrepreneur King-Lu (Orion Lee, Zack Snyder's Justice League) — and to realise that neither are ever afforded such attention by the others in their fictional midst. Thoughtfully exploring the existence of figures on the margins has long been Reichardt's remit, as River of Grass, Old Joy and Wendy and Lucy have shown as well, but she forces First Cow's viewers to be more than just passive observers in this process. There's much to take in throughout this magnificently told tale, which heads to Oregon as most of Reichardt's movies have. There's plenty to glean from its patient static shots of the river and scrubby landscape circa 1820, and from the way that the director's three-time cinematographer Christopher Blauvelt shoots its leafy setting as a place of light and shadow. Most telling, though, is how First Cow constantly views Cookie and King-Lu within their surroundings. Sometimes, the outcast pair actively tries to blend in, but the film makes it clear that they're already consistently overlooked in the local fur-trapper community. Equally pivotal is the frequent use of frames within the feature's already-restricted imagery — sometimes via windows and doorways, as Certain Women did as well, or by peeking through the gaps in slats in the makeshift shack the pair decide to call home. Again and again, First Cow stresses that genuinely seeing these men, their lives, and their hopes, desires and attempts to chase the American dream, is an act of bearing witness to the smallest of details, delights, exchanges, glances and moments. Initially, after watching an industrial barge power down a river, First Cow follows a woman (Alia Shawkat, Search Party) and her dog as they discover a couple of skeletons nearby. Then, jumping back two centuries and seeing another boat on the same waterway, it meets Cookie as he's searching for food. Whatever he finds, or doesn't, the fur-trapper team he works with never has a kind word to spare. But then Cookie stumbles across King-Lu one night, helps him evade the Russians on his tail, and the seeds of friendship are sown. When the duo next crosses paths, they spend an alcohol-addled night sharing their respective ideas for the future. Those ambitious visions get a helping hand after the Chief Factor (Toby Jones, Jurassic Park: Fallen Kingdom) ships in the region's highly coveted first cow, with Cookie and King-Lu secretly milking the animal in the dark of night, then using the stolen liquid to make highly sought-after — and highly profitable — oily cakes. In its own quiet, closely observed, deeply affectionate and warm-hearted fashion, First Cow is a heist film. Reichardt's gentle and insightful spin on the usually slick and twist-filled genre bucks every convention there is, however. Tension is a regular part of Cookie and King-Lu's lives; they're introduced being denigrated and chased, after all. So, while the pair tests their luck during their surreptitious moonlight rendezvous with the titular bovine, the film's sense of strain only increases slightly. Here, the act of pilfering isn't the main attraction. Those midnight scenes are gorgeous — Cookie chats tenderly to the cow as he squeezes her udders, offering his condolences about the mate and calf that didn't survive the journey — but they're also brief. Reichardt is far more interested in the change that Cookie and King-Lu bring out in each other, their connection as kindred spirits in an inhospitable locale and their small-scale quest to subvert the status quo. With sensitivity and compassion, but also with an unflinching awareness of how the world regards those on its fringes, First Cow examines the home and hope that one person can find in another, too, and interrogates the ways in which America's embrace of capitalism can inspire, lift and crush as well. Bold plans, delicate subterfuge, big successes, fraught chases and sublime snatches of tranquility — all five play out in Reichardt's richly detailed and hauntingly soulful movie. Indeed, only she could've made this film sing as stirringly and bittersweetly as it does, and feel as transporting and resonant as it proves at every turn. Reichardt adapts Jonathan Raymond's novel The Half Life, co-scripting with the writer himself in their fifth collaboration. She's gifted with mesmerisingly soulful performances from Magaro and Lee, who play their parts so vividly and intricately that ten pictures about Cookie and King-Lu wouldn't be enough. But the empathy that seeps into each second is firmly one of the filmmakers's enduring and welcome hallmarks, as is the unwavering commitment to trading in the everyday and the intimate while excavating the perennial myth about the US being the land of opportunity. Reichardt's approach isn't unparalleled, though. Fellow directors Chloé Zhao and Debra Granik have splashed many of the same traits throughout their work, and have also helmed masterpieces as a result; see: Nomadland and The Rider in the former's case, and Leave No Trace and Winter's Bone in the latter's. The three share not just a willingness but an eagerness to chronicle narratives that would otherwise be overlooked, traverse more than the usual patches of land, champion oft-ignored perspectives, and challenge America's values and self-image — and they each make their films feel like their own. With First Cow, Reichardt is leisurely and loving, and also candid and devastating. She ensures that everyone watching her boxed-in frames rides those ebbs and flows, and that they're moved by every moment. Whenever she steps behind the camera, something astonishing always happens, as her filmography just keeps demonstrating — but First Cow is pure cinematic perfection. https://www.youtube.com/watch?v=-jWZ6P1rWy4
Hellenika might be your favourite eatery in Brisbane, Greek or otherwise. Perhaps you can't go past sAme sAme's Thai dishes and two-storey venue. You could be fond of ESSA's moody space, the wine and people-watching at Cru Bar and, of course, the frosty sweet treats at Gelato Messina. Congratulations — you're a fan of James Street, which fills a stretch from Fortitude Valley to New Farm with impressive culinary options galore. You should also be a devoted attendee at the precinct's annual food and drink celebration: the James Street Food and Wine Trail. Thanks to the event, which attracted more than 20,000 people in 2022, nothing says classic Brisbane like spending four whole winter days eating and drinking your way up and down this patch of the River City. Indeed, if you're a Brisbanite with a healthy appetite, there's only one place to be between Thursday, July 27–Sunday, July 30. Take your rumbling stomach and its yearning for something scrumptious down to the well-known stretch of shops — and then fill it with tasty treats from everywhere from Gerard's Bar and Harveys Bar + Bistro to Jocelyn's Provisions and Mosconi. Over JSFWT's 2023 run, James Street will become a culinary wonderland again, and highlight the gastronomic delights of the area. That includes devouring delicious dishes and drinks, of course, regardless of what kind of food, beverage or event takes your fancy. And, it also boasts a whole day of market activity. Whenever you decide to head by, you can hop on the trail. Follow the roadway to a feast of dishes and drinks; think: the returning favourite that is Gerard's Bar's Lebanese pizza party to start things off on the Thursday, Jocelyn's launching a funfetti cake sandwich on the same date, The Green doing a Friday-night dinner and Cantinho cooking up souvlaki to end the working week. Come Saturday, champagne menus and rooftop garden shindigs join the spread at ESSA and The Calile, respectively. Then, on Sunday, 33 businesses will unleash their wares on Market Day, which'll take over the entire street. Even though Gerard's Bistro will be closed for refurbishment, it's even hosting a stall. So is Mexican newcomer Carmen, plus The Nixon Room, Sunshine and more. Also on the agenda at the picnic-style Market Day event, which turns the roadway into a 300-metre-long outdoor dining room: live performances and live music. Yes, the street will be shut between McLachlan and Arthur Streets, to make room for five live music stages, tables and dance parties. Across the trail's full duration, one-off menu pairings, set menus and tastings at James Street's residents remains a big highlight. So does Messina's contribution: five limited-edition flavours, with one per day from Thursday–Saturday and two on Sunday. James Street Food and Wine Trail returns to James Street, New Farm from Thursday, July 27–Sunday, July 30. For more information, head to the JSFWT website. Images: courtesy of James St.
