If you cast your mind back far enough, you might be able to remember a time when Tazos, Gameboys and the temperamental Tamagotchi reigned supreme, when a sherbet bomb or a Spice Girls playing card was the most respected form of social currency, the term 'apple' still referred to a fruit, bucket hats were cool in a non-ironic way and, most importantly, reading was exciting. It was an illicit and novel (mind the pun) activity, best carried out with the aid of a night light or torch after 8.30pm on a school night. It seemed the most pressing matter in the world was knowing what happened The Day My Bum Went Psycho and Andy Griffiths was the only one with the power to tell you, one five-page, giant-font-sized chapter at a time. No Mum, this could not wait until tomorrow morning. When the lunch orders, political games of four square and designated readers of primary school gave way to the cafeteria, MSN and condom-on-banana era of high school, English class filled the book-shaped void of childhood for many. If, like me, you were lucky enough to be graced by a literature teacher with an uncanny physical and temperamental resemblance to Miss Honey (if you don't get that reference, you’re reading the wrong article), a lifelong love of books was at this point cemented, as definitive as carefully scripted calligraphy on paper, preferably penned with the aid of a feather and pot of ink. As an adult sans parents, you are free to stay up as late as you want, poring over Hemingway, Bronte, Austen and… E.L. James. The only problem is, beyond a questionable internet forum of Pride and Prejudice enthusiasts who like to discuss Mr Darcy via webcam whilst simultaneously coiling their hair in rags to get into character (this is a very real phenomenon), it is difficult to find likeminded individuals with whom you can debate and pick apart the bitter lows and dizzying heights of your favourite protagonists before assigning each fictional character to a member of your friendship group and yourself. (Duh, of course you're Jane Eyre, except way prettier.) Enter the book club — not half as cringe worthy as a knitting group, less tragic than ballet classes for grown ups and offering similar potential for romance as speed dating, minus the unmistakeable whiff of desperation, they might just be the next big nostalgic hipster trend. You heard it here first. Courtesy of Laneway Learning's Book Club for Beginners class, led by self-confessed book nut Nicola (this woman once faked the death of a book club before reforming it, sans underperforming members, read: book clubs are her crack), here are the most important things to remember when starting, or attending, the intellectual's equivalent of the discotheque. Read the book — this one seems obvious, but in the excitement of choosing which spectacles to wear and what snack to bring in order to show everyone else up, it is often overlooked. Sparknotes don’t count. You’re only cheating yourself. Don't talk too much, nor too little. Just like Goldilocks, it's important to find the right balance between assuming the role of annoying know it all, unnecessarily referencing vaguely relevant high-literature to assert your intellect and the dreaded mute, offering nothing but unrelated everyday banter that has no place in book club. Which is a more serious offence, I cannot decide. If you're organising the book club, now is the time assume dictator-like authority. Book club is not a democracy — the instigator has the final word on location, reading list, members and snacks. The only thing up for discussion is the actual text and if you choose the right books, that should be more than enough to handle. Nicola regaled us with her one recorded observation of a book to the face — choose your members wisely, preferably without a history of violent paper-related assault, or it might not be the last. To theme or not to theme? This really is the eternal question. Opting to do so allows one to narrow down membership based on shared interest, whilst opening up the reading list to eclectic liquorice all-sorts exponentially increases the chance of discovering untapped passions, in the kind of magical way that can only take place from the comfort of one's lounge room, cup of Milo and paperback in hand. If you do decide to theme, examples include 'Dystopian' (1984 by George Orwell, Brave New World by Aldous Huxley and, The Passage by Justin Cronin), a theme which lends itself well to aluminium foil costumes and space cakes for afters, or my personal favourite, 'Mad Women' (The Yellow Wallpaper by Charlotte Perkins Gilman, The Bell Jar by Sylvia Plath and Wide Sargasso Sea by Jean Rhys). That one's best served with a side of your head in the oven. The last and most important rule of book club? You don't talk about book club. Because, well, they'll never understand. Image via hotgirlsreadingbooks.tumblr.com
Beside Brisbane Festival and BIGSOUND, the Valley Fiesta is one of the most looked-forward to events on Brisbane’s social calendar. It’s not hard to see why. Over two days and nights in late August, the Fortitude Valley precinct is transformed from a regular party hub to super-mega-ultra party hub. Brunswick Street and its surrounds are packed with revellers and live music stages for them to party. This year is looking to be massive for the annual bash, with musical guests coming from everywhere to perform. Peep this lineup: The Preatures, Dan Sultan, Allday, Jeremy Neale, Mosman Alder, The Creases, Remi and heaps more will be taking the stage. It’s going to be, as the kids say, heckers (read: hectic). Before I get ahead of myself, I should also remind you all that there is more to the Valley Fiesta than the music. The Chinatown Mall will be hosting a Chow Down banquet experience, there will be pop-up swap markets for all of you looking for funky new threads and Red Bull will be hosting a Crate Digger Music Market. Amazing right? OMG, I know. Clear your schedule for this weekend and be one with the party – you wont regret it.
Did you know that Will Ferrell is white? And that Kevin Hart is small? Do you think it would be funny if each pretended that they weren't? The minds behind Get Hard certainly do, explaining the odd couple meets fish-out-of-water comedy that results. Apparently laughs will flow freely if Ferrell tries to act like a gangsta being schooled by Hart punching above his weight. The key word is apparently. Things are going pretty well for stockmarket whiz James King (Ferrell), with a happy boss slash soon-to-be father-in-law, Martin (Craig T. Nelson), and an attractive fiancee, Alissa (Alison Brie), to prove it. Then, his engagement party is crashed and his dreams crushed by FBI agents waving around fraud and embezzlement charges. An unsuccessful attempt to prove his innocence later, and he's destined for 10 years of hard time. Afraid he won't be able to take it, he enlists Darnell Lewis (Hart), an aspiring carwash entrepreneur and family man mistaken for an ex-con, to teach him how to survive on the inside. Yes, he asks for help getting hard, hence the movie's title and many of its gags. Did you know that the phrase doesn't just refer to acting tough? Of course you do — but based on the amount of genitalia jokes in the screenplay, writer/director Etan Cohen (scribe of Tropic Thunder) and his co-writers Jay Martel and Ian Roberts (TV's Key and Peele) are really afraid that you don't. That also explains the frequent reminders that jail isn't a nice place and constant mentions of rape and violence, as well as the overt tone of panicked homophobia. Add rampant racism as well as the dismissal of Brie as a money-hungry sex object, and the end result is questionable at best and offensive at worst. Satire can't be used as an excuse, though the few moments that work — Ferrell dressed up like Lil Wayne while telling Hart that he's not trying to appropriate his culture, for example — indicate that was the aim. It takes more than simply pointing something out and then repeating it for the film to avoid stereotypes, but it just doesn't invest the time and effort. Get Hard even misses the mark on the easiest target here, and the one that actually makes sense: the ridiculously wealthy perpetrators of white-collar crimes that fleece the little guys for a big payday. Amid all the poorly judged humour, everything plays out as expected, the duo bumbling and bonding, and the film trying to coast by on star power alone. Ferrell and Hart both do what they can with the material, showing plenty of effort for little reward; however, even their innate talents can't save the show. This isn't the comedy vehicle either could've hoped for, nor a showcase for what might have been a great double act. Looking flatter and blander than any Hollywood effort should, it's not the movie anyone could've hoped for, either. The only thing getting hard here is the audience's patience.
Maybe you're a Sydneysider who just can't wait to be anywhere other than your own house for a night. Perhaps you're a Brisbanite in need of a staycation, or even a trip to Cairns. Whichever applies, once you've had both of your COVID-19 vaccinations, you'll score a little something extra during your next evening away — as long as you make a date with the Crystalbrook Collection hotel chain. The independent hospitality company has announced a new deal for fully vaxxed guests, with everyone that's received both jabs nabbing free room upgrades. So, your night away from your own bed will be a little bit more luxe, all without paying extra. The special is applicable until Monday, December 20, 2021, too, which will hopefully mean that Sydney will be out of lockdown and will have surpassed the 70-percent vaccination threshold — and that the New South Wales Government will have started loosening restrictions for jabbed folks. You do need to book online by Sunday, October 31, however, and be fully vaxxed when you make your reservation. Also, you'll need to show your Australian Government COVID-19 vaccination certificate when you arrive. Wondering where to start dreaming about spending an evening? In NSW, Crystalbrook Collection's hotel lineup includes Crystalbrook Albion in Sydney, Crystalbrook Byron in Byron Bay and Crystalbrook Kingsley in Newcastle. In Queensland, there's Crystalbrook Vincent in Brisbane, and Crystalbrook Riley, Crystalbrook Bailey and Crystalbrook Flynn in Cairns. "The effects of ongoing lockdowns have been devastating to hotels, restaurants and bars, and to the people that work within these industries," said Crystalbrook Collection CEO Geoff York, announcing the deal. "Vaccination is the key to saving our industry. Offering an upgrade to guests who have vaccinated themselves against COVID-19 is a small gesture of thanks so that we can revive travel and hospitality," he continued. Crystalbrook Collection joins an ever-growing list of companies offering vaxxed Aussies incentives to help encourage more folks to get their jabs — and to reward those who already have — including in the travel space. Qantas is handing out frequent flyer points and discounts to fully vaccinated Australians, for example, and Virgin Australia has announced that it'll launch its own set of initiatives, too. Crystalbrook Collection's free room upgrades for fully vaccinated guests are available for stays before Monday, December 20, with booking required by Sunday, October 31. For more information, head to the hotel chain's website.
In this fast-paced urban jungle we call home, sometimes you just need to venture into the great outdoors to clear your head and remember how beautiful life can be. We recommend driving out to one of the most genuinely beautiful spots in south-east Queensland, Tamborine National Park. Leave your comfort zone on the rocks as you plunge into icy-cold rainforest rock pools, then saddle up and go for a horse ride. The notion of city living will be long gone. There are walks and treks galore, and some of the most amazing scenery you'll see this close to Brisbane. Make the most of your Sunday, and hit the road out for Mt Tamborine. Why not even take the Monday off and turn it into your very own long weekend? Stay as budget as you like with campsites aplenty, or go luxe with a room at Cedar Creek Lodges. Image: Steve Garner / Flickr.
It's news that'll make you melt. Actually, it's news about the monarch of melted foods, to be precise. Everyone loves a good cheese toastie, however the folks behind Brisbane's next must-visit eatery really love them. In fact, it's their main menu item. Of course, with a name like Melt Brothers, the CBD spot's fondness for gooey cheddar between two pieces of warmed bread is front and centre. And really, why not open Brissie's first joint dedicated to slinging the ultimate in comfort food? Details such as an exact location and menu are still trickling through; however do know that they're opening in soft launch mode on November 21, and that they might be in the vicinity of Gresham Lane. We also know that Melt Brothers will be serving Fonzie Abbott coffee, and toying with ice cream concoctions. It'll also be licensed, which means toasties-and-beer combos, people. Basically, it's probably prudent to expect cheese on everything. And, if hunting down Melt Brothers to make your cheese toastie dreams come true is a little too tough, don't forget that Brisbane is quite the oozing cheese capital at present. Ronny's in Carseldine serves up quite the variety of jaffles, while Milton fromagerie Fromage [The Cow] has a cheese toastie window. Yep, it's a good time to be a melted dairy lover in this city. Find Melt Brothers in the vicinity of Gresham Lane from November 21. Keep an eye on their website, Facebook page and Instagram feed for more information. Image: Asnim Asnim.
Long considered Australia's go-to whale-watching spot, Queensland's Hervey Bay is now the world's first whale heritage site, too. Located a three-and-a-half-hour drive from Brisbane, the Fraser Coast city was bestowed the prestigious honours at this year's World Whale Conference, which was held in coastal locale over the past week — receiving the accreditation not only due to its considerable whale population across the second half of each year, but thanks to its respectful and responsible embrace of the animals throughout the community. Established by the World Cetacean Alliance, the Whale Heritage Site scheme aims to recognise places that "preserve cetacean species and their habitats". More broadly, the initiative is designed to promote the globe's most responsible whale and dolphin-watching destinations; help protect marine habitats by supporting local communities, especially when it comes to sustainable practices; and assist the development of spots that depend on the sea, particularly by encouraging folks to appreciate the significance of whales in the area. If you've ever headed north to spy the majestic creatures — or even just for a holiday — it's impossible to spend time in Hervey Bay without being reminded of its whale-focused eco-tourism industry. From July to November each year, humpback whales head up from Antarctica, using the site to rest and socialise on the way to their breeding grounds in the Whitsundays. Then, towards the end of the season, they pass by again on the 5000-kilometre journey back down south — which is when whale-watchers can see mother whales spending time teaching their young calves in the local waters. Naturally, there's no shortage of whale-watching tours in the area. Visitors can also head to the Fraser Coast Discovery Sphere, which, as well as featuring a 12-metre-high whale sculpture and a full-sized reproduction of a whale skeleton, explores and celebrates humpback whales and their place in the region. And, each July and August, the city also hosts the annual Hervey Bay Whale Festival. Already quite the tourist drawcard, the new WHS accreditation is expected to attract more visitors, unsurprisingly. Nearly 60,000 people went whale-watching in the region last year, Fraser Coast Tourism general manager Martin Simons told the ABC. While Hervey Bay earned the first whale heritage site slot, it's not the only spot to receive the nod, with The Bluff in Durban in South Africa named the second WHS site. Other locations under consideration include Vancouver Island North in Canada, Marlborough Sounds in New Zealand, Mosaic Jurubatiba in Brazil and Osa Peninsula in Costa Rica. Images: Mark Seabury via Visit Fraser Coast.
Maybe you've spent much of 2020 glued to the small screen, viewing your way through this year's lockdown periods. Perhaps, as cinemas have been reopening around the country, you've flocked to the big screen to get your movie fix. Either way, if you've been thinking and supporting local — as has been the trend all-round in 2020 — then you've had plenty of Australian films and television shows to watch. And, from this hectic year, the best of the bunch have just been singled out at the 2020 AACTA Awards. Previously called the AFI Awards, the AACTA Awards announced its nominees back at the beginning of November, then handed out its trophies on Monday, November 30. The accolades span multiple types of screen content, so a hefty number of local productions were vying for a gong — but there were two big winners, with one each in the film and TV fields. Just calling Babyteeth a teen cancer drama doesn't quite cover just how complex, nuanced and intimate the movie is, as AACTA members clearly agree. It was named Best Film, and also won Best Director (Shannon Murphy), Screenplay (Rita Kalnejais) Actor (Toby Wallace), Actress (Eliza Scanlen), Supporting Actor (Ben Mendelsohn ) and Supporting Actress (Essie Davis), from a total haul of nine awards. On the TV front, if you've watched miniseries Stateless this year, then you've seen the most-awarded television production of 2020. It received 13 gongs, including Best Telefeature or Mini Series, Best Lead Actor in a Television Drama (Fayssal Bazzi), Best Lead Actress in a Television Drama (Yvonne Strahovski), Best Guest or Supporting Actor in a Television Drama (Darren Gilshenan), Best Guest or Supporting Actress in a Television Drama (Cate Blanchett), Best Screenplay in Television (Elise McCredie) and Best Direction in a TV Drama or Comedy (Emma Freeman). Across both fields, other winners included Mystery Road (Best Drama Series), Upright (Best Comedy Series), Tim Minchin (Best Comedy Performer, for Upright), Standing Up For Sunny (Best Indie Film) and Firestarter – The Story of Bangarra (Best Documentary). Here's a rundown of the major nominations and winners — and you can check out the full list on the AACTA's website: AACTA NOMINEES 2020 FILM AWARDS: BEST FILM Babyteeth — WINNER H is for Happiness I Am Woman The Invisible Man True History of the Kelly Gang Relic BEST INDIE FILM A Boy Called Sailboat Hot Mess Koko: A Red Dog Story A Lion Returns Standing Up for Sunny — WINNER Unsound BEST DIRECTION Shannon Murphy, Babyteeth — WINNER John Sheedy, H is for Happiness Leigh Whannell, The Invisible Man Justin Kurzel, True History of the Kelly Gang Natalie Erika James, Relic BEST LEAD ACTOR George MacKay, True History of the Kelly Gang Sam Neill, Rams Richard Roxburgh, H is for Happiness Toby Wallace, Babyteeth — WINNER Hugo Weaving, Measure for Measure BEST LEAD ACTRESS Tilda Cobham-Hervey, I Am Woman Laura Gordon, Undertow Elisabeth Moss, The Invisible Man Lupita Nyong'o, Little Monsters Eliza Scanlen, Babyteeth — WINNER BEST SUPPORTING ACTOR Fayssal Bazzi, Measure for Measure Russell Crowe, True History of the Kelly Gang Aaron Jeffery, The Flood Ben Mendelsohn, Babyteeth — WINNER Wesley Patten, H is for Happiness BEST SUPPORTING ACTRESS Emma Booth, H is for Happiness Essie Davis, Babyteeth — WINNER Bella Heathcote, Relic Deborah Mailman, H is for Happiness Doris Younane, Measure for Measure BEST SCREENPLAY Rita Kalnejais, Babyteeth — WINNER Abe Forsythe, Little Monsters Leigh Whannell, The Invisible Man Natalie Erika James and Christian White, Relic Shaun Grant, True History of the Kelly Gang BEST DOCUMENTARY Brazen Hussies Brock: Over the Top Looky Looky Here Comes Cooky Firestarter — The Story of Bangarra — WINNER Slim & I Suzi Q TELEVISION AWARDS: BEST DRAMA SERIES Bloom Doctor Doctor Halixfax: Retribution The Heights Mystery Road — WINNER Wentworth BEST TELEFEATURE OR MINISERIES The Gloaming Hungry Ghosts Operation Buffalo The Secrets She Keeps Stateless — WINNER BEST COMEDY SERIES At Home Alone Together Black Comedy The Other Guy Rosehaven Upright — WINNER BEST LEAD ACTOR IN A TELEVISION DRAMA Fayssal Bazzi, Stateless — WINNER Bryan Brown, Bloom Jai Courtney, Stateless Ewen Leslie, Operation Buffalo Aaron Pedersen, Mystery Road BEST LEAD ACTRESS IN A TELEVISION DRAMA Jada Alberts, Mystery Road Rebecca Gibney, Halixfax: Retribution Asher Keddie, Stateless Pamela Rabe, Wentworth Yvonne Strahovski, Stateless — WINNER BEST COMEDY PERFORMER Milly Alcock, Upright Anne Edmonds, At Home Together Luke McGregor, Rosehaven Tim Minchin, Upright — WINNER Celia Pacquola, Rosehaven BEST GUEST OR SUPPORTING ACTOR IN A TELEVISION DRAMA Rob Collins, Mystery Road Darren Gilshenan, Stateless — WINNER Damon Herriman, The Commons Callan Mulvey, Mystery Road Ed Oxenbould, Bloom BEST GUEST OR SUPPORTING ACTRESS IN A TELEVISION DRAMA Cate Blanchett, Stateless — WINNER Jacqueline McKenzie, Bloom Ngaire Pigram, Mystery Road Tasma Walton, Mystery Road Jacki Weaver, Bloom
These days, I don't let early morning sunshine lull me into a false sense of security. The above average rainfall we've been experiencing is probably due to weather phenomenon La Niña, and I know it's bound to bucket down at some point during the day. Inevitably, my sky-blue umbrella has become my new best friend and I skulk in bookshops to avoid spontaneous downpours. Advertisers in the Netherlands have discovered a way to make the most of a rainy day. Fresh Green Ads creates street campaigns with eco-friendly materials that are revealed with a spot of wet weather. Lasting up to 8 weeks, ads fade away when the puddles disappear. Rain Campaign is a form of Clean Advertising, and according to the company "an environmentally friendly way of advertising on the street. With a template and a high pressure water sprayer the advertising message is cleaned out of the dirt on the street or on a wall. The result is a contrast between the dirty street and the clean message." Sand, crop and water drop campaigns are other forms of Clean Advertising offered by Fresh Green Ads. https://youtube.com/watch?v=ZjruygIIk9k https://youtube.com/watch?v=BLdEoj43nkY [Via PSFK]
If you've ever worked in a restaurant where you've had to throw out the still-good offcuts the kitchen doesn't need at at the end of a shift, worked at a supermarket where expired food has at to be tossed in the bin or simply opened your crisper to find a browned and shrivelled iceberg lettuce that you bought and promptly forgot about last week, you'll know that food wastage is rife basically everywhere. And even if you haven't been privy to all that, know that roughly four million tonnes of food is wasted in Australia each year. That's why food rescue charity OzHarvest exists — each day, they go around to cafes, restaurants, supermarkets, airports and hotels to collect the food they don't want and deliver it to people who need it. OzHarvest has been hugely successful at doing this. Since its creation in 2004, the charity has been instrumental in changing how food waste is handled in Australia. Led by founder Ronni Kahn, the organisation has successfully lobbied state governments to alter legislation to allow potential food donors (that is, the supermarkets, restaurants, etc.) to legally donate surplus food to charitable organisations. And now OzHarvest has taken their operation to the next level, by opening a 'rescued food' supermarket in Sydney. The OzHarvest Market is a physical store for all the rescued food the organisation collects. Rather than being delivered directly to charitable groups, the market makes some of the produce available to members of the public, and particularly those in need. That's because nothing at the market has a set price — it operates on a "take what you need, give if you can" model. "The OzHarvest Market is our latest innovation to tackle food waste and eliminate hunger," said founder Ronni Kahn. "It supports OzHarvest's purpose to nourish our country, by making sure good food does not go to waste and is available to everyone." The market is located on the ground floor of the Addison Hotel, which is currently being used as a refuge for homeless youth while the building owners TOGA await approval for a development. OzHarvest will inhabit the space for as long as it is available. The OzHarvest Market is open Monday to Friday from 10am till 2pm at 147 Anzac Parade, Kensington, Sydney. For more information, visit ozharvest.org/market.