UPDATE, December 14, 2020: Marriage Story is available to stream via Netflix. Talk about a bait-and-switch. Marriage Story opens with Nicole (Scarlett Johansson) and Charlie (Adam Driver) penning tender, generous prose about each other, explaining why they fell in love and built a life together. As they speak, writer/director Noah Baumbauch pairs their praise with glimpses of the New York-based couple's romantic highlights. But these aren't love letters. Rather, as viewers disconcertingly discover, they're part of a pre-divorce therapy exercise. And while Marriage Story does indeed tell the tale of the pair's marriage, this devastatingly astute and empathetic drama does so within a portrait of their relationship's dying days and its rocky aftermath, particularly focusing on the custody battle over their young son Henry (Azhy Robertson). 'Talk' is a keyword here. It's not by accident that Baumbach starts his 12th film with two hearty, revelatory monologues — the first of many. Chatter has often played a large part in the acclaimed filmmaker's movies, with his characters exposing their woes and shortcomings with a sea of words — and his actors, including the astonishing Johansson and Driver here, benefit from meaty, multifaceted roles as a result. Greenberg's titular grump, Frances Ha's buoyant but directionless twenty-something and The Meyerowitz Stories (New and Selected)'s feuding family members all fit the above description. Everyone in While We're Young and Mistress America, too. In his ever-perceptive way, Baumbach hones in on figures whose lives are a shambles, then watches as they natter their way forward — revealing their fragile core while revelling in the minutiae of their existence. Nicole moves back to Los Angeles and tells her new lawyer (Laura Dern) about frustrations she hasn't dared voice in years: about being a rising Hollywood commodity who married an experimental theatre wunderkind, putting her wants and needs on hold, and feeling like Charlie was always directing their lives. And, as she does so, we don't just hear her story — we also learn about who she is, what she holds dear and where her path might lead, all while we listen and watch. When Charlie tries to juggle making the leap to Broadway for the first time and jetting back-and-forth to LA to see Henry, we go through the same process with him as gets annoyed with Nicole's decisions, pinballs around town, yet hardly makes the most of his time with his son. Marriage Story overflows with these kinds of scenes. The movie's duelling monologues basically continue from the outset, even when Nicole and Charlie are talking to others, or singing (which they both do) — and even when they're not saying a word. Taking the audience through these moments, and through the couple's clearly tumultuous times, Johansson and Driver are exceptional. It's through their achingly realistic work, and their way with Baumbach's witty and incisive script (and, yes, its words) that Marriage Story comes alive. Between this, his excellent performance in The Report, and standout turns in The Dead Don't Die and The Man Who Killed Don Quixote, Driver is having a fantastic year (and Star Wars: Episode IX – The Rise of Skywalker isn't even out yet). Meanwhile, demonstrating that she's acting's successor to the great Annette Bening, Johansson makes her biggest on-screen impact since the trio of Lucy, Her and Under the Skin. The two aren't just impressive — they make you feel Nicole and Charlie's ups and downs and, especially, the raw uncertainty about their new futures. And, they'll likely earn a string of well-deserved nominations and awards for their efforts, as should Dern as one of the uncompromising figures caught in the middle. (Ray Liotta and Alan Alda are also memorable as the legal eagles in Charlie's corner.) These are all sharp, layered performances that fill a big screen — perhaps a contentious point given that Marriage Story was funded by Netflix, and plays in cinemas before hitting the streaming platform in a few weeks. It might seem counterintuitive, but Baumbach's intimate, dialogue-heavy films and their accompanying portrayals soak up the light and room that a larger canvas provides, as if the director is putting his scenarios and characters under a magnifying glass. (He is, of course; that's what movies do.) His naturalistic imagery, lensed here by the visually talented Robbie Ryan (I, Daniel Blake, American Honey, The Favourite), also relishes the heftier format, laying bare the everyday interiors that fill the feature's frames, as well as the space that frequently blankets its protagonists. Indeed, in the movie's biggest confrontation, to watch Driver and Johansson go head-to-head against the beige walls of the west coast apartment Charlie doesn't even want to be renting is to witness the heart and soul of Marriage Story. Two people, ordinary surroundings, relatable circumstances, a whole lot of talk and a mess of whirling emotions — that's this shattering but phenomenal drama in a nutshell. https://www.youtube.com/watch?v=BHi-a1n8t7M
When it debuted in 2022 with a full-frontal embrace of feminism, penises and 70s porn for women, Minx instantly cemented itself among the year's best new TV shows. The setup: Vassar graduate and country club regular Joyce Prigger (Ophelia Lovibond, Trying) makes her dream of starting her own magazine come true, but for Bottom Dollar Publications pornography publisher Doug Renetti (Jake Johnson, Spider-Man: Across the Spider-Verse). Created by Ellen Rapoport (Clifford the Big Red Dog) and executive produced by Paul Feig (Last Christmas), the show wasn't shy about the industry it dived into, even if its protagonist initially was. It wasn't afraid to push the strait-laced Joyce out of her comfort zone, see the empowering side of erotica for the fairer sex and champion the female gaze, either. The end result: a savvy, smart and breezy series that was as layered as it was astute and funny — and, yes, one that happily filled its frames with male genitalia. It took mere months for Minx to score a season-two renewal, and welcomely; however, the path from that great news to the show's second go-around arriving — from Friday, July 21 on Stan in Australia — bears more than a little in common with the attitudes that the series rallies against. Originally made by HBO Max, HBO's US streaming service, Minx was then cancelled in December 2022 during production. Underestimating the appeal of something confident and unashamedly raunchy where women are in control? Yes, that's what this casualty of David Zaslav's cost-cutting measures at Warner Bros Discovery demonstrated. Luckily, fellow American network Starz then stepped in. Watching Minx's bigger, richer and deeper second season, it's mindboggling to think that it almost didn't make it to screens. "Minx is back and better than ever," announces Doug with his usual likeable, affable, shambling brand of swagger — the kind that Johnson long-perfected in New Girl, and also in film roles in Drinking Buddies and Win It All — and he isn't wrong. Of course, he's talking about the series' eponymous erotic mag, not the series itself, but he's on the money. First, though, the again vibrantly shot, styled and costumed show has season-one finale fallout to deal with, after Joyce and Doug ended their tumultuous working relationship. The former goes looking for a new publisher, with boardrooms overflowing with besuited men dropping compliments and promising money awaiting. Then billionaire and ex-shipping industry titan Constance Papadopoulos (Elizabeth Perkins, The Afterparty) shows an interest in the magazine, in supporting and mentoring Joyce, and in having Doug involved. Decades of TV sitcoms and procedural dramas have spent episode after episode testing their characters with problems, then restoring the status quo before the credits roll and the next instalment arrives. Minx falls into neither genre, nor that trap. Joyce and Doug were always destined to reteam as colleagues early in season two, but this series doesn't go backwards. There's a new dynamic at play with Joyce leading the charge, Constance pushing for growth and Doug attempting to find his best new angle. (Some ideas: hosting a screening of Deep Throat, international expansion and taking the mag from the page to reality Chippendales-style.) There's another case of mirroring, too, this time firmly within the show; the world at large navigates sexual freedom and the women's liberation movement, and Joyce and Doug endeavour to work out what that truly means for them, and also what they want it to. Egos and ambitions still clash, and the naked male form remains a frequent and ample presence, but Minx has evolved from a fledgling enterprise to a success both on- and off-screen. Within the series, that sees Joyce, Doug, Constance and the returning magazine staff — namely Bottom Dollar's former model Bambi (Jessica Lowe, Miracle Workers), photographer Richie (Oscar Montoya, Final Space), Doug's girlfriend and ex-secretary Tina (Idara Victor, Shameless), and Joyce's sister Shelly (Lennon Parham, Veep) — try to grasp what their ideal version of a popular, well-known, boundary-pushing Minx is. Making a splash sparks expectations and fame. It deepens the challenges and compromises. And it brings attention, competitors and the potential for bigger losses with bigger risk. Minx season two backdrops the workplace chaos — because yes, this is a workplace-set series as much as fellow 2022-debuting aces Severance and The Bear — with familiar historical details. Deep Throat is just the beginning, with Joyce profiled by Rolling Stone and enjoying a fling with a musician, and references to Gloria Steinem and Annie Leibovitz popping up. The Battle of the Sexes match between Billie Jean King and Bobby Riggs gets the men and women of the office competing themselves (including by swinging tennis racquets in an unorthodox way). Key parties get a shoutout via Shelly's new arc, which is playfully introduced via an errant earring spotted on her bedroom floor. That stray piece of jewellery does belong to another woman, but because Shelly has embraced suburban swinging with her dentist husband Lenny (Mad Men alum Rich Sommer). That isn't the only way that she's exploring herself sexually, and not just by reigniting her dalliances with Bambi, either. Joyce and Doug earn much of Minx's spotlight again, spending plenty of their time clashing and bickering as they learn and grow, but season two realises how strong the series is as an ensemble effort. There wasn't a disappointing performance among the key cast in season one, which the show leans into more heartily. Not just Shelly but also Bambi, Richie and Tina receive meaty arcs — with Bambi, now Bottom Dollar's Chief Fun Officer, wanting to be valued for more than her looks; Richie campaigning to service Minx's queer male readers but receiving homophobic responses; and Tina striving to be seen for her business acumen, not her trusty place at Doug's side. And, not just the excellent scene- and show-stealing Parham but also Lowe, Montoya and Victor turn in weighty portrayals to match. Surveying shifting gender dynamics as well as the complicated media landscape, Minx also knows that it's peering back to the past while pointing out what has and hasn't changed today. Sometimes, it's as direct as a centrefold, as witnessed when Joyce is invited onto a panel with other editors of female-centric publications, most of them are male and those men expect her to fight with the only other woman onstage. Sometimes, it builds slowly and steadily for just as spectacular an outcome, including as it widens its focus. Season two's only real issue: eight episodes doesn't feel like enough. Wanting more of a great thing? Now there's a very Minx problem. Check out the trailer Minx season two below: Minx season two streams via Stan.