Upstate has taken Melbourne and surrounds by storm, with its trademark high-energy fitness studios now spanning 13 locations with the recent launch of its Elsternwick studio. Now the brand is looking north to the Gold Coast, opening its first-ever interstate studio in Palm Beach. For those living in Goldy, expect the same vibrant design, feel-good vibes and fitness-focused sessions that have made Upstate such a hit down south. Situated just steps from the sand and surrounded by a host of top-notch cafes, the brand-new Palm Beach studio is headlined by Upstate's biggest reformer studio yet, featuring 29 beds primed for huge group workouts set to burst with upbeat energy. Speaking of workouts, Upstate is bringing its signature 45-minute full-body sessions to GC, offering a choice of Power, Burn or Strength classes, where you're invited to focus on your strength, endurance and mindset. "We're so pumped to bring the Upstate vibe to the Gold Coast," says Upstate Co-Founder and Co-CEO, Gail Asbell. "Palm Beach has the perfect energy for us — laidback yet vibrant. We can't wait to share our high-energy workouts and create a buzzing community here. This studio is a huge milestone for us, and we couldn't think of a better place to make our first Queensland debut." Launching in the heart of Palm Beach, just off the Gold Coast Highway, this outpost's radiant design reflects the bright and positive attitude synonymous with its studios. Immersed by the brand's iconic bursts of yellow, neon lights and steel finishes, it's basically made for setting up shop on the sun-soaked Gold Coast. "This year is a really exciting one for Upstate," continues Asbell. "We've launched our own Pilates Instructor Training program, introduced our first interstate retreat, and added Greece to our list of international retreat destinations for 2025. We're proud to be growing in ways that genuinely support our community, while working alongside incredible brand partners to create experiences that uplift and inspire." Upstate Palm Beach is expected to open soon at 4/1172 Gold Coast Highway, Palm Beach. Head to the website for more information.
As you're reading this, no matter what you've done today, you couldn't have done it without steel. If you ate something with a metal utensil, used a household appliance, or hopped on a bus or train, steel was involved. And that's just naming a few things. Yes, steel is certainly functional — but, it an be artistic too. At STEEL: art design architecture, QUT Art Museum explores the innovative and creative ways the titular material can and has been used. And, as the name also makes plain, the exhibition focuses its gaze on the realms of art, design and architecture. From industrial designers to jewellers, 29 different exhibitors are represented in this showcase of a substance that surrounds us on an everyday basis. It'll display at QUT's Gardens Point campus from February 17 to March 25, with admission free. Image: Brodie Neill, Reverb Wire Chair 2010 hand formed, mirror stainless steel rods. Photo: Marzorati Ronchetti. Collection of Patric Brillet of Patrick Brillet Fine Art Ltd.
Everybody loves degustations. If you like food — and who doesn't? — then you obviously like eating several courses of it, and then several more. All those plates of deliciousness can't make you forget one simple truth, however: even when you're feasting on six different delectable savoury dishes, you're still looking forward to dessert more than anything else. The solution? Make sweet treats the main attraction. And, if you're Woolloongabba's Electric Avenue, enlist a Brisbane chocolate-maker to help. Together, the bar and BASIK are unleashing a secret chocolate degustation upon the city, in the venue's secret Jack Rabbit whiskey hideaway. Tickets cost $99, and they're limited, unsurprisingly. Attendees will receive a decadent booze and chocolate combo that starts with a cocktail upon arrival, includes four canapes — including vegetarian options — because everyone has to eat something sensible, and then works through two sets of four bon-bon Chocolates, with one matched with the perfect alcohol pairings. Expect rum and eggnog to feature, of course. Expect to feel rather merry as well.
David Sedaris, you made a fool out of me! Three years ago I was reading your book ‘When You Are Engulfed in Flames’ on a bus and I snorted, hooted and cried with laughter, like a creature for whom ‘being human’ was a new concept. It was so bad that I had to put your book away, but this did nothing as the memories of your words, your perfect New York accent ringing in my ears, and an unhinged snort escaping persistently from my nose and mouth. Despite the fact that David Sedaris made a mockery of me, I would still encourage all and sundry to get to the Brisbane Powerhouse next week to see one of his rare live shows. Basically if you haven’t already realised, David Sedaris is very funny. His books are hilarious, but when you hear him tell his stories live he takes his hilarity to a whole other level! His is not PG humour – family, love, politics, sex, drugs, rock n’ roll – and every little and big thing in-between. All topics are all approached with his particular brand of brazen comedy, but it is fantastic - he actually says what we all think.
Get your shopping done under twinkling lights while surrounded by real (not plastic) Christmas trees. No, this isn't a festive dream — it's the reality of South Bank's annual Christmas markets. Whether you've been every year since you can remember, or you've never gone a-browsing at the inner-city spot, visiting The Collective Markets Christmas Edition is worth the trip. While the entirety of South Bank will be in the festive mood (think lights, carols and even fireworks on selected days), they can't steal the show from the most important part of the proceedings: the wares on offer at the rows of stalls. From 10am daily between Friday, December 13 and Monday, December 23, you'll find handmade toys, jewellery and other trinkets just begging to be given as gifts, as well as tasty treats to add to your Christmas feast. Yep, everyone's a winner here — with the Little Stanley Street markets open until 9pm until Thursday, December 19, then trading till 10pm between Friday, December 20–Monday, December 23.
You've probably heard of starting your day as you choose to go on, but how about starting your month in the same fashion? In the return of their popular series from 2017, Fortitude Valley's Institute of Modern Art wants you to kick off each of the 12 portions of the annual calendar in an engaging and artistic fashion, and they've curated the perfect events to help. At First Thursdays, artists are invited to take over IMA — and you're invited to enjoy the fruits of their efforts. Participatory art experiences will take over the Brunswick Street venue, be it performance, dance, visual art, food or music, for a fun night of experimentation from 6-8pm. Plus, the lineup changes each month, so it's never the same party twice.
There's never a bad time to watch a Studio Ghibli film, or a bad place. Thankfully, the cinema world agrees, delivering regular opportunities to catch the animation studio's flicks on a big screen. Still, we're betting you haven't settled in to view one on a shopping centre's rooftop. In news almost as exciting as venturing onto the greenery-filled upper reaches of the Studio Ghibli Museum — which you can absolutely do in Tokyo — this year's BrisAsia Festival is throwing a Lunar New Year Rooftop Party with a screening of The Tale of The Princess Kaguya. On February 24, you'll want to head to Sunnybank Plaza and head up to the top of the carpark. The fun kicks off at 4pm, with dragon and lion dancers, lantern workshops, markets, Kpop and plenty to eat, before the film screens when the sun goes down. Entry is free, as is the movie, but bring your wallet to feast on dinner from the nearby restaurants.
It might be icy cool within the Gallery of Modern Art's massive South Brisbane digs, but it's still shaping up to be a hot, hot summer. With two blockbuster exhibitions currently gracing the walls — Yayoi Kusama: Life is the Heart of a Rainbow and Gerhard Richter: The Life of Images — GOMA is positively scorching with the world's best art. Naturally, they're throwing a party to celebrate. A one-night-only version of its regular after-hours shindigs, Summer Up Late combines Kusama's dotty delights, Richter's poetic paintings, live music, bars and more into the type of revelry art galleries aren't always known for. The catch? You'll have to head along from 5.30pm on January 19, or forever regret missing out. Partying surrounded by pumpkins and stepping into a room filled with glowing orbs between drinks is just the beginning. You'll also stare at transfixing lines and walk through a snapshot of cultural history, all while enjoying tunes from Berlin-based electronic producer and performer Laurel Halo, Aussie singer-songwriter Lupa J and DJ Black Amex on the decks. And, if you're there by 6.30pm, mosey along the one-off sensory tour, which will make you experience the entire evening in a completely different way.
Forgo a quiet night in for an ace night's stay at the luxe TRYP Hotel in Fortitude Valley. Yes, they have room service, and yes, you should definitely go all out and choose the king room with a private outdoor spa on the balcony. The TRYP hotel is a design lover's delight, with edgy aesthetics and a formidable collection of street art by some of Australia's top artists. With artworks by Beastman and Rone (among others) adorning the walls, every room is a visual feast. And if you really want to take advantage of the staycation and avoid venturing out into the Valley for dinner, that's not a problem — the hotel restaurant, Chur (of Chur Burger fame) dishes up the good stuff until late. They also offer valet parking, so you don't even have to stress about finding a spot for the car.
So, you're the type of Brisbanite that buys their books from Avid Reader, their homewares from Nook and seeks out nut-based dairy products from Nutsy. You think Bee One Third neighbourhood honey is the bees knees, and you like to snack on Peruvian Munchies anytime you can. Sound familiar? Either all of the above, or just parts of it? If it doesn't, would you like it to? If you're a small-batch lover and a local-maker aficionado, you'll want to flock to Wandering Cooks' Yuletide gathering of Brissie's best — including all of the above, and more. From 3pm on December 16, you'll be spoiled for choice at the Small Batch Christmas Market. And, spoiled for gift options as well. Entry is free, and remember the golden rule of seasonal shopping: buying yourself a gift, or several, is a very important part of the festive process.
In 2014, Argentinian artist Amalia Pica undertook a residency at Gashaka Gumti National Park in the rainforest of Nigeria. During her stay, she observed the lives of chimpanzees, particularly their methods of communicating and their use of tools. In 2017, she followed up with a stint at Boulder Museum of Contemporary Art in Colorado, exploring the concept of inter-species communication and working with leading primatologists. please open hurry synthesises the results of her residencies into an exhibition, with her Institute of Modern Art showcase turning chimp communication — between themselves, and with other species — into art. Planet of the Apes and its many sequels and remakes, it isn't, as Pica takes a considered and creative look into her chosen field of interest. Reflecting the two parts of her research, the exhibition displays in two parts. First, see her Nigerian-inspired efforts until January 14, and then come back after February 2 for the next chapter. Image: Amalia Pica, Taller / Workshop, 2017. Tools made by chimpanzees out of forest wood to extract food such as honey or insects, felt pen, nails. Dimensions variable.
At this time of year, everywhere feels like a party — every bar, pub, venue, club and restaurant, and sometimes every street corner as well. We're all in a festive mood, there's plenty of beverages to be drunk and much to celebrate. That's what Christmas is all about. On Friday, December 6, The Fox Hotel is leaning into that idea by hosting Cheers and Beers. While the taps will be flowing inside the South Brisbane watering hole, as usual, plenty of tipples will be on offer outside as well. In fact, the shindig will take over Hope Street for a huge block party from 6pm. Entry is free, and attendees will find DJs spinning tunes on the street, as well as pop-up bars serving beer, wine and spirits. If you're keen on a cocktail, you can grab one inside, then bring it outside to the festival. And, if you're feeling hungry, there'll also be a pop-up taco bar too. Image: The Fox Hotel.
Even under normal circumstances, heading to the UK to see a theatre show isn't in most folks' budgets — which is why, for years now, Britain's National Theatre has beamed its performances into cinemas around the world via a series called NT Live. At the moment, with venues closed across the globe, the latter is obviously on hiatus. Enter a new initiative: National Theatre at Home. As the name makes plain, National Theatre is making its previously recorded productions available to viewers at home — so you can now get cosy on your lounge, put your feet up and pretend you're at the theatre. Shows will stream for free via NT's YouTube channel, with a different performance available each week. Each production will launch on a Friday morning, Australian and New Zealand time, then be available to stream for seven days. It all kicks off with Richard Bean's One Man, Two Guvnors starring James Corden, who won a Tony Award for his performance in the production's 2012 Broadway run. Catch it from 5am AEST on Friday, April 3 (7pm UK time on Thursday, April 2). Then, head back on April 10 for Sally Cookson's stage adaptation of Charlotte Brontë's Jane Eyre, journey to Bryony Lavery's version of Robert Louis Stevenson's Treasure Island on April 17 and enjoy William Shakespeare's Twelfth Night on April 24. On May 1, one of National Theatre's biggest and best shows will drop: its stripped-back version of Mary Shelley's Frankenstein, as directed by Trainspotting and Yesterday's Danny Boyle, and starring Benedict Cumberbatch and Jonny Lee Miller. When the production was performed live back in 2011, Cumberbatch and Miller swapped roles each night, alternating between playing Victor Frankenstein and his revived creation — and both versions are hitting the NT's YouTube Channel. After that, on May 7, comes more Shakespeare: Antony & Cleopatra, featuring Ralph Fiennes and Sophie Okonedo as the fated titular couple. Then, when May 14 rolls around, viewers can check out a never-bef0re-seen archival recording of Inua Ellam's Barber Shop Chronicles. Fans of classic American plays and fantastic actors can look forward to A Streetcar Named Desire from May 21 — with none other than Gillian Anderson as Blanche DuBois, alongside Ben Foster and Vanessa Kirby. On May 28, James Graham's This House will hit YouTube, while June 4 sees Tom Hiddleston join forces with the Bard for a performance of Coriolanus. Keep an eye on the National Theatre at Home website, too, because more productions are likely to be added afterwards. https://www.youtube.com/watch?v=Uh9_EdHDsV4 Top images: A Streetcar Named Desire, Johan Persson. Frankenstein, 2011, photo by Catherine Ashmore. Jane Eyre, 2015, Manuel Harlan. One Man, Two Guvnors by Bean, Author - Richard Bean, Director - Nicholas Hytner, Designer - Mark Thompson, Lighting - Mark Henderson, The National Theatre, 2011, Credit: Johan Persson. Updated May 9.
Quite frankly, if you didn't know where this Brisbane CBD bar was, you wouldn't find it in a hurry. Bucking trends by going below ground rather than to the rooftops, the American-themed live music venue is visible only by a small marked door and bouncer waiting outside. The first thing you'll noticed stepping through the laneway door simply marked with a neon sign stating 'BAR' is the blast of cold air conditioning. Perfection. Take the stairs down to Brooklyn Standard, your newest CBD hideout. Inside the interior looks as though, well, you've just stepped into downtown Brooklyn. There are brick walls, staff in baseball tees and American paraphernalia adorning the walls. A large neon sign sets the scene: 'if the music is too loud, you are too old'. But our favourite detail is the pistol-shaped fringed lampshades. Now, step up to the bar, and just be careful you order the right soda. It is here you'll find Brooklyn Lager on tap alongside a stack of unique brews from the USA, plus a tasty and fresh cocktail menu. Take your pick from the low-set tables and wooden booths, or leave one hand leaning on the bar. Open Monday to Saturday, you can expect to find excellent live music every night starting from 7.30pm, just check its Facebook for details. The place doesn't feel new, more like a classic thats part of the city's fabric. Here's hoping that that will contribute to its longevity. With a killer live music lineup, American beers and free table pretzels, it seems true the coolest bars can be found underground.
UPDATE, 2 AUGUST, 2018: After copping much backlash to its indefinite free-plastic bag offer, Coles has put a deadline on it — just 24 hours later. As reported by the SMH the company sent an internal email to staff notifying them that the offer would end on August 29. While an official statement has not been made by the company, we can only hope it sticks to its guns this time. In the next chapter of Australia's plastic bag saga, Coles has paused its ban again. And, this time, it'll be handing out free reusable bags indefinitely. The supermarket giant attempted to implement a nationwide single-use plastic bag ban on July 1, but announced just six days later that it would be giving them out for free for until July 8 (which was later extended to August 1). The reusable bags that are being given out for free would usually cost shoppers 15c. They're thicker, more durable and are made from 80 percent recycled plastic — and were meant to encourage shoppers to bring them back, again and again, rather than buying a new one each time. The reason Coles has backflipped on its ban is because, supposedly, customers "need more time". A company spokesperson told the ABC, "Some customers told us they needed more time to make the transition." The spokesperson continued, "Many customers bringing bags from home are still finding themselves short a bag or two so we are offering complimentary reusable Better Bags to help them complete their shopping." The complimentary bag offer is only valid in NSW, Vic, WA and Qld, as the other states and territories have already had single-use plastic bag bans in place for several years (SA leading the pack, introducing it back in 2009). The supermarket also offers a cloth bag alternative, its $1 Community Bags, which are designed by Australian school children and ten percent of sales are donated to charities. It's designed to be used repeatedly. Supermarket rival Woolworths, who also implemented a bag on July 1 and also temporarily gave them out for free, is currently charging for the 15c reusable bags.
UPDATE, April 1, 2021: The Wild Goose Lake is available to stream via Binge, Amazon Prime Video, Stan, Foxtel Now, Google Play and YouTube Movies. If you only watch one sultry, sprawling, neon-lit Chinese film noir this year — one where umbrellas are deployed as lethal weapons, zoo animals bear witness to a shootout and strangers dance in the street in glowing sneakers to Boney M's 'Rasputin' — make it The Wild Goose Lake. To be fair, no other feature will match that exact description anytime soon. No other movie will make a routine police search of a half-demolished building look like a real-world diorama, either, or watch as a character turns the tricky art of self-bandaging into an acrobatic performance. From its yellow-tinted opening frames, where two strangers meet outside a train station in drizzling rain, Diao Yinan's first film since 2014's acclaimed Black Coal, Thin Ice firmly carves its own visual niche. That's one of the evocatively shot gangster flick's charms. Spread across speedy motorcycle chases and frenetic underground brawls, too, these eye-catching images all tell the story of mob heavy Zhou Zenong (Hu Ge) and 'bathing beauty' Liu Aiai (Gwei Lun-mei). Following a mass underworld meetup to discuss stealing techniques, an impromptu contest dubbed "the Olympic Games of thievery" and the accidental shooting of a cop, he's on the run in the titular area. Both the law and fellow criminals are on his trail, and a ¥300,000 bounty is on his head. She's been dispatched as Zhou's escort by her gang-affiliated boss Huahua (Qi Dao) — and although she's just supposed to deliver messages and take the fleeing gangster where he needs to go, Liu is also a sex worker who plies her trade by the water. In flashbacks, the movie fleshes out their intertwined tales, including why Liu is the one meeting Zhou instead of his estranged wife Yang Shujun (Wan Qian). Visually, The Wild Goose Lake leaves a continued imprint; however there's a boilerplate flavour to Diao's script. After Black Coal, Thin Ice — another stylish, crime-filled neo-noir brimming with complex motives and ample duplicity — it almost seems like the filmmaker is painting by numbers in a narrative sense. He's certainly playing in a well-populated field, with no shortage of high-profile Chinese releases delving into the country's seedy underbelly of late (as seen in Jia Zhangke's Ash is Purest White and Bi Gan's Long Day's Journey Into Night). And yet, as recognisable as much of The Wild Goose Lake's story appears, it never feels like it's sending viewers on either a routine journey or a wild goose chase. Rather, that air of familiarity ripples with purpose and meaning. Indeed, the fact that these kinds of Chinese tales keep popping up and using the nation's unseemly side as a way of tackling societal uncertainty, restlessness and change makes a clear statement. Diao isn't yelling his views at anyone, though, or even conveying as strong a message about the state of his country as he did with his last film. Largely, he uses his narrative as the connective tissue that holds his stunning visuals together. If the writer/director and his returning cinematographer Dong Jinsong had planned out each strikingly shot and choreographed set-piece, then built a story around them, it wouldn't come as a surprise. The Wild Goose Lake is far more textured than a movie made in such a way ever could be, but its imagery is still the undoubted star of the show. If Nicolas Winding Refn was to splash his usual creative trademarks across a China-set gangster flick as a companion piece to the Los Angeles-based Drive and the Bangkok-set Only God Forgives, the end result wouldn't look as inky yet inescapably luminous as Diao's darkly gorgeous piece of cinema. With such alluring pictures flickering across the screen — including so many vivid amber and pink lights casting shadows across murky alleyways and rooms that the overall look should get repetitive, but doesn't — it's no wonder that Diao paces the film patiently. He gives audiences plenty of chances to soak in The Wild Goose Lake's sights, naturally. In taking his time to unfurl the feature's tale, he also conveys an apt sense of inertia as Zhou runs, Liu follows, both the cops and other crims try to track their every move, but no one ever really goes anywhere. And, in the process, he fittingly tasks his cast with giving quiet yet still expressive performances. This is the type of movie where, when dialogue is uttered, it usually says less far less than a look, a gesture or an actor's posture. Viewers don't get to know the film's characters as deeply as we could've, but it's still a very canny approach — with a feature this arresting, the audience is luxuriating in every inch of every frame from start to finish. https://www.youtube.com/watch?v=OpmpD3-CBqg
Finding somewhere to eat and/or drink along James Street is as easy as looking in any direction you like, but only one spot brings a fashion brand's aesthetic out of its clothing range and into a bar and restaurant. That venue: The Lodge Bar & Dining, the Brisbane bricks-and-mortar outpost of New Zealand's Rodd & Gunn, which has thrown open its doors in a heritage Queenslander on the popular Fortitude Valley roadway. Expanding from helping stock wardrobes to tempting tastebuds isn't new for Rodd & Gunn, which originally opened its first Lodge Bar & Dining in Queenstown in 2016, then expanded to Auckland in 2020, and also made the leap to Melbourne in 2021. Brisbane's addition to the list sports the brand's rustic-meets-sophisticated vibe in venue form — plus an impressive food and drink menu. Book in for a meal here, and you'll be tucking into a menu conjured up by The Lodge Bar Group's Executive Chef Matt Lambert, which goes heavy on seasonal produce and local ingredients. Seafood features prominently, including in entrees such as sea trout tartare; via oysters from Batemans Bay, Tasmania and Moreton Bay; and from a spread that also spans eucalyptus grilled tiger prawns, open fire grilled rock lobster and mud crab royale. Blue crab spaghetti, buttered bug rolls and grilled rock lobster are big highlights, too. And, if you feel like forking out $250 for a 100-gram serving of caviar, you'll get whatever's the best at the time. Also standouts: pork terrine, muscovy duck breast, coal-roasted sun choke gnocchi and the wagyu of the moment. The Lodge Bar Group's Master Sommelier and Group Beverage Manager Cameron Douglas has come up with a wide-ranging drinks list to match — think oh-so-many wines from Italy, France, Spain, Argentina and Australia, with 36 percent of the vino offering hailing from New Zealand; and a range of creative libations that includes a rose gold negroni. There's even a dedicated cocktail room, should they be your tipples of choice. The 749-square-metre, 150-seat space also features oak wood flooring, wool rugs, and plenty of leather and brass decor, channelling an alpine mood. But the two-storey spot also makes the most of its classic Queenslander-style wraparound balcony, giving patrons a taste of NZ and the Sunshine State at once. Peering out over both James and Robertson streets come with the territory as well, naturally. While dropping in for a bite to eat and a beverage or several is the main attraction, the ground floor has been designed to let you mosey easily from its corner bar with banquette seating through to the retail space; as a Rodd & Gunn venue, being able to shop the brand's clothing was always going to be on the cards. Upstairs, there's another bar, a private dining area and that aforementioned balcony.