Whenever a beloved sitcom comes to an end — as Brooklyn Nine-Nine will when it finishes up this year — it leaves a hole in your viewing schedule, and in your TV-loving heart. You can keep binging your favourites all over again, of course, and as many times as you like. But, although one-off specials, starry reunions and movie spinoffs keep happening more and more, you'll always be sad that you can't just look forward to a big batch of new episodes. The one silver lining: when the likes of Parks and Recreation and 30 Rock finished up their runs, the creatives behind them stayed in the sitcom game. Indeed, that's why B99 exists, and how The Good Place and Unbreakable Kimmy Schmidt came to our screens, too. And, over the past month or so, new shows from the key folks behind all of these series have just reached Stan. When it comes to Girls5eva, a word of warning: the hit song that brought titular fictional late 90s/early 00s girl group to fame is such an earworm, you'll be singing it to yourself for weeks after you binge through the sitcom that bears their name. That's to be expected given that Jeff Richmond, the composer behind 30 Rock and Unbreakable Kimmy Schmidt's equally catchy and comedic tunes, is one of the talents behind it. Tina Fey and Robert Carlock produce the series, too, so you what type of humour you're in for. Starring Sara Bareilles (Broadway's Waitress), Busy Philipps (I Feel Pretty), Renée Elise Goldsberry (Hamilton) and the great Paula Pell (AP Bio), Girls5eva follows four of the band's members two decades after their heyday. Their initial success didn't last, and life has left the now-fortysomething women at different junctures. Then a rapper samples their hit, they're asked to reunite for a one-night backing spot on The Tonight Show — and they then contemplate getting back together to give music another shot. As well as being exceptionally well-cast and immensely funny, the series is also bitingly perceptive about stardom, the entertainment industry and the way that women beyond their twenties are treated. Also, when Fey inevitably pops up, she does so as a dream version of Dolly Parton — and it's as glorious as it sounds. Check out the Girls5eva trailer below: Also now streaming its first season in full on Stan: Rutherford Falls. Michael Schur co-wrote and produced The Office, then did the same on Parks and Recreation and Brooklyn Nine-Nine, both of which he co-created as well. And, he gave the world The Good Place — which makes him one of the best in the business when it comes to kind-hearted, smart and savvy small-screen laughs. His new show continues the streak. Co-created with star Ed Helms and showrunner Sierra Teller Ornelas (Superstore), it boasts his usual charm and intelligence, too. And, as with every program he's had a hand in, it also boasts a top-notch lineup of on-screen talent. Plus, Rutherford Falls is immensely easy to binge in just one sitting, because each one of its ten first-season episodes leave you wanting more. The setup: in the place that gives the sitcom its name, Nathan Rutherford (Helms, Aunty Donna's Big Ol' House of Fun) runs the local history museum. One of his descendants founded the town, and he couldn't be more proud of that fact. He's also very protective of the towering statue of said ancestor, even though it sits in the middle of a road and causes accidents. So, when the mayor (Dana L.Wilson, Perry Mason) decides to move the traffic hazard, Nathan and his overzealous intern Bobbie (Jesse Leigh, Heathers) spring into action. Nathan's best friend Reagan Wells (Jana Schmieding, Blast) helps; however, the Minishonka Nation woman begins to realise just how her pal's family have shaped the fate of her Native American community. Also featuring a scene-stealing Michael Greyeyes (I Know This Much Is True) as the enterprising head of the Minishonka Nation casino, Rutherford Falls pairs witty laughs with warmth and sincerity, especially when it comes to exploring the treatment of First Nations peoples in America today. Check out the Rutherford Falls trailer below: The first seasons of Girls5eva and Rutherford Falls are available to stream via Stan.
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. That been-there vibe, like everyone watching has been Scott's Adam or Mescal's Harry — or Foy and Bell as the former's mum and dad — contributes to an ethereal atmosphere: anyone who has ever wondered where their memories and dreams end and reality commences, as we all do daily in an emotional sense, understands. So it is that Adam is caught between the past, the present and perhaps the future as he works on a new project, which gets him peering back at his childhood. Like sleepwalking, he's pulled to his 80s-era home where he discovers the parents that he lost just before he was 12 awaiting. They look the same as they did the last time that he saw them, but he's definitely an adult. What does a fortysomething queer man who grew up in the period, never had the chance to tell his mother and father who he was, and has a lifetime's worth of truths to share and grief to process, say and do when he gets a fantastical opportunity? That's one of All of Us Strangers' strands. Amid Adam's dancing with his nostalgia, this adaptation of Taichi Yamada's novel Strangers also flits from his family to his romantic relationships. He experiences almost everyone's biggest wish when Mescal's Harry comes knocking on his door with a bottle of whisky in hand in the apartment block that they both dwell in. They're the London building's only two residents, in fact. One lonely spirit recognises another and, after an initial rejection on Adam's side — he's that accustomed to being on his own — passion springs. In his flat and in ketamine-induced reveries at clubs, Adam and Harry see possibilities and find solace. They have deep-and-meaningful "this is why I am why I am" chats. They sink into their new idyll, as All of Us Strangers' audience does into the poignant flick. Despite what the movie's title proclaims about humanity even within its closest bonds, they try intensely and sincerely not to be outsiders to each other. With the Pet Shop Boys' version of 'Always on My Mind' and Frankie Goes to Hollywood's 'The Power of Love' on the soundtrack also aiding in setting a swooning mood, this is an intimate tale that innately and sensitively appreciates being consumed by the events, traumas and absences that've shaped you — and just as intuitively and compassionately recognises not just the perspective-altering delights but also the comforts of falling for someone. But Haigh doesn't stop there. Making a ghost story, a love story and a queer portrait in one, his film is characteristically layered. It also feels like the continuation of dialogues started in his past work, capturing what it means to be a gay man as per Weekend, to navigate life coloured by tragedy as in 45 Years and to yearn for a guiding hand as Lean on Pete did. Shooting scenes in the house that Haigh himself grew up in also helps build a movie that immaculately matches its aesthetics with its emotions. The decades-gone-by cosiness of Adam's time with his mum and dad is pivotal as All of Us Strangers conveys a certainty applicable to all parents and children: no matter how old the latter get, we all become kids again around the people who brought us into this world, frozen in time in our heads and hearts while weathering the passing years externally. As well as making ample and telling use of reflections and windows, Living cinematographer Jamie Ramsay heroes cooler tones whenever Adam is alone, but warmer hues when he has company. That touch ensures that embracing the fact that existing means co-existing with our histories like we're glimpsing reminders everywhere, as the feature does, observes the joys along with the sorrows and struggles. Penned in 1987 and translated into English in 2003, Yamada's Strangers has earned the cinematic treatment before courtesy of 1988 horror film The Discarnates by the late, great Nobuhiko Obayashi (who gave the world one of Japan's all-time entries in the genre with 1977's House). There's never any question that All of Us Strangers is Haigh's movie, however — or that his iteration is a wonder that reckons with heartbreak and hope in tandem. That's the power of the British filmmaker's output, including TV's Looking and The North Water. Whichever screen he's crafting stories for, the end results always linger on the mind. Scott's staggering — and subtle, and anchoring — portrayal is one of the latest pieces of proof. Mescal's unforgettably naturalistic supporting turn, plus the chemistry between the pair, provide others. No one leaves All of Us Strangers as an alien to its lived-in emotions, either — or, as Haigh so perceptively knows, goes into it that way to begin with.
When Robert De Niro asked his reflection who it was talking to, Joe Pesci questioned whether he was funny, and Leonardo DiCaprio crawled along the ground under the influence of Quaaludes, one man was responsible. Over a career spanning almost six decades, Martin Scorsese has brought tales of taxi drivers, goodfellas and wolf-like stockbrokers to the screen — and now an exhibition dedicated to his work is coming to Australia. From May 26 to September 18, the Melbourne's Australian Centre for the Moving Image (ACMI) will pay tribute to one of America's most iconic directors, exploring everything from his early experimental beginnings to the award-winning films that have shaped many a movie buff. If you're already a fan, you'll be in Scorsese heaven. If you've somehow resisted the charms of (or completely missed) the likes of Raging Bull, The Departed and Hugo — or his concert flicks such as The Last Waltz and Shine a Light, or even Boardwalk Empire and Vinyl on TV — then prepare to have your eyes opened. [caption id="attachment_561113" align="aligncenter" width="1280"] Exhibition section "New York". Photo: Deutsche Kinemathek / M. Stefanowski, 2013.[/caption] In its only Australian stop after wowing Berlin, Ghent, Turin and Paris, SCORSESE will present a collection of more than 600 objects spanning the filmmaker's entire cinema resume, as curated by the Deutsche Kinemathek, Berlin's Museum of Film and Television. Expect storyboards, hand-annotated film scripts, unpublished production stills, costumes, film clips and more, all drawn from the private collections of De Niro, Taxi Driver writer Paul Schrader, and Scorsese himself. No ACMI exhibition would be complete without a bustling lineup of screenings, talks and other events, so expect plenty of those as well. The complete program is yet to be announced, but we'd advise blocking out a few days to delve into the influence and impact of the guy who hasn't only mastered movies, but directed the music video for Michael Jackson's 'Bad' too. SCORSESE will run from May 26 to September 18 at ACMI in Melbourne. For more information, visit the ACMI website. Top image: Ray Liotta, Robert DeNiro, Paul Sorvino, Martin Scorsese, Joe Pesci in GOODFELLAS, USA (1990). Source: Sikelia Productions, New York.
If you're a Lorde fan, there's no better news than this: in February 2026, the 'Royals', 'Green Light', 'Solar Power' and 'What Was That' singer-songwriter will hit the stage in both Australia and New Zealand. The Aotearoan star's Ultrasound world tour has just locked in gigs Down Under, heading to six cities across the two countries, making dates with arenas at every stop. Ella Yelich-O'Connor last took her Solar Power tour to both nations in 2023. This time, as part of a run of concerts that begins in September 2025 in the US — and also includes gigs in Canada, the UK and across Europe before this year is out — she has levelled up venue-wise. First up on Wednesday, February 11, 2026 is Spark Arena in Lorde's native Auckland, then Wolfbrook Arena in Christchurch on Friday, February 13, 2026. After that, she's hopping across the ditch to play Brisbane Entertainment Centre on Monday, February 16, 2026; Qudos Bank Arena in Sydney on Wednesday, February 18, 2026; Melbourne's Rod Laver Arena on Saturday, February 21; and finally Perth Arena on Wednesday, February 25. [caption id="attachment_1012900" align="alignnone" width="1920"] Thistle Brown[/caption] The tour dates come fresh from Yelich-O'Connor's surprise 2025 Glastonbury set, as well as her fourth album Virgin releasing at the end of June, with the latter debuting at number one in Australia and New Zealand alike. This is her biggest tour of her career in general, too, with nights at the likes of Madison Square Garden in New York City and O2 Arena in London already sold out. Featuring the aforementioned 'What Was That' — her first original new track in four years — alongside 'Man of the Year', 'Hammer', 'Favourite Daughter' and 'Shapeshifter', Virgin also hit number one in the UK and number two on the Billboard 200 chart in the US. [caption id="attachment_1012904" align="alignnone" width="1920"] Joseph Okpako/WireImage[/caption] There might be a three-year gap between Lorde's last Down Under shows and her upcoming Ultrasound tour concerts; however, in addition to writing and recording Virgin, she's been busy making a surprise Sydney club appearance back in May 2025 at a Lorde-themed night. Since 2013, when her debut record Pure Heroine arrived, Yelich-O'Connor has also released 2017's Melodrama and 2021's Solar Power, won two Grammys, picked up a Golden Globe nomination for 'Yellow Flicker Beat' from the soundtrack for The Hunger Games: Mockingjay — Part 1 and notched up over 18 billion streams worldwide. Lorde Ultrasound World Tour 2026 Australian and New Zealand Dates Wednesday, February 11 — Spark Arena, Auckland Friday, February 13 — Wolfbrook Arena, Christchurch Monday, February 16 — Brisbane Entertainment Centre, Brisbane Wednesday, February 18 — Qudos Bank Arena, Sydney Saturday, February 21 — Rod Laver Arena, Melbourne Wednesday, February 25 — Perth Arena, Perth [caption id="attachment_1012901" align="alignnone" width="1920"] Thistle Brown[/caption] Lorde is touring Australia and New Zealand in February 2026, with ticket presales from 1pm local time on Tuesday, July 15, 2025 and general sales from 2pm on Friday, July 18, 2025 — head to the tour website for more details. Top image: Joseph Okpako/WireImage.