When you're spending the best part of month hopping around Brisbane checking out art and design events as far as the eye can see — when you're making the most of Brisbane Art Design for 2023, that is — you're bound to work up a hefty appetite. This fest unfurls 150-plus events, making it quite the busy time. Thankfully, BAD Food Truck Night at Craft'd Grounds precinct is one of them. Mark Friday, May 19 on your calendar and make an after-work date with this excuse to grab a bite and a drink, and also watch live art. In Albion's converted builder's yard, you can celebrate the end of the working week, too — and the festival, of course — while listening to tunes by Jeremy Beamish and scoping out Scribble Slam street artists. [caption id="attachment_879387" align="alignnone" width="1920"] Full Stop Social Media[/caption] The BAD part of the moniker isn't a reflection of the culinary and beverage offerings, but stems from the acronym for Brisbane Art Design. Sorella & Co, 2 Serial Grillers and Bubbo Dessert will be among the food trucks, with cuisine on offer from 5pm and live tunes from 6pm. Top image: Lovelenscapes Photography.
Max Doyle is one busy dude. In between photographing the bold and the beautiful for leading publications such as Vogue, Nylon and Elle, he is also the editor in chief of Doingbird, plays in the Sydney band Songs, coaches girl's soccer, and is even set to venture into film making. The self-confessed “odd” and “revengeful” photographer is intrigued by the simplicity of flash; “the great thing about [it] is that it freezes movement, so everything goes off in crazy directions, and … you never see that … with your eyes, [and that] makes it even more other-worldly, I think.” From humble beginnings as a photographer's assistant in London during his late twenties, Max is now a fashion photographer in high demand. Pick up a recent issue of Australian Vogue and chances are there will not only be a photoshoot by Max inside, he’s probably responsible for the cover image too. Not one to slow down, the multi-talented Max Doyle is about to bring his latest collection Drums to Nine Lives Gallery. Touring as the front man of The Songs with bands such as Spoon and Deerhunter, Max has been documenting how a drum kit endures during a gig via a series of before an after shots. The resulting exhibition is Drums, a collection of around 50 shots taken while on tour over the last few years. Amongst the intriguing visuals, the opening night will feature talented local drummers including Nick Norton, Alex Gilles and Susie Patten
This post is presented by the All New Toyota Corolla Sedan. There's plenty of fun to be had in this city each week, but there's only a small handful of truly fresh urban adventures to be had. We've partnered with Toyota to find the very best of these shiny-new experiences in Brisbane. Presented by the All New Toyota Corolla Sedan, these are our picks to put you on the road to a life of goodtimes. Now your only challenge is getting to them all. This week is all about jaffle appreciation, rooftop hot tubbing, handling the heat and smashing art forms together. Eat: Little Pawpaw It can be hard being the younger sibling, especially when your older sister is so successful. This week the Venzin Group (owners of Pawpaw Cafe, Mons Ban Sabai, Picnic and Green Papaya) made the bold, unheard of move to open their fifth venture north of the river. Going where no southsider has ever gone before, Little Pawpaw’s first week has not been without rave reviews and we hear they are bringing back the jaffle. Enjoy the kitsch and vibrant interior while sipping your favourite Campos brew. 145 Kitchener Road, Kedron Drink: Limes Fortunately for us Queenslanders, it’s never too late in the year to celebrate a rooftop relaunch. Limes Hotel’s top deck was recently refurbished, and finally christened last weekend — with Olympic synchronised swimmers to seal the deal. Expect a relaxed space to kick back at the alfresco cinema, enjoy resort-style drinks and a Sunday afternoon barbecue, or stay up late for the midnight pool parties. Most notable to the reno are the two rooftop hot tubs. Pack your togs (or not) and head over for a dip. 142 Constance Street, Fortitude Valley See: Seen + Heard GoMA is here to prove that pop culture isn’t all Andy Warhol and Simpsons references. The latest exhibition, Seen + Heard, is here for a good time, not for a long time, and draws on major artworks, installations and multiples from the gallery’s collection. The works address the intersections, clashes and marriages of pop culture, music, sound and visual art with pieces from sculptural sound pioneer Nam June Paik and musical, performance and sound installations to keep you ticking. See it and hear it until April 3. Do: judge a chilli comp Kettle and Tin is doing the honours by kicking off Brewsvegas’ with the first festival event, the Second Annual Chilli Cook Off. This Sunday contestants coming from various Brisbane restaurants will compete for the prestigious title of Chilli Master. If you think your tastebuds are ready to handle the heat, trot on over from 11am to help judge the People’s Choice award. And when the spice gets the better of you, Burleigh Brewing Co will have your back with a crafty cold one.
It's hard to believe, but it's somehow already that time of year when blokes start sporting some pretty silly facial hair looks. It's a fun time, but it's also for a very important cause. Movember is the leading men's health charity that raises funds for mental health, suicide prevention, prostate cancer and testicular cancer. And after everything this year has thrown at us, these all-too-common health issues deserve more attention than ever. It's super easy to get involved: just register via the website or app, start collecting donations from your friends and family and then just... stop shaving your top lip on October 31. But to really ensure the new mo makes an impact and your donors get the biggest bang for their buck, you need to start with a clean slate. So, we've put together a list of top-notch barbershops around Brisbane where you can get a quality wet shave in preparation for your month of mo growing. We're talking hot towels, cut throat razors and super fancy skincare products — the whole shebang. Update: Due to COVID-19 restrictions, some businesses mentioned may be operating differently. Check websites before making any plans.
Located in prime real estate on James Street is Calexico. The Brisbane-born business has made a name for itself by stocking hard-to-find fashion from some of the biggest labels in the game. Last year marked the ten-year anniversary of the store, which now stocks around 125 international labels as well as smaller, emerging designers. Brands like Nili Lotan, Rag and Bone and Jimmy Choo are right at home here. The stylists take a mix-and-match approach to their suggestions and aren't shy about pairing clothes in unexpected ways to suit your style. Book in a session with a stylist and get complimentary tailoring or check out the online store here.
If you consider yourself a bit of an adrenaline junkie, then visiting Sky Park is a must on your trip to Tropical North Queensland. Not only is it the one place in Australia where you can actually take the bungee jump plunge, but you'll get to do so while being cradled by lush tropical rainforest. Located 15 kilometres north of Cairns, here you can leap from the 50-metre bungee that teeters over a stunning natural lagoon. Or, strap into the giant swing to reach speeds of up to 120 kilometres per hour in just three seconds with two mates side by side. If you're not quite ready to take the bungee plunge, try the 140 metre high walk the plank obstacle instead. Whether you're a seasoned jumper or are ready to take your very first leap, the 16 different styles on the jump menu will accomodate for all levels of thrill seeking and ensure you experience a rush like never before. [caption id="attachment_828485" align="alignnone" width="1920"] Tourism Tropical North Queensland[/caption]
Get set to jump up, jump up and get down, just go ahead and jump, or get jumpin' jumpin at Northshore Hamilton from Saturday, June 29 to Sunday, July 14. Whichever jump-themed song you now have stuck in your head, it's appropriate. We are talking about a pop-up inflatable theme park, after all. Setting up shop at the waterside spot over the school holidays (and over at Bribie Island's Sandstone Point Hotel if you happen to be in that vicinity), The Inflatable Factory is fun for kids and kidults alike, boasting quite the range of blow-up bouncy attractions. On-site you'll find a 12-metre-high slide, a Zorb ball ramp and a 20-metre-long wild west obstacle course — plus a bubble soccer arena, and more. Tickets cost $19 for as much jumping around as you can fit into two hours — which, let's face it, is probably just about the right amount of time. If you do want to stay longer, you can purchase an extra hour for $7. There's also coffee and snacks available as well.
Becky with the good hair gets a shoutout in Swarm. Facial bites do as well, complete with a Love & Basketball reference when the culprit flees. This seven-part series about a global pop sensation and her buzzing fans and stans also has its music icon unexpectedly drop a stunner of a visual album, ride a white horse, be married to a well-known rapper, become a mum to twins and see said husband fight with her sister in an elevator. Her sibling is also a singer, and plenty of folks contend she's the more interesting of the two. Still, Swarm's object of fascination — protagonist Dre's (Dominique Fishback, Judas and the Black Messiah) undying obsession — sells out tours, breaks Ticketmaster and headlines one of the biggest music festivals there is. And, while they call themselves the titular term rather than a hive, her devotees are zealous and then some, especially humming around on social media. Donald Glover and Janine Nabers, the show's creators and past colleagues on Glover's exceptional, now-finished Atlanta — Nabers also worked on Watchmen, too — couldn't be more upfront about who they're referring to. No one says Beyoncé's name, however, but Swarm's Houston-born music megastar is the former Destiny's Child singer in everything except moniker. In case anyone watching thinks that this series is trading in coincidences and déjà vu, or just failing to be subtle when it comes to Ni'Jah (Nirine S Brown, Ruthless), the Prime Video newcomer keeps making an overt opening declaration. "This is not a work of fiction. Any similarity to actual persons, living or dead, or events, is intentional," it announces before each episode, all of which stream from Friday, March 17. Ni'Jah is Swarm's sun, radiating her vastly popular glow upon all who choose to bask, and upon the world in general anyway. Always orbiting her from a distance, Dre is the show's earth. This is the latter's tale, as she starts the series as a twentysomething in 2016 who still adores her childhood idol with the same passion she did as a teen and, instalment by instalment, shows how far she's willing to go to prove it. Swarm's debut scene features Dre excitedly tearing open an envelope containing the credit card she needs to buy expensive Ni'Jah tickets she can't afford, which she's purchasing as a birthday present for her best friend and housemate Marissa (Chloe Bailey, Grown-ish). Alas, before the first set of closing credits run, that concert-going dream will be tainted by tragedy and murder, sending Dre across the country to chase her hero, confront Ni'Jah naysayers and work out if she's anyone beyond a stan. Thoroughly unrelated fellow 2023 arrival Poker Face commences in a similar fashion — not with pop goddesses and the people who are crazy, drunk and sometimes dangerously in love them, but with a friendship fractured and a road trip springing in the aftermath. While Swarm isn't a mystery-of-the-week series, it does see Dre head to different places, take up various jobs and befriend an array of people, and lets each chapter unfurl as a largely self-contained narrative. It's also anchored by a compelling lead performance, and one that's calibrated to make a statement. As Dre, Fishback is commanding. She stings with vulnerability and fierceness alike, and floats between the two expertly. Crucially, while she's ferocious, she's purposefully the opposite — or near enough — of Ni'Jah's Queen Bey-esque vision of perfect Black womanhood. Even if Swarm wasn't in formation with the star who runs many fans' worlds, Dre would remain a character rarely seen on-screen. From The King of Comedy through to its own ardent admirer Joker, and including Misery in-between, pop culture isn't lacking in ultra-dedicated enthusiasts who've sipped more than lemonade and can't stop worshipping — but they're never Black women. As Atlanta did before it and so gloriously, Swarm unpacks stereotypical representation. It tears into fame and its costs and consequences as well, plus true-crime and its formula, and it's clearly unafraid of real-world parallels. Surging with the surreal and savage, too, it whirrs and fizzes on a heightened plane (that Swarm's episodes could slot easily into Atlanta is an immense compliment). Awkward to the point of barely speaking at the outset — she lights up in Marissa's presence, then withdraws whenever Khalid (Damson Idris, Snowfall), Marissa's boyfriend, is around — Dre is the type of protagonist that audiences can't look away from even at her worst. Journeying from strip-club gigs to communes, she traverses a coming-of-age story, but a brutal one. Fishback's resume has ample highlights, such as a BAFTA nomination for Judas and the Black Messiah, and also-excellent work in Show Me a Hero, The Hate U Give and The Deuce, but she turns in the TV equivalent to Mia Goth's phenomenal recent work in Pearl here. Both tell of young women who don't feel like they belong, want more than their lot than life, and sport hopes and dreams they're constantly told are pure fantasies. Both won't simply accept that reality, either, no matter who or what gets in their way. There's a particular potency to Glover, aka Childish Gambino, helping to tell Swarm's toxic showbiz fandom tale. Again, the series leans into letting art blatantly imitate and riff on life — not with references to his own career, but in nudges to IRL fame wherever it can. Bailey is one half of Chloe x Halle, a singer and star, and even a former Beyoncé co-star and protege. Popping up as an erotic dancer, Paris Jackson (Gringo) is the daughter of Michael Jackson and, yes, has an album as well. When Dre finds herself with a NXIVM-inspired group, Billie Eilish plays its leader Eva. Brother to Macaulay and Succession's Kieran, Rory Culkin (Under the Banner of Heaven) also features. So does Glover's own sibling Stephen. And, among Swarm's staff writers is Malia Obama, credited as Malia Ann. Winking and nodding serves Swarm nicely, filtering down to its co-director Ibra Ake, who held the same position with Beyoncé's The Lion King visual album Black Is King — a movie where Donald Glover voiced Simba and Beyoncé voiced Nala. Top-notch craft that's as immersive and textured as Atlanta always was, all while veering more prominently into psychological horror-meets-satire territory, proves as important and deftly executed (with the Glovers and Honk for Jesus, Save Your Soul's Adamma Ebo also behind the lens). Indeed, Swarm is a gripping series to look at and listen to, and a feat in aesthetics and sound; often grainy and saturated with red, and also literally buzzing whenever Dre's deeds are about to get violent, it's meticulous at plunging viewers into its headspace. Getting obsessed is easy — which, like any pop hit and its hooks, is aptly and knowingly all by design. Check out the trailer for Swarm below: Swarm streams via Prime Video.
Say hello to The Spaghetti House Trattoria's new summer space, and your warm weather go-to for cocktails and cheeseboards. Until the leaves start to fall and the heat begins to cool — or, until March rolls around, given that Brisbane's weather doesn't always play by the rules — Ciao! Bar is popping up for a bit of relaxed fun. If you've ever wanted to drop by for a few drinks, but haven't wanted to settle in for a hearty Italian meal, then make a beeline for this bar next door to the main restaurant. And, if you do want to pair your tipple with some pizza or pasta, you can. You've gotta love a place that can turn quick bevs into a casual meal. Plus, on Fridays and Saturdays, live music will also accompany your visit. Just make sure you get in while summer is in full swing, because, once Autumn hits, Ciao! will be shutting up shop to make way for a new permanent watering hole.
Unless you're a real grinch, your end-of-year viewing probably features plenty of red, white, snow, presents, eggnog and Santa. Elf, Home Alone, How the Grinch Stole Christmas — you get the idea. Sure, you've seen Will Ferrell take on the festive season before. And, you've seen Macaulay Culkin take on a pair of robbers too. But if you haven't seen them on a 44-metre-long outdoor screen, have you really seen them? Big Screen on the Green, Brisbane's mammoth movie-viewing option, is getting into the spirit of the season with a heap of festive flicks. From Monday, December 16 until Thursday, December 19, it'll project something merry every night. All of the above titles are featured, plus The Polar Express too. The best part, other than the sack full of nostalgia? Entry is via gold coin donation, so it's a very cheap night at the movies. If you register in advance you'll also get a free frozen Fanta — or you can upgrade to a heap of packages from $10, which includes boozy beverage and a popcorn. The $55 option for two comes with prawns, a charcuterie platter, mini cakes and fruit, while the $85 ramps up the decadent feast, including a soft Christmas meringue. You can also rent picnic blankets for $12 and bean bags for $8. Doors open at 5.30pm each night, with the films starting at 7pm.
Does your wardrobe look like a pit of darkness every time you open it? Can you, like Tom Haverford, tell the difference between obsidian, onyx, midnight, lost soul, rolling blackout, sleeping panther and void? Do you have a heap of black-hued clothing that you're never going to wear again — and that you'd like to replace with new pieces of the same shade? If so, welcome to Goth Swap. Clothes will flow freely between attendees and everyone will go home with new outfits, but don't expect a rainbow of colour here. You won't even find navy, dark grey or so-brown-it's-black pieces in this fashion jumble, which is happening at the absolute best place for it: Morningside's Death Valley. Keeping the mood suitably gloomy, expect goth bangers on the stereo and spooky movies playing as well. It all takes place from 4pm on January 20, and if you can't head along but still want to donate your black clothing, you can drop them off at the bar beforehand.
Forget 12 days of Christmas. Yes, it's a Christmas carol that you now have stuck in your head, as well as a religious festive season — but 12 Pies of Christmas sounds much more fun, doesn't it? That's what Wandering Cooks and Pie Hole are adding to this year's merriment, and to your stomach. Even better? There's free tastings. Drop on between 5pm and 10pm on December 13 for a pie-tastic time, with The Pie Hole whipping up the 12 varieties they consider the most festive and delicious, Wandering Cooks hosting the whole shindig, and Flavours of Mexico also on hand if you want something other than baked, filled pastry. We know, we know, you're there for the pies. Once you've sampled them, you can also buy whole slices or preorder your own for Christmas. Flavour-wise, your tastebuds will be dancing and a-leaping, with the likes of salted caramel apple pie; chocolate, peanut butter Oreo pie, salty honey pie; gingerbread pie; choc peppermint pudding pie; mango cream pie; sweet cherry pie and eggnog cream pie. We'd keep listing them, but we should leave you a few surprises. Vegans and those unable to eat gluten, you'll also be catered for.
2023 marks three decades since Snoop Dogg released his first single and album, with the rap star's career evolving in a variety of ways from there. He's dropped hits like they're hot, collaborated with seemingly everyone in the music industry, and popped up on both the big and small screens. He's also taken on MC duties at wrestling matches, released his own wine and adopted aliases. And, in 2018, he shared his kitchen skills with the world via his very own cookbook. Within From Crook to Cook: Platinum Recipes From Tha Boss Dogg's Kitchen's pages, fans can find recipes for everything from 'billionaire's bacon' and 'Bow Wow brownies and ice cream' — and, of course, gin and juice. Yes, the tome means that you can listen to Snoop's tunes while whipping up his dishes and sipping the drink he'll always be synonymous with. Yes, it was another success. [caption id="attachment_908060" align="alignnone" width="1920"] Tulane Public Relations via Wikimedia Commons[/caption] From Crook to Cook reached shelves after Snoop teamed up with Martha Stewart on TV show Martha & Snoop's Potluck Dinner Party. Again, he does love a collab. So, now that it's time for a followup cookbook, the hip hop icon is also calling upon fellow rapper E-40 for help. The end result: Snoop Dogg Presents Goon with the Spoon. It's set to arrive in bookstores Down Under in November 2023, giving Snoop aficionados another way to splash their affection the musician's way after his tour across Australia and New Zealand back in February and March. This recipe collection spans more than 65 dishes, covering everything from mains and desserts to drinks. Despite the name, we're guessing that cask wine isn't included. This new kitchen bible will feature meals that take inspiration from Snoop and E-40's respective music catalogues, as well as Martha & Snoop's Potluck Dinner Party and E-40's Filipino food business Lumpia. And the reason for its moniker? Again, it isn't due to cheap boxed vino, but because that's E-40's — aka Earl Stevens — nickname, and adorns his range of sausages, ice cream flavour and burritos in the US. Snoop Dogg Presents Goon with the Spoon will also get Snoop-loving cooks sharing its wares, thanks to a selection of suggested event menus. Fancy a 4/20 potluck? Catering for a summertime block party? The cookbook includes options for both, plus headnotes and sidebar stories from Snoop and E-40's well-known pals about dinner parties and nights out together. View this post on Instagram A post shared by GOON WITH THE SPOON (@goonwiththespoon) Snoop Dogg Presents Goon with the Spoon releases on November 15, 2023. Top image: Jason Persse via Wikimedia Commons.