This part of the multiverse mightn't boast chefs controlled by raccoons, talking rocks and hot dog fingers, but it has turned a mind-bending movie spanning all of the above into one of the year's big awards contenders. Everything Everywhere All At Once is one 2022's very best movies, too, and it might soon have some shining trophies for its troubles from the 2023 Golden Globes. Awards season is upon us again, because the end of the year doesn't just mean all things jolly and merry — and the beginning of the new year isn't just about fresh starts and resolutions you likely won't keep, either. The Golden Globes will unveil its latest batch of winners on Wednesday, January 11 Australian and New Zealand time, but its just-announced list of nominees features plenty to get excited about, including a heap of 2022's must-see movies and TV shows. While the Oscars cover films and the Emmys focus on television, the Golden Globes spread its gongs across both formats, meaning that big-screen hits like Elvis and Top Gun: Maverick have scored some love, and so have small-screen favourites such as Severance and Wednesday. Topping the nominations on the movie side is standout Irish comedy The Banshees of Inisherin, including nods for stars Colin Farrell and Brendan Gleeson. School-set sitcom Abbott Elementary — think Parks and Recreation, but in a Philadelphia public school — leads the TV contenders. Reuniting Farrell, Gleeson and their In Bruges director Martin McDonagh, The Banshees of Inisherin nabbed eight noms, with Everything Everywhere All at Once picking up five, including for actors Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis. Next on the list, Damien Chazelle's Babylon and Steven Spielberg's The Fabelmans each turned their love letters to cinema into five nominations. On the small screen, Abbott Elementary picked up five nods, followed by The White Lotus, DAHMER — Monster: The Jeffrey Dahmer Story, The Crown, Pam & Tommy and Only Murders in the Building with four each. Other highlights include Glass Onion: A Knives Out Mystery scoring a nomination for Best Motion Picture – Musical or Comedy, and Daniel Craig for Best Actor in the same category; Emma Thompson's Best Actress nod in the same genre for Good Luck to You, Leo Grande; both Decision to Leave and RRR among the non-English language picks; and Angela Bassett receiving some Best Supporting Actress love for Black Panther: Wakanda Forever. And, there's The Bear picking up two noms (including for lead Jeremy Allen White) in the TV fields, Diego Luna's Andor nomination, Zendaya's Euphoria nod and Better Call Saul's final season being recognised, too. Although there's plenty to celebrate among this year's contenders — including a hefty showing for Australians, including Baz Luhrmann's Best Director nom for Elvis, and Cate Blanchett, Margot Robbie, Hugh Jackman and Elizabeth Debicki all picking up acting nominations (for Tár, Bablyon, The Son and The Crown, respectively) — the Globes are sadly back to ignoring women directors. If you're wondering what else is in the running, here's the full list of nominations: GOLDEN GLOBE NOMINEES: BEST MOTION PICTURE — DRAMA Avatar: The Way of Water Elvis The Fabelmans Tár Top Gun: Maverick BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — DRAMA Cate Blanchett, Tár Olivia Colman, Empire of Light Viola Davis, The Woman King Ana de Armas, Blonde Michelle Williams, The Fabelmans BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — DRAMA Austin Butler, Elvis Brendan Fraser, The Whale Hugh Jackman, The Son Bill Nighy, Living Jeremy Pope, The Inspection BEST MOTION PICTURE — MUSICAL OR COMEDY Babylon The Banshees of Inisherin Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — MUSICAL OR COMEDY Lesley Manville, Mrs. Harris Goes to Paris Margot Robbie, Babylon Anya Taylor-Joy, The Menu Emma Thompson, Good Luck to You, Leo Grande Michelle Yeoh, Everything Everywhere All at Once BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY Diego Calva, Babylon Daniel Craig, Glass Onion: A Knives Out Mystery Adam Driver, White Noise Colin Farrell, The Banshees of Inisherin Ralph Fiennes, The Menu BEST MOTION PICTURE — ANIMATED Guillermo del Toro's Pinocchio Inu-Oh Marcel the Shell With Shoes On Puss in Boots: The Last Wish Turning Red BEST MOTION PICTURE — NON-ENGLISH LANGUAGE All Quiet on the Western Front Argentina, 1985 Close Decision to Leave RRR BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE Angela Bassett, Black Panther: Wakanda Forever Kerry Condon, The Banshees of Inisherin Jamie Lee Curtis, Everything Everywhere All at Once Dolly De Leon, Triangle of Sadness Carey Mulligan, She Said BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE Brendan Gleeson, The Banshees of Inisherin Barry Keoghan, The Banshees of Inisherin Brad Pitt, Babylon Ke Huy Quan, Everything Everywhere All at Once Eddie Redmayne, The Good Nurse BEST DIRECTOR — MOTION PICTURE James Cameron, Avatar: The Way of Water Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once Baz Luhrmann, Elvis Martin McDonagh, The Banshees of Inisherin Steven Spielberg, The Fabelmans BEST SCREENPLAY — MOTION PICTURE Todd Field, Tár Daniel Kwan, Daniel Scheinert, Everything Everywhere All at Once Martin McDonagh, The Banshees of Inisherin Sarah Polley, Women Talking Steven Spielberg, Tony Kushner, The Fabelmans BEST ORIGINAL SCORE — MOTION PICTURE Carter Burwell, The Banshees of Inisherin Alexandre Desplat, Guillermo del Toro's Pinocchio Hildur Guðnadóttir, Women Talking Justin Hurwitz, Babylon John Williams, The Fabelmans BEST ORIGINAL SONG — MOTION PICTURE 'Carolina' by Taylor Swift, Where the Crawdads Sing 'Ciao Papa' by Alexandre Desplat, Guillermo del Toro, Roeban Katz, Guillermo del Toro's Pinocchio 'Hold My Hand' by Lady Gaga, BloodPop, Benjamin Rice, Top Gun: Maverick 'Lift Me Up' by Tems, Rihanna, Ryan Coogler, Ludwig Göransson, Black Panther: Wakanda Forever 'Naatu Naatu' by Kala Bhairava, M.M. Keeravani, Kala Bhairava, Rahul Sipligunj, RRR BEST TELEVISION SERIES — DRAMA Better Call Saul The Crown House of the Dragon Ozark Severance BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — DRAMA Emma D'Arcy, House of the Dragon Laura Linney, Ozark Imelda Staunton, The Crown Hilary Swank, Alaska Daily Zendaya, Euphoria BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — DRAMA Jeff Bridges, The Old Man Kevin Costner, Yellowstone Diego Luna, Andor Bob Odenkirk, Better Call Saul Adam Scott, Severance BEST TELEVISION SERIES — MUSICAL OR COMEDY Abbott Elementary The Bear Hacks Only Murders in the Building Wednesday BEST PERFORMANCE BY AN ACTRESS IN A TELEVISION SERIES — MUSICAL OR COMEDY Quinta Brunson, Abbott Elementary Kaley Cuoco, The Flight Attendant Selena Gomez, Only Murders in the Building Jenna Ortega, Wednesday Jean Smart, Hacks BEST PERFORMANCE BY AN ACTOR IN A TELEVISION SERIES — MUSICAL OR COMEDY Donald Glover, Atlanta Bill Hader, Barry Steve Martin, Only Murders in the Building Martin Short, Only Murders in the Building Jeremy Allen White, The Bear BEST TELEVISION LIMITED SERIES OR MOTION PICTURE MADE FOR TELEVISION Black Bird DAHMER — Monster: The Jeffrey Dahmer Story The Dropout Pam & Tommy The White Lotus BEST PERFORMANCE BY AN ACTRESS IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Jessica Chastain, George and Tammy Julia Garner, Inventing Anna Lily James, Pam & Tommy Julia Roberts, Gaslit Amanda Seyfried, The Dropout BEST PERFORMANCE BY AN ACTOR IN A LIMITED SERIES OR A MOTION PICTURE MADE FOR TELEVISION Taron Egerton, Black Bird Colin Firth, The Staircase Andrew Garfield, Under the Banner of Heaven Evan Peters, Dahmer — Monster: The Jeffrey Dahmer Story Sebastian Stan, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION Jennifer Coolidge, The White Lotus Claire Danes, Fleishman Is in Trouble Daisy Edgar-Jones, Under the Banner of Heaven Niecy Nash, Dahmer — Monster: The Jeffrey Dahmer Story Aubrey Plaza, The White Lotus BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A LIMITED SERIES, ANTHOLOGY SERIES OR MOTION PICTURE MADE FOR TELEVISION F. Murray Abraham, The White Lotus Domhnall Gleeson, The Patient Paul Walter Hauser, Black Bird Richard Jenkins, Dahmer — Monster: The Jeffrey Dahmer Story Seth Rogen, Pam & Tommy BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES Elizabeth Debicki, The Crown Hannah Einbinder, Hacks Julia Garner, Ozark Janelle James, Abbott Elementary Sheryl Lee Ralph, Abbott Elementary BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN A MUSICAL-COMEDY OR DRAMA TELEVISION SERIES John Lithgow, The Old Man Jonathan Pryce, The Crown John Turturro, Severance Tyler James Williams, Abbott Elementary Henry Winkler, Barry The 2023 Golden Globes will be announced on Wednesday, January 11 Australian and New Zealand time. For further details, head to the awards' website.