In the space of less than a week, the last two Super Bowl half-time show headliners have both announced 2025 tours to Australia. First, Kendrick Lamar locked in a prime slot at Spilt Milk just months after taking to the field. Next, 2024's Super Bowl performer Usher has confirmed Aussie dates for his Past Present Future world tour. He's heading to Melbourne in November and Sydney in December. The appropriate reaction if you're an Usher fan: yeah! This will be the eight-time Grammy-winner's first Australian solo headline tour since 2011. Celebrating his three-decade career is the name of the game — which means going all the way back to his first single 'Call Me a Mack' from 1993, also playing tracks off of his latest 2024 album Coming Home, plus working his way through plenty in-between. "I can't wait to bring this tour to Australia, a place where I hope to retire in the future. See you soon!" said Usher, announcing his trip Down Under. Eight dates have been locked in for when Past Present Future makes its Aussie stop: four each at Rod Laver Arena in Melbourne across Wednesday, November 19–Thursday, November 20 and Saturday, November 22–Sunday, November 23, plus another four at Qudos Bank Arena in Sydney from Monday, December 1–Tuesday, December 2 and Thursday, December 4–Friday, December 5. And yes, that timing means that Usher and Lamar will be here at around the same time, given that Spilt Milk runs across the first two weekends of December. The first US shows on the Past Present Future tour were announced just days before Usher's Super Bowl set, which worked through hits from across his lengthy career itself. From August–December 2024, the Texas-born singer made his way across North American stages, before heading to Europe (including England, France, the Netherlands and Germany) from March 2025. Also popping up on his setlist across the tour so far: 'Yeah!', of course, plus everything from 'Can U Get Wit It', 'Nice & Slow', 'U Remind Me' and 'U Got It Bad' to 'Burn', 'OMG', 'Euphoria' and more. Usher Past Present Future World Tour Australia 2025 Dates Wednesday, November 19–Thursday, November 20 + Saturday, November 22–Sunday, November 23 — Rod Laver Arena, Melbourne Monday, December 1–Tuesday, December 2 + Thursday, December 4–Friday, December 5 — Qudos Bank Arena, Sydney Usher is touring Australia in November and December 2025. Presales start on Monday, May 12 at 11am for Melbourne and 12pm for Sydney, while general tickets go on sale at 12pm for Melbourne and 1pm for Sydney on Friday, May 16 — head to the tour website for more details. Images: Marcus Macdonald / Bellamy Brewster.
It's that time of year, somehow. Christmas is almost here, summer has officially started and you're probably thinking about your 2021 shenanigans. While jetting overseas still isn't an option for Australians at the moment, you can make plans to roam around much of this country we all come home now that borders are reopening — and, if you'd like to head over to South Australia in the new year, its government wants to give you an extra incentive. As part of the returning Great State Vouchers scheme — which first ran in October this year — the SA Government is giving away $50 and $100 vouchers to use at hotels in the state between Thursday, January 7–Wednesday, March 31, 2021. The amount of the voucher varies depending on where you're planning on staying, with $50 vouchers on offer for regional and suburban accommodation, and $100 vouchers available to use for Adelaide CBD and North Adelaide stays. During the first round of vouchers, more than 50,000 where snapped up in just over an hour — but they were only available to South Australian residents. This time around, with more than $2 million worth of vouchers available, the scheme is open to interstate folks as well. And, in another expansion, they can be redeemed over a longer booking period, and can also be used at accommodation places with five or more rooms (up from ten or more last time). That means that you'll be able to choose between hundreds of places to stay — with more than 800 accommodation providers eligible to participate. To take part, you'll need to download a voucher from the scheme's website on Tuesday, January 5, then make your booking between Thursday, January 7–Sunday, January 31. There are a few caveats, unsurprisingly. The vouchers don't cover Saturday nights and, to try to nab one, you'll have to log on to the voucher website and prove your identification via your driver's license or proof of age card. Border-wise, SA currently doesn't require interstate visitors to quarantine, after opening its borders to Victoria on Tuesday, December 1. But some states do currently have restrictions in place for anyone who has travelled to South Australia, or parts of it (such as Queensland, Western Australia and Tasmania) — or require permits (Victoria) to enter if you've been in SA. So, it's best to keep an eye on your state's requirements when you're trying to score a voucher and then making a hotel booking. For further details about South Australia's Great State Vouchers scheme — or to nab one on Tuesday, January 5 — head to its website.
Whether or not making movies has ever been your goal, everyone knows that some film achievements that are just the dream. Getting into SXSW is one of them. If you're from Australia, and from Sydney at that, having your first feature play at Sydney Film Festival ranks as highly. Amy Wang has now notched up both thanks to Slanted, which premiered at Austin's OG version of SXSW in March, then made its Aussie debut at SFF. Was this the dream for Wang? "100 percent. Yes. Yes. Growing up — and I went to film school here in in Sydney as well — there are those film festivals like the Cannes, the Sundances and SXSWs, where you're just like 'wow, even to just play'," she tells Concrete Playground. "I think they choose ten films or eight films to play in competition at South By. I remember that day. I had a friend who had a film that played at South By the previous year, and they had said they got their acceptance email around the beginning of December. So I just had this inkling. I was like 'if I don't get this email today' — it was a Friday — 'then it's probably a no go'. And I got it. It was so surreal for sure. Just so happy." That's how Wang discovered that she'd be unveiling her body-horror satire about a Chinese American teen's desire to be like her peers at her US high school — plus the lengths the character goes to to achieve that aim — in America. For her troubles, she took home 2025's SXSW Narrative Jury Award. Playing Sydney Film Festival is another treasured milestone. "In many ways, I am even more excited to show it in Sydney," she notes. "Growing up in Sydney, I would go to Sydney Film Festival every year since I was a teenager. So I've been to the State Theatre so many times, lined up outside. It's such a prestigious venue." Slanted's first Aussie session did indeed play at the grand venue at the heart of SFF. It's a US-set and -made film, but screening in Australia is a homecoming because its Chinese Australian writer/director has taken inspiration from her childhood experiences right here. The story of Joan Huang (Shirley Chen, Dìdi) isn't far from Wang's own growing up, when she was teased and attacked due to her race, she advises. Well, that setup has its parallels, at least. With Slanted, the filmmaker takes that trauma and transfers it into a world of prom queens and blonde obsessions, crafting a biting exploration of such a nightmare — one where Joan is convinced that the radical step that is "racial transformation surgery" is her only choice. When Joan walks her school's halls, she strolls past photos of past tiara-wearing teens, all blue-eyed and fair-haired. Her bedroom walls are filled with pictures of blonde celebrities. On her phone, she changes her own image with filters. Lightening her tresses IRL follows. Upon arriving in America with her family (Starring Jerry as Himself's Fang Du and The Afterparty's Vivian Wu) as a kid (Kristen Cui, Knock at the Cabin), she was mocked quickly, cementing the idea in her impressionable young mind that assimilating with her classmates was the ideal option. Also as a child, courtesy of her dad's job as a high-school janitor, she discovered prom queens and the adoration that the title brings. So, when a company called Ethnos slides into adolescent Joan's DMs with a proposal, securing all of her fantasies — and befriending the most-popular girl in school (Amelie Zilber, Grown-ish), too — appears closer to becoming a reality. If this sounds like a "be careful what you wish for"-esque setup, that's because it is as Slanted also works Ghostbusters: Afterlife and Ghostbusters: Frozen Empire star Mckenna Grace into its cast as Jo — and as Wang digs into the desire to belong, its costs, caucasian-centric beauty standards, white privilege and class clashes. Wang knows that this is well-populated territory in general, but "nobody had really done what I've done", she reflects. "Even around White Chicks, for example, it's still the same actors. And obviously Freaky Friday is another example of a body-swap kind of film, but with this, still it's the same person. And it's to do with race, and that's something I think that hasn't really been touched. Obviously a lot of people have been comparing the film to The Substance, which is a little similar as well in terms of themes, but still different. I think it was just the race aspect of it — the fact that it's so personal to myself — that's how I made it different and my own." Was the process of penning and helming Slanted cathartic for its guiding force? "100 percent. 100 percent. I use film and I use writing and directing to work through my own trauma, I think, and it's been deeply cathartic," Wang shares. As much of a focus is ensuring that everyone else that has ever felt like Joan does can see that others have been there. "I made this film so that people didn't feel alone," Wang continues. "And I could express a story about somebody who maybe the majority of Australians or the majority of Americans don't really think about — and to do it an entertaining way so that they are entertained, but also are made to think and reflect on themselves." Wang's path to Slanted spans studying at the American Film Institute, winning accolades for her short film work before her feature's SXSW triumph — 2017's Unnatural picked up a gong at the Cannes Lions — and diving into a sequel to a Hollywood hit. When Crazy Rich Asians 2 makes its way to cinemas, it'll do so with Wang as its writer. Netflix's From Scratch and The Brothers Sun are also on her resume so far. We chatted with Wang about her Slanted journey to date, the movie's response, having an Australian perspective on US teendom and more, including the picture's balancing act, its crucial casting, the visual approach and more. [caption id="attachment_1008985" align="alignnone" width="1920"] Amy E. Price/SXSW Conference & Festivals via Getty Images[/caption] On How the 12 Months Since Making Slanted Have Panned Out for Wang "Oh my gosh, it's been nuts. It is kind of crazy to think — like even today on my phone, you know how your iPhone sometimes gives you memories of the last couple of months? I hadn't even started shooting this time last year. So we shot June–July. I think I flew back to LA — because we shot in Atlanta — I flew back to LA in August to start post. And it's been pretty fast, when I think about it. And it was — I mean, it's still crazy. We delivered the film like three days before we premiered. I'm sure SXSW hated us with that. So it was kind of non-stop until the premiere. The night before, I couldn't sleep because I was so nervous. And then we had such a great reaction after that first screening. I thought the festival will tip you off if you win anything, but they don't. I wasn't even going to even go to the awards night. And I just rocked up in a t-shirt and jeans. Other people were dressed up in dresses and suits and everything, and me and my husband were just sat in the back. It was the most-crazy experience, and so I'm still pinching myself." On Whether Wang Expected the Type of Response That Slanted Has Been Receiving "I think I wanted for this response, and I'm really happy that that I've received it. There was definitely a part of me that was a little bit afraid. I like to push buttons with all of my films, the scripts that I write — and in a way, I do like a bit of controversy within the stuff that I do. So I think I was more afraid of that of — like would people take it the wrong way? Would people get offended? But surprisingly it's been — you always get the random Letterboxd reviews or even film critics critiquing the film, but the majority have been so amazing