Maybe you're after an excuse to swap Brisbane for somewhere so scenic that the word is literally part of its name, just for a few hours, and while eating and drinking. Perhaps you're keen to hit up a weekend-long harvest festival, taste your way through a patch of southeast Queensland or getting sipping at mountainside distilleries. Or, you could be eager to spend a day celebrating carrots, including enjoying carrot ice cream. The event that covers all of the above: Scenic Rim Eat Local Month. For everyone who has ever been to a festival, soaked in everything it has to offer but wished it went for longer, the Scenic Rim's annual celebration of the region's food and drink demonstrated how firmly it understands that feeling back in 2023. Before then, the region hosted Eat Local Week as a massive incentive to wander around the southeast Queensland area. But the jam-packed event was always overflowing with things to fit in, so it made a big move, expanding to become Eat Local Month last year. There's no going back from that change in 2024, as the just-dropped second-ever month-long program makes clear. When it returns from Saturday, June 1–Sunday, June 30 to a region that was named one of the best places to visit in the world in 2022, Scenic Rim Eat Local Month will feature 120 food and drink events across its 30 days, in what marks the fest's 13th year overall (including its OG week-long format). More than 7500 people are expected to attend. Big culinary names get behind this treat for your tastebuds and wanderlust alike, with the festival enlisting ambassador chefs. On 2024's list for starters: Alison Alexander, Ash Martin (Eden Health Retreat), Brenda Fawdon (Picnic Real Food Bar), Cameron Matthews (Mapleton Public House), Caroline Jones (Three Girls Skipping), Daniel Groneberg (The Roadvale Hotel) and Glen Barratt (Wild Canary). They're joined by Javier Codina (Moda Brasa Bar), Josh Lopez (Lopez at Home), Kate Raymont, Richard Ousby (Tama and Ousby Food), Jack Stuart (Blume Restaurant) and Simon Furley (Embers Wood Fire), too. Elliot Platz (Kooroomba Restaurant) and Olivier Boudon (Roastbeef and the Frog) are showing 2024's Scenic Rim Eat Local Month some love as well. The program itself features 40 long lunches, degustations and dinners; 53 opportunities to meet local producers; 37 tours and related experiences; 23 workshops and classes; and over 50 parts of the lineup that are family-friendly. The full rundown will also get you hopping from Beaudesert, Kerry and Mount Alford to Beechmont, Kalbar and Tamborine Mountain. While the winter harvest festival isn't new, unleashing it in Kalbar and running it over an entire weekend is. It'll close out 2024's Scenic Rim Eat Local Month, complete with a harvest dinner on the Friday night, country music on the Saturday and farmers slinging their wares on the Sunday. Among the other highlights, Tamborine Mountain's growers get their own market day, a high tea is happening in the fields at Beechmont Estate, and the Fermented Food Festival will return for its second pickle- and sourdough-filled year. Or, you can dine in lavender fields, pick your own produce and edible flowers, blend spirits, make your own liqueurs and cheese, enjoy a game of lawn bowls, take a native foods tasting tour and tuck into a campfire lunch. At Mount French Lodge, the Long Lunch on the Lawn will pop up. The Roadvale Hotel is putting on a six-course degustation, Tommerup's Dairy Farm is celebrating 150 years in the business and Beaudesert itself is also notching up that anniversary. And for carrot fiends, because you'll be in a place where 600 million of the orange vegetables are grown each year, the Kalfresh Carrot Day is back — as is that aforementioned carrot ice cream for the month. [caption id="attachment_883177" align="alignnone" width="1920"] Tourism and Events Queensland[/caption] Scenic Rim Eat Local Month 2024 runs from Saturday, June 1–Sunday, June 30 at various locations in the Scenic Rim. Head to the festival's website for more information and tickets.
Are Nick Offerman and Megan Mullally comedy's funniest couple? Both together and apart, their resumes make a strong case for it. Here's another way to make that call: catching them live onstage together in Australia in their first-ever shared in-conversation session. It's a one-night-only date for the Parks and Recreation co-stars, happening to close out Vivid Sydney 2025. If you're as obsessed with one of the best American sitcoms of the 21st century as everyone should be, you will have spotted a trend at Vivid in the past two years. At 2024's festival, Amy Poehler was on the lineup, also getting chatting. Fingers crossed for Adam Scott or Rob Lowe in 2026. Yes, you should get the bacon and whisky ready for Offerman and Mullally. You should also prepare your ears for some high-pitched laughter. Making your own canoe? If you can, that's an appropriate way to celebrate, too. Taking place on Saturday, June 14, 2025 at the International Convention Centre Sydney, Offerman and Mullally's exclusive Vivid show is called Unscripted & Unfiltered with Nick Offerman & Megan Mullally, and falls into the Harbour City event's Global Storyteller series — which is also bringing Martha Stewart to the New South Wales capital in 2025, was why Poehler was on 2024's lineup, and has also seen The White Lotus' Jennifer Coolidge and Mike White, filmmakers Baz Luhrmann (Elvis) and Spike Lee (Da 5 Bloods), and Australia singer Troye Sivan get talking in past years. Parks and Recreation's on-screen Ron and Tammy Swanson were meant to tour to Australia together in 2016, but Mullally had to drop out due to a scheduling conflict, so Offerman came solo. When they finally make the trip by each other's side, the husband-and-wife duo have everything from their multi-hyphenate individual careers to collaborating as creative and real-life partners to dig into, alongside their LGBTQIA+ and environmental activism. "Megan and I are powerfully chuffed to get back to town for Vivid Sydney, but also to reprise our lovemaking session atop the Sydney Harbour Bridge. Once we have recharged those particular batteries, we'll be thrilled to transfer our slatternly energies to the Vivid Sydney audience," said Offerman, announcing Unscripted & Unfiltered with Nick Offerman & Megan Mullally. "Come for the anecdotes and the burlesque lust in our every turn of phrase, then get stretched out before you get home, because there's gonna be some canoodlin'." "We couldn't let Vivid Sydney take place this year without treating visitors to a masterclass in comedy. Nick and Megan are one of the funniest couples alive, and this conversation is set to be equal parts unpredictable and hilarious. Bolstering Vivid Sydney 2025's lineup alongside lifestyle icon Martha Stewart and the formidable Nigella Lawson, there really is something for everyone," added Vivid Sydney Festival Director Gill Minervini. Offerman and Mullally have also appeared on Will & Grace, Childrens Hospital, Smashed, Somebody Up There Likes Me, The Kings of Summer, Bob's Burgers, The Great North and Party Down together, to name just a few of their shared credits. The Last of Us, Civil War and the upcoming Mission: Impossible — The Final Reckoning are some of Offerman's recent other projects, while Dicks: The Musical, The Righteous Gemstones and Reservation Dogs are among Mullally's. Unscripted & Unfiltered with Nick Offerman & Megan Mullally takes place on Saturday, June 14, 2025 at the International Convention Centre Sydney, with tickets on sale on sale at 9am on Friday, May 9 via the festival website — and presales from 9am on Thursday, May 8 for Stan subscribers Vivid Sydney 2025 runs from Friday, May 23–Saturday, June 14 across Sydney. Head to the festival website for further information. Top image: Emily Schur.
In 2025, World Margarita Day has been and gone. February 22 might be the official date to say cheers to 'ritas each year, but it isn't the only time to celebrate the beloved drink in Brisbane. Fish Lane decided the extend the fun in 2024, starting its March Into Margarita festivities to dedicate an entire month to margs — on menus in general, as well as at events focusing on the cocktail. This year, from Saturday, March 1–Monday, March 31, the 'rita-fuelled fun is returning. Venues taking part include Bar Brutus, Chu the Phat, Julius, Kiki's, Midtown, Next Episode and Southside, all with special margs available across the month — and some with pop-ups as well. If you're most excited about trying different takes on a classic, your options include a fruit tingle variety at Midtown, a Tommy's yuzu margarita at Chu the Phat, a spicy mango tipple at Julius, and both watermelon and passionfruit at Next Episode. And yes, the OG marg is on offer at a heap of joints. If you're looking for a specific day to head along rather than simply dropping in whenever suits your diary, take inspiration from shindigs such as the Fish Lane March into Margarita Trail on Saturday, March 1. You'll stroll, you'll try different margs — classic and Tommy's — at different bars, and you'll take in the precinct's public artwork and greenery, too. Or, hit up the Margs-a-Million festival. Taking place on Sunday, March 16 across two sessions, it'll again see Southside serve up margaritas — ten types this year — and host a mezcal and tequila tasting station. Also, the folks from Baja are joining in to take care of the snacks, and mariachi music will set the mood. Southside and Baja are teaming twice, actually, the second time on Sunday, March 23 for three-course set-menu lunch that'll pair Mexican and Asian-fusion flavours, and also feature a range of agave-based drinks. A few days earlier, on Thursday, March 20, Chu the Phat is hosting The Phat Fiesta, complete with margs given Asian-inspired twists. The Margarita Edit is back at Midtown on Wednesday, March 26, with margs instead of its usual martini spread in the spotlight, plus small plates to line the stomach. Or, each Friday and Saturday in March from 3–5pm, you can head to Hello Please for margs, tacos and ceviche. It was true in 2024 and it remains the same in 2025: with all of this marg-centric fun, if you claim that you don't know what to drink to kick off autumn in Fish Lane, no one will believe you. March Into Margarita 2025 runs from Saturday, March 1–Monday, March 31, 2025. For more information, head to the Fish Lane Arts Precinct website. Images: Pixel Punk.
In 2023, Melbourne welcomed a brand new reason to explore the city in the thick of winter, and to make the most of the Victorian capital's arts and culture scene whether you're a local or looking for an excuse to visit. Announced in November 2022, then taking place in August 2023, Now or Never was that event — a sprawling fest filled with music, performances, installations, talks and more. Mark your calendars for 2024, because it's coming back again this year. The dates for your diary: Thursday, August 22–Saturday, August 31. The fest returns after proving a success on its first run, which featured work from 300 artists and creatives. This year's theme: 'look through the image', which is set to hone in on imagination, emotions and contemplation. While the program won't start being released until the end of May — with the full lineup dropping at the end of June — Now or Never will have big shoes to fill based on 2023's debut. Its highlights included Melbourne's historic Royal Exhibition Building hosting its first large-scale live music performances in over 20 years; Never Permanent, a one-day Semi Permanent headlined by Roman Coppola; and a 1.2-kilometre art trail through Docklands. Also helping usher in the first-ever Now or Never in a big way: a 360-degree cinema dome in the Melbourne Museum forecourt; 70-plus music performances in two days in a heap of other notable Melbourne spots; sculptural illuminations and projections over the Shrine of Remembrance. And that's only a small section of 2023's program. "After making an incredible debut last year, the City of Melbourne's newest festival Now or Never is back in 2024. The inaugural festival attracted more than 150,000 people into the city — generating almost $14 million in economic impact and supporting hundreds of local jobs and businesses," said Melbourne Lord Mayor Sally Capp, announcing the fest's return. "Now or Never will feature leading local and international artists and creatives across a program of groundbreaking music and audio-visual performances, immersive art installations, provocative talks, spectacular technology and much more." "We are focussed on bringing Melbourne to life in quieter periods like over the winter months. Major events are an enormous drawcard for tourists and visitors to Melbourne, providing a significant boost to the economy," added City Activation portfolio lead Councillor Roshena Campbell. Now or Never will pop up to cap off the coldest season of the year after RISING also fills the city with a feast of art, music and performances — a 2024 lineup that spans 105 events featuring 480-plus artists, in fact — to start off winter, running from Saturday, June 1–Sunday, June 16. Now or Never 2024 runs from Thursday, August 22–Saturday, August 31 around Melbourne — head to the festival website for further details.
One great thing about street art and public art is the way they make you see your surroundings in a different way, and draw your attention to spaces you might not have noticed otherwise. French artist Julien Coquentin has captured this in Please Draw Me a Wall, a photo series that playfully blends fantasy with reality. The photos include things like a man with a fishing rod in front of a wall of painted fish, or a little girl in a red coat staring at what appears to be a wolf. Coquentin hasn't revealed the location of the images, but Paris would probably be the most likely — the city is known for its vibrant street art scene and Coquentin is currently living in France. See more of Coquentin's images on his website or on his Behance page. Via Flavorwire
What's better than one stunning glimpse well beyond this pale blue dot we all call home? Several, each as spectacular as the next. If you're a fan of space — and aren't we all? — then this week has been huge for peering past the earth, with NASA releasing a number of images from the James Webb Space Telescope. First came the snap dubbed Webb's First Deep Field, aka the deepest and sharpest view of the universe that's ever been captured. Yes, showing the galaxy cluster SMACS 0723 as it appeared a whopping 4.6 billion years ago, and covering thousands of galaxies, it's quite the sight. NASA then backed that up with more pictures from the space science observatory that's been charged with peering deeply into our solar system and far beyond, and taking images of what it spots. Prepare to be dazzled again. Cosmic cliffs & a sea of stars. @NASAWebb reveals baby stars in the Carina Nebula, where ultraviolet radiation and stellar winds shape colossal walls of dust and gas. https://t.co/63zxpNDi4I #UnfoldTheUniverse pic.twitter.com/dXCokBAYGQ — NASA (@NASA) July 12, 2022 Perhaps the most astonishing has been called 'Cosmic Cliffs', and looks at a star-forming region NGC 3324 in the Carina Nebula — around 7600 light-years away. As captured in infrared light by the Webb telescope's near-infrared camera (NIRCam), it shows areas of star birth that have been obscured previously, and also proves the kind of sight that'll inspire a thousand big-screen space operas. Also phenomenal: two looks at the Southern Ring Nebula, a hot, dense white dwarf star, including one at its centre for the first time. One shows jagged rings of gas and dust, with light emanating from it — and, because perhaps the only reference point we have for looks at the heavens this stunning is everything that movies have thrown at us, it blows the best special effects you've ever seen out of the water. [caption id="attachment_861133" align="alignnone" width="1920"] Southern Ring Nebula[/caption] And, the Webb telescope has also captured Stephan's Quintet, a grouping of five galaxies. Again, there's a cinema tie — it's what the angel figures at the beginning of Christmas classic It's a Wonderful Life are based on. Located in the Pegasus constellation, it features galaxies located between 40 million and 290 million light-years from Earth: galaxies NGC 7320, NGC 7317, NGC 7318A, NGC 7318B, and NGC 7319. With these jaw-dropping visuals, NASA now has images of a dying star's last hurrah thanks to the Southern Ring Nebula shots, and pictures that'll help scientists explore galactic mergers and interactions, as well as black holes. Indeed, showing the world staggering sights is really just the beginning when it comes to the telescope's output. [caption id="attachment_861135" align="alignnone" width="1920"] Stephan's Quintet[/caption] "Today, we present humanity with a groundbreaking new view of the cosmos from the James Webb Space Telescope — a view the world has never seen before," said NASA Administrator Bill Nelson. "These images, including the deepest infrared view of our universe that has ever been taken, show us how Webb will help to uncover the answers to questions we don't even yet know to ask; questions that will help us better understand our universe and humanity's place within it." Yes, you're allowed to only want to stare at these pics for the next few minutes, hours and days. You're also allowed to summon your inner Keanu and exclaim the only thing that's appropriate right now: "whoa!". [caption id="attachment_861132" align="alignnone" width="1920"] Southern Ring Nebula[/caption] For more information about the James Webb Space Telescope, head to the NASA and James Web Space Telescope websites. Images: NASA, ESA, CSA, and STScI.
School's not only out for summer, it's actually out forever, with the latest Year 12 cohort receiving their final ATAR results over the next week or two. While that's pretty daunting, Nandos is here to put you in a celebratory mood, serving free chicken and chips meals to help students ring in their results. The idea comes courtesy of a Melbourne-based student named Kyla, who saw Nandos in the UK giving Year 12 students a free feed as an end-of-year favour. Asking whether the much-loved Portuguese chicken brand could do the same for her and her friends, the restaurant stepped up to shout students across Australia. Whether you're seeking a 99.95 or just happy that you'll never have to sit another exam, free chicken and chips is the great academic equaliser. Available to the first 100 students at each participating restaurant, just show your student card to score a free meal, featuring a quarter chicken, regular chips and a 600ml Coke Zero. Held on the ATAR release date in most states — Victoria is up first on Thursday, December 11 — there will be 30 locations around the country keen to take your order. So, grab your pals and celebrate (or commiserate) your score — just know that pretty much no one will speak of them again in a couple of years' time.
The pandemic, an idea and a twist. That's the path that brought Rita's, Teneriffe's new — and proudly unauthentic — taco and tequila joint to fruition. First, when COVID-19 started wreaking havoc in 2020, Aleks Balodis and Ollie Hansford were made redundant from their jobs as Head Sommelier and Executive Chef at Stokehouse Q. That inspired them to open Vernon Terrace spaghetti bar Siffredi's; however, they also kept being asked to whip up cocktails. So, they decided to take over the space next door, and to go heavy on tortillas and everyone's favourite agave spirit — but neither had been to Mexico, and nor had Daniel Pennefather (ex-Blackbird Bar & Grill), who joined the venture with them. Rather than try to serve up traditional dishes, the trio decided to embrace that lack of first-hand experience by coming up with their own blatantly unorthodox Australian-influenced taco menu. And they really have taken their cues from local sources, complete with a braised kangaroo tail taco that comes with Sriracha mayonnaise, salsa and pickled apple. The biggest Aussie nod: the kransky taco, which is Rita's ode to the humble Bunnings snag. Featuring both caramelised and crispy onions, as well as curry sauce, the highly creative taco came about exactly as you'd expect, with Balodis and Hansford spending a heap of time at the hardware chain. On Saturdays, they tucked into snags during their visits, naturally. That led to Balodis joking that they should do 'snag and mustard' on a taco, a concept the pair ran with. Other Rita's menu highlights include Korean cauliflower tacos with macadamia cream, crispy buffalo bug tacos with pickled red onion and grilled snapper tacos with potato. Patrons can also tuck into oysters with mezcal mignonette, grilled scallop and caramelised cashew skewers, raw tuna tostadas, and black bean and goat's cheese empanadas, as well as a tres leches cake made with salted tequila caramel for dessert. As for those much-requested cocktails, Rita's mixes up three types of signature margs thanks to Balodis and Pennefather, so you can sip versions with vanilla and coconut, prosecco and Aperol, and honey and lemon citrus. Or, there's both classic and Tommy's options, two Mexican lagers and Rita's own pale ale. And, obviously, tequila is a big feature — heroing small-batch boutique tipples.
Thirty-four-metres long, more than twice as big as a regular hot air balloon and ripped straight from Patricia Piccinini's inimitable mind, Skywhale 2013 might just be one of Australia's most recognisable recent pieces of art. And, this morning at sunrise (Monday, March 9), Skywhale took flight once again as part of the Canberra Balloon Spectacular. She'll make her second (and final) solo flight this evening at 8pm from the North Lawns — so, if you happen to be in Canberra, keep an eye on the skies. Then, as of May, Skywhale will be joined by her new companion, Skywhalepapa. The new floating sculpture is designed to form a family with Skywhale, with the second bulbous sculpture commissioned as part of the gallery's Balnaves Contemporary Series. In total, the pair will take flight six times during the nearly three-month Skywhales: Every Heart Sings exhibition — with launch locations at Parliamentary Triangle and yet-to-be-confirmed sites in Woden and Tuggeranong. [caption id="attachment_751759" align="alignnone" width="1920"] Skywhalepapa, 2019/20 (artist's sketch), Patricia Piccinini. Courtesy of the artist.[/caption] The structures' first co-flight is set to take place on Saturday, May 2 from Parliamentary Triangle. As reported by The Guardian Australia, the new balloon will be around 30 metres tall, 37 metres wide and weigh a whopping 400 kilograms. While the two were meant to take to the sky together today, Piccinini told The Guardian that it was better to have a "staggered approach" and allow Skywhale to be reintroduced to Canberra before Skywhalepapa (and the duo's attached children) take to the skies together. If you can't make it to Canberra to see the growing Skywhale clan, they will also tour the country later in the year, with locations and dates still to be confirmed. https://www.instagram.com/p/B9fIa3xHmDu/ Apart from the Skywhales: Every Heart Sings installation, the NGA is offering up a whole heap of top-notch exhibitions in 2020. It'll welcome Botticelli to Van Gogh: Masterpieces from the National Gallery, London in November, boasting over 60 works from European masters — most of which have never before travelled to Australia. Art lovers can also look forward to Know My Name: Australian Women Artists 1900 to Now, which'll shine a spotlight on the nation's female creatives; Belonging: Stories of Australian Art, a major collection of 19th-century Aussie pieces; a six-month focus on Chinese artist and activist Xu Zhen; and The Body Electric, a showcase of works by female-identifying creatives that are all about sex, pleasure and desire. Skywhales: Every Heart Sings launched today, March 9 at the National Gallery of Australia, Parkes Place East, Parkes, ACT. Additional flight dates are planned for May 2 through July 25. For further information about the NGA's 2020 lineup, visit the gallery's website. Top image: Skywhale, 2013, Patricia Piccinini. National Gallery of Australia, Canberra. Gift of anonymous donor 2019, Australian Government's Cultural Gifts Program.
It's that time of year again — Brisbane Powerhouse is about to play host to the annual, globally-touring World Press Photo exhibition. From June 30 to July 23, their exhibition space will display over 150 images painstakingly selected from 80,408 submissions by 5034 press photographers, photojournalists and documentary photographers from 126 countries to World Press Photo. That's a lot of photos. See what took out first prize in the contest's 60th year across categories including nature, sport, daily life and contemporary issues. Of course, the winner will be on display too — Burhan Ozbilici's chilling An Assassination in Turkey, which captured Mevlüt Mert Altıntaş mere moments after shooting the Russian ambassador to Turkey in an Ankara art gallery. Lighter fare includes a photo by Tomas Munita of The New York Times titled Cuba on the Edge of Change, which won first prize in the Daily Life: Stories category. The image depicts a barber shop — barber shop photography is quite the trend this month — in Cuba's Old Havana, taken shortly after the death of Fidel Castro.
UPDATE, December 23, 2021: Encanto is currently screening in Australian cinemas, and will be available to stream via Disney+ from December 25. Five years after Lin-Manuel Miranda and Disney first teamed up on an animated musical with the catchiest of tunes, aka Moana, they're back at it again with Encanto. To viewers eager for another colourful, thoughtful and engaging film — and another that embraces a particular culture with the heartiest of hugs, and is all the better for it — what can the past decade's most influential composer and biggest entertainment behemoth say except you're welcome? Both the Hamilton mastermind and the Mouse House do what they do best here. The songs are infectious, as well as diverse in style; the storyline follows a spirited heroine challenging the status quo; and the imagery sparkles. Miranda and Disney are both in comfortable territory, in fact — formulaic, sometimes — but Encanto never feels like they're monotonously beating the same old drum. Instruments are struck, shaken and otherwise played in the film's soundtrack, of course, which resounds with energetic earworms; the salsa beats of 'We Don't Talk About Bruno' are especially irresistible, and the Miranda-penned hip hop wordplay that peppers the movie's tunes is impossible to mentally let go. Spanning pop, ballads and more, all those songs help tell the tale of the Madrigals, a close-knit Colombian family who've turned generational trauma into magic. This is still an all-ages-friendly Disney flick, so there are limits to how dark it's willing to get; however, that Encanto fills its frames with a joyous celebration of Latin America and simultaneously recognises its setting's history of conflict is hugely significant. It also marks Walt Disney Animation Studios' 60th feature — dating back to 1937's Snow White and the Seven Dwarfs — but its cultural specificity (depictions of Indigenous, Afro Latino and Colombian characters of other ethnicities included) is its bigger achievement. The focal point of their jungle-surrounded village, the Madrigals are the local version of superheroes. They live in an enchanted home, complete with a magical candle that's burned for three generations, and they each receive special powers when they come of age. The latter wasn't the case for Encanto's heroine Mirabel (Stephanie Beatriz, Brooklyn Nine-Nine), though, and that absence of exceptional abilities has left the bespectacled teen feeling like an outcast. Plus, with her young cousin Antonio (Ravi Cabot-Conyers, #BlackAF) now going through the ceremony, Mirabel's perceived failings linger afresh in everyone's minds. But then la casita, as their supernatural home is known, starts cracking — the flame begins to flicker as well, as everyone's powers waver with it — and it looks like only its most ordinary inhabitant can save the day. Encanto doesn't refer to the Madrigals by any term you'd hear in a Marvel movie, but the imprint of Disney's hit franchise remains evident. Thankfully, director Byron Howard (Tangled), and co-writers/co-helmers Charise Castro Smith (Sweetbitter) and Jared Bush (Zootopia) have sprinkled in a few fun abilities — because mixing up a template sits high among the feature's powers, even when those generic underlying pieces can still be gleaned. Accordingly, one of Mirabel's sisters, Luisa (Jessica Darrow, Feast of the Seven Fishes), is super strong, but the other, Isabela (Diane Guerrero, Doom Patrol), makes flowers blossom with her loveliness. Similarly, while their aunt Pepa (Carolina Gaitán, The Greatest Showman) controls the weather, their mother Julieta (Angie Cepeda, Jane the Virgin) heals through cooking. In one of the most surprising moves ever made by all-ages film, Encanto also nods to Gabriel García Márquez and his novel One Hundred Years of Solitude (superheroes, Disney not-quite-princesses and Colombian magical realism, together at last!). It works because Encanto meaningfully ponders inherited woes and the weight of family expectations, and grounds them in past struggles and the cycles they kickstart. That's the Madrigals' story, as tied to Abuela Alma (María Cecilia Botero, Nurses). And, while delivered in bright and bouncy packaging, it includes noting how the pressure to excel and enchant has caused fissures. Indeed, due to her uncle Bruno (John Leguizamo, Playing with Fire) — who no one is supposed to discuss, as the aforementioned track trills — Mirabel isn't the only Madrigal wrongly deemed to have let the family down. Vibrant, rich, tender, sincere and lively (the songs, pace and lush computer-generated animation just keep earning the term): add in familiar, still, and that's Encanto. Perhaps it's an apt combination, considering that finding beauty in the seemingly standard is one of the movie's key messages. Or, maybe it's just what was always going to happen when the Mouse House mashed up such recognisable parts — there's plenty about Mirabel's tale that's pure Disney 101, too, and we've all enjoyed the childhood viewing to prove it — into a gorgeous and heartfelt love letter to Colombian culture. Either way, the movie remains a modest charmer and, with Beatriz's yearning yet resilient vocal performance worlds away from Rosa Diaz's growl, and her co-stars helping to make the picture melodic several times over, it's winningly cast as well. Encanto is also the fourth feature bearing Miranda's fingerprints in 2021, after In the Heights, fellow animated effort Vivo and his filmmaking directorial debut Tick, Tick… Boom!. Thanks to both his and Disney's involvement, it'll likely take the reverse route traversed by two of those titles and, The Lion King and Mary Poppins-style, end up on a stage sometime in the future. Such a production would inherently lack the creative cinematography that assists in making Encanto such a visual treat — especially in the imaginative journey that Mirabel takes in the movie's second half — but it'd dazzle as a live-action show anyway. One of the film's other joys is the fact that it's poised, fashioned, animated and sung like it's treading the boards already, and that why that's the case — why it exudes big musical energy, even when it feels like its threatening to overdo it at first — is cannily baked into its narrative.
After throwing open the doors to its new development in Brisbane in 2018 and announcing it'll be laying foundations in Sydney as well, the next destination on the horizon for luxe hotel chain W Hotel will be Melbourne. W Melbourne is slated to open in December 2020 on Collins Street in the middle of Melbourne's shopping heartland. Following Brisbane's ten-gallon baths and Sydney's flashy pool deck overlooking the harbour, the Melbourne digs look to be no less indulgent. W Melbourne will encompass 294 rooms and 29 suites, including an 'Extreme Wow Suite', which has its own 40-square-metre balcony with views of the Yarra, a jukebox and cocktail bar. Designed by New York-based Shop Architects, global design firm Woods Bagot and interior designers Hachem, W Melbourne will also house a 14th-floor spa, gym and a heated indoor pool with a gold-adorned roof, as well as a poolside bar and DJ decks. And, for those needing function space, W will have more of it than you can physically fill (under current COVID-19 restrictions, at least) — a 830-square metre space for conferences, meetings or holding lush balls. [caption id="attachment_673553" align="alignnone" width="1920"] Collins Arch[/caption] On the food and drinks front, you'll have four in-house venues to choose from. The 30-seat Warabi will be your go-to for Japanese fine dining, while Lollo will be run by a "renowned local chef" — we'll let you know exactly who that is when it's announced. Curious bar promises an "all-night experience" like "falling down a rabbit hole" and Culprit will flip from a cafe during the day to a wine bar at night. Functioning, too, as the bottom 20-storeys of a towering new precinct called Collins Arch, W Melbourne will sit on Flinders Lane. The $1.3 billion new precinct will be comprised of two towers of commercial, residential and retail spaces, joined at the top by a dramatic sky bridge. With international travel looking like it'll be off the cards for Australians for a little while longer, the opening of the dramatic W Hotel may be a good excuse to plan a trip to Melbourne or staycation when the hotel opens. W Melbourne is slated to open on Flinders Lane in December 2020.
It was back in September 2022 that Weird: The Al Yankovic Story first hit screens, premiering at the Toronto International Film Festival with its happily ridiculous take on its namesake's life, and with Daniel Radcliffe (The Lost City) sporting a mop of curls to play the titular part. And, it was in November last year that the film became available to stream in the US, releasing via The Roku Channel. Since then, however, there has been no sign of the movie Down Under. That is, unless you took Weird Al's advice. The man himself noted on Twitter at the time that "Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry." Roku's working on it. In the meantime there's VPN (Very Probably No) way to watch it legally. I'm sure you have a TORRENT of other questions, but I have to move along, sorry. — Al Yankovic (@alyankovic) November 5, 2022 Thankfully, come Thursday, March 2, Weird: The Al Yankovic Story will finally hit streaming in Australia thanks to Paramount+. When you're not getting yourself and egg and beating it, you might want to mark that date in your diary. This is the 100-percent Weird Al-authorised take on his own accordion-playing existence, so expect 'weird' to be the word in more ways than one. Indeed, in too many music biopics to count, a star is born — and also rises to fame after putting their talents towards a dream that's inspired them as long as they can remember. Weird: The Al Yankovic Story follows that same formula, but also parodies it. It wouldn't be a movie about Weird Al if it didn't take something that already works, then give it a satirical spin, now would it? "My whole life, all I wanted was to do... was make up new words to a song that already exists," Yankovic, as played by Daniel Radcliffe (The Lost City), says Weird's full trailer — which, yes, looks gloriously ridiculous. This line bookends glimpses of a childhood Al happily thumbing through accordion magazines and getting caught at a polka party. In other words, this humorous look at the man behind oh-so-many humorous songs takes the exact approach a film about Weird Al really has to. Viewers can also expect: accordions, obviously; recreations of Weird Al's film clips and live performances; oh-so-many Hawaiian shirts; chaotic meetings with Madonna, as played by Westworld's Evan Rachel Wood; and origin stories behind tracks like 'My Bologna' and 'Like a Surgeon'. Beneath wire-framed glasses, those shirts, that hair and Yankovic's instantly recognisable moustache — and in a piece of casting that seems like it jumped straight from the internet — Radcliffe looks to be having the time of his life as the musician behind 'Another One Rides the Bus', 'Smells Like Nirvana' and 'Amish Paradise', plus comedic riffs on pretty much every other big song of the past four-plus decades that you can think of. Yankovic is one of the screenwriters, alongside director Eric Appel (a TV sitcom veteran with Happy Endings, New Girl, Brooklyn Nine-Nine and top-notch cop-show parody NTSF:SD:SUV on this resume). If the man in the spotlight's career has taught us all anything apart from the wrong words to pop hits, it's that he doesn't take a single thing, including himself, seriously. Weird: The Al Yankovic Story will hit Paramount+ in Australia with perfect timing, because Yankovic is touring the country in March, playing Melbourne, Adelaide, Sydney, Perth and Brisbane. Check out the trailer for Weird: The Al Yankovic Story below: Weird: The Al Yankovic Story will stream in Australia from Thursday, March 2 via Paramount+.
Paula Scher has been painting maps since the 1990s. Using vibrant colours and stunning detail, some of these paintings have grown to stand at over 12 feet tall. 39 of her works of art have now been collected in her new book, aptly titled MAPS. The paintings actually house a remarkable amount of substantial information. In one painting, named 'International Air Routes', she has included flight paths and names of different airlines, while 'World Trade' has international currencies and trade routes. All of this information is crammed into an array of colours and geographical lines, which really have to be seen to be believed. Importantly, her book features close-up shots so the reader can truly appreciate every intricacy. Scher says "I began painting maps to invent my own complicated narrative about the way I see and feel about the world. I wanted to list what I know about the world from memory, from impressions, from media, and from general information overload. These are paintings of distortions.” In her book you will find maps of everywhere from China to New York City. Not only visually stimulating, Scher's pieces offer an individual distortion of the world and strong commentary about our society and often chaotic lifestyles. [via Cool Hunting]
From the team behind the massively successful production of Hairspray comes the classical Broadway musical, Bye Bye Birdy. Bye Bye Birdy is the 1960s rock 'n' roll inspired parody of what happens to a typical, small Midwestern community when a musician more than a little like Elvis Presley comes rolling through town looking for one last kiss before being shipped off into the army. Women love him, men want to be him and teenage girls across the country scream his name until they’re blue in the face at the mere mention of his name. Rock Star Conrad Birdie is the biggest thing to top the charts - until he gets drafted into the US military. Conrad’s long suffering agent, Albert, panics as he sees his cash cow packed off to very different pastures new, and plans one last big stunt for the rock’n’roll sex symbol.
Delayed and recut in the wake of the Aurora theatre shooting on July 20th, Ruben Fleischer’s much anticipated, star-studded crime flick Gangster Squad finally hits the big screen. In a post-war Los Angeles, prolific gangster Mickey Cohen (Sean Penn) has become the most feared and respected figure in a shady and violent criminal underworld. Determined to halt his relentless rise to power, police chief Bill Parker (Nick Nolte) and his wife, Connie (Mireille Enos) recruit a team of crack detectives to take him down. Calling themselves the Gangster Squad, Parker, Sergeant Wooker (Ryan Gosling) and detectives Harris (Anthony Mackie), Keeler (Giovanni Ribisis), Ramirez (Michael Pena) and Kennard (Robert Patrick) vow to stop Mickey Cohen, or die trying. With filming wrapped in December 2011 the release of Gangster Squad has been a long time coming, and the controversy surrounding its trailer’s similarities to the tragic events in Colorado have only added to its anticipation. One to watch.
The house where the Kerrigan family came to enjoy the serenity in the 1997 Australian film The Castle is now up for sale. While there's no pool room, the two-bedroom fibro shack boasts an open-plan kitchen, bathroom, laundry and combined dining and living area which opens onto the verandah, complete with original mozzie zapper. In recent years, the property has been used as a rental home, attracting city dwellers who want to reconnect with nature, family, and the vibe. Located 2.5 hours drive north-east of Melbourne on the banks of Lake Eildon, the beloved Bonnie Doon is a waterfront haven for those who love water sports, carp fishing and the smell of a two-stroke engine. https://youtube.com/watch?v=PmlMv5givwQ The property is enhanced by a magnificent set of power lines adjacent to the property, which stand as an important reminder of man's ability to generate electricity. It's also flanked by a vacant plot, so there's lots of spare ground if you want to dig a hole or practise kickboxing. As well as the property, the buyer will also be the proud owner of other pieces of memorabilia from the film, including Tracey Kerrigan's diploma of hairdressing from Sunshine TAFE, as well as a set of jousting sticks – a must-have for all family holidays. Sydneysider Richard Moseley first bought the property in 2006 for $170,000. It went on the market again in 2011 with an asking price of $195,000 but failed to sell and now it's set to hit the market again next week for $240,000. The last time it went to sale, the real estate agent was bombarded with calls from people who would ask the price — only to be followed with "You're dreamin!" and a dial tone. It apparently began to wear thin quite quickly. Via Domain.