and supportive. I remember after my premiere at South By, when I was walking to the afterparty, there were multiple people who came up to me with tears in their eyes and just telling me about how much they related to the story. And these were Americans. I'm even more excited to see the reaction in Sydney, because, again, the film came from my own experience growing up in Sydney. And Australia, Sydney in particular, has such a huge Asian population. So I'm so interested to see how people relate to the film." [caption id="attachment_938017" align="alignnone" width="1920"] Tim Levy[/caption] On How Slanted Evolved From Wang's Childhood in Australia — and Why It Embraces the US as a Setting "The reason why I set it in America was because I moved to America in 2015 to go to film school at AFI. And I ended up staying and working in LA. And it felt, at the time when I came up with the concept, like all of my connections, my career, was really in the US. So I knew I needed to adapt the story that I had in my head to a US audience — because all the money, all of the filming crew, cast, everybody, would have been US-based. So that was really the main reason. If I had written a story that was in Australia, I wouldn't have the slightest clue how to get it made in the Australian bubble. The story is very closely based on my own life. Growing up in Sydney, I, unfortunately for a really long time — and even now to a degree, I think we're all still working towards fully embracing and accepting who we are — but as a teenager, I definitely was very, very aware that I looked very different. And I received a lot of, I wouldn't say very violent attacks, but definitely had people throw things at me, follow me around, say very, very horrible racist, just blatantly racist things to me. And it really just made me feel ashamed of my culture, what I look like, and made me want to look like the blonde surfie girls who I went to high school with, who were the always the most popular. And I remembered wanting to — I didn't grow up very wealthy, I would nag my mum to get me Billabong boardies and those types of bags to fit in a little bit more. And I'd get so ashamed over the lunches my dad would make me, because the kids would tease me about how badly they smelled and how weird they looked. I'm happy that I went through it, because it's made me who I am. And I'm just really happy that I was able to make a film that I think connects to a lot of people who have experienced very similar things — even if you're not Asian Australian. I think everybody feels in some way as an outsider." [caption id="attachment_1008986" align="alignnone" width="1920"] Gilbert Flores/SXSW Conference & Festivals via Getty Images[/caption] On Whether Having an Outsider Perspective in the US Assisted When Satirising the Prom and American High Schools "Yes, absolutely. You definitely hit the nail on the head. I feel like I was able to really satirise America because I'm not American. And growing up in Australia, growing up on American films and American TV, I think I had that separation and I was able to make fun of it. And also, I think what is cool is because I've been living here so long, to also firsthand experience the ins and outs and the intricacies of American society. I didn't, when I was in Australia, I never knew that American kids did the Pledge of Allegiance. And it was so shocking to me. I remember when I was doing research and visiting high schools in California, and they would all do the Pledge of Allegiance — and I was like 'what? What is this?'. And it just felt so bizarre. But to an American, it's what they grew up with, so they wouldn't question it." View this post on Instagram A post shared by SXSW (@sxsw) On Finding the Right Tone When You're Making a Satire with a Clear Sense of Humour, But That Comes From a Personal Place — and Is a Body-Horror Film, Coming-of-Age Movie and Family Drama as Well "I feel like it's interesting because I didn't really think too hard about — I definitely thought about the tone a lot, but in terms of weaving all of these things together, I didn't think 'ooh, I have to have some body horror in there, I have to have some satire in there'. I think the satire came organically because the initial concept was just 'oh, what if a Chinese girl turned herself into a white girl?' — and so that concept itself was so absurd and surreal that it just automatically steps into that satirical tone and zone. And then, the reason why I'm a filmmaker is because of films like Fight Club and Seven — David Fincher in particular. My favourite filmmaker is Michael Haneke. And I grew up watching a lot of Cronenberg. So I love dark material. And it just makes sense — I wanted to make a film about learning to accept who you are but in a nightmarish storyline, so it just makes sense to see the repercussions of what happens when you decide to transition into something so drastic." On the Importance of Also Digging Into Class Clashes "That's just another theme that I'm very passionate about, because I don't come from a lot of money. And both of my parents are very working class, don't have any association with the film business. And especially coming out to LA, not really having anything, going AFI — which is a great school, but really being surrounded by a lot of people who do come from a lot of money, or has a famous dad or whatever. Especially in the film industry, in Hollywood, I think, I'm constantly surrounded by people who are just wealthier. And I think that's just something that I'm very aware of. Again, I'm really happy with everything I've been through because it always informs my work, but classism and race, those are definitely things that I just am very aware of — of my own differences and of society in general, the wealth disparity, especially in America." View this post on Instagram A post shared by Shirley Chen (@shirleylchen) On the Importance of Finding the Right Joan in Shirley Chen and the Right Jo in Mckenna Grace "I found Shirley first. I watched a lot of auditions. And I'd always known of Shirley, cause I've seen her in Dìdi, I'd seen her in this great short called Krista, I think that also played the South By. And then she did Beast Beast, which is a great film as well. She just had such a naturalistic, kind of edgy vibe about her that I just loved. And I remember watching her initial audition just being like 'fantastic, I've found my person'. And then we had lunch and got to know her a little bit. So I knew I had to find Joan first. And then from Shirley, getting to know Shirley a little bit more, I figured out 'okay, this is her general vibe, this is her energy', and I needed to find someone who could match that. And I met with Mckenna — and same with Shirley, I'd seen Mckenna in obviously Ghostbusters, but I saw her in A Friend of the Family, The Handmaid's Tale. She's just an incredible young actress. We also had lunch, and she just told me how much she related to the script — and really blew me away with her interpretation. And after that meeting, I was like 'yeah, she's the one'. After I cast the two of them, we did a lot of rehearsals and body-language imitating exercises and things like that, to really make sure they feel like the same person." View this post on Instagram A post shared by Mckenna Grace (@mckennagraceful) On How Chen and Grace Worked Together to Play the Same Character — and Take That Figure on a Shared Emotional Journey "They did so much homework. I know they had shared playlists and really used music to tie themselves, the both of them, together. But I did a lot of exercises. I had Mckenna follow Shirley around, copy how Shirley ate, how she walked, how she danced — all sorts of little fun exercises I came up with. And we also figured out one thing in the movie, that both of them will squeeze their nose, and that was something that really tied it together. And that's something I used to do and my dad used to do. So I think that was a really easy tic that they both really caught onto. And sometimes even on set, I would forget and then they would add it into the scene, and I'd be like 'oh, this is amazing'. So they just they did the work. And Shirley would be on set when Mckenna would be on set, and vice versa, because we'd obviously shoot their scenes intersectionally, so that really helped as well." On Mixing Naturalism and Surrealism in the Film's Stylistic Approach "So my DP and I — my wonderful DP Ed Wu [Mother of the Bride] — we had this almost like a map that's one to ten. One was the most grounded, realistic types of films, like Fish Tank, Andrea Arnold types of films. And then on the other end of the spectrum were the Sorry to Bother You kind of way-more out-there-visually satire. And so with each scene, we'd be like 'okay, this scene, it's sitting more in the one to two', which is more the Andrea Arnold kind camp. But then some scenes, like when we're in Ethnos, definitely ventured more into that hyper-real, Being John Malkovich kind of world. So we had that communication during set, in pre-production as well. And sometimes it was hard, because there would be some scenes where it would go back and forth a little bit. The first half might be more of a one, but then the second half is a ten. So those were a little bit more difficult to really nail. But I think the music was also really big thing. Shirley Song [XO Kitty], she's a fantastic composer." On How Short Films, From Scratch, The Brothers Sun and Writing on Crazy Rich Asians 2 Helped Lead Wang to Her Feature Debut "I was never much of a writer when I got into AFI, to be totally honest. I had always wanted to direct and I went to the American Film Institute for directing. And it was my second year when I really started getting into writing, because a graduate came back and was like 'if you don't want work at Starbucks after you graduate, you're just not going to get paid to direct anything for a very long time, so you need to learn how to write'. So that advice really stuck with me. And that's kind of what I did. So I think that on the writing side, just writing for a lot of studio films — I sold scripts to Paramount and Netflix and all sorts of places. It definitely helped me craft the screenplay in the best way. And then for directing, I think it was just I really enjoyed my experience at AFI. It taught me a lot about directing. And you're just really drawing from personal experiences, and you take apart films. And I made a lot of short films back in Sydney. And all of that experience I think really contributed to making this feature." Slanted is screening at Sydney Film Festival until Sunday, June 15, 2025. Head to the fest's website for more details.
Apologies to anyone who isn't a Harry Styles fan — 2022 clearly isn't your year. The former One Direction member has been everywhere over the past nine months, given that he's headlined Coachella, dropped a new album, and announced a big Australian and New Zealand tour. Oh, and he's also been the talk of the Venice Film Festival just this week for potentially spitting on Chris Pine at the premiere of Don't Worry Darling, one of two movies that'll be giving Styles' acting skills a workout on screens near you this spring. The upcoming second flick on Styles' resume? That'd be My Policeman — which will also send Styles back in time, to the 1950s to be exact, because starring in movies set seven decades ago is the ex-boy band star's own personal 2022 trend. As first revealed in the film's initial teaser back in June, this one gives off big Carol vibes, but in Britain, and focusing on a love triangle involving the titular cop, the man he falls for and the woman who loves him. Due to hit Prime Video Down Under on November 4, My Policeman sees Styles plays Tom, that eponymous law enforcement officer. In sweeping, emotionally resonant period-drama style, the movie gets him caught between teacher Marion (Emma Corrin, The Crown) and museum curator Patrick (David Dawson, All the Old Knives). And as the just-dropped new sneak shows, heartbreak seems to be the prevailing mood. My Policeman will also flit forward to the 1990s, where the older Tom (Linus Roache, Homeland), Marion (Gina McKee, Phantom Thread) and Patrick (Rupert Everett, The Happy Prince) are still haunted by how things played out when they were younger. If the storyline sounds familiar, that's because My Policeman comes to the screen from Bethan Roberts' 2012 novel of the same name. For the film version, director Michael Grandage (Red) is doing the honours, with Ron Nyswaner (Freeheld, Philadelphia) on screenplay duties. Based on the handsome trailers so far, both of which sport a hefty mood of yearning, viewers can expect an exploration of love, social expectations, and the tumult that springs when the latter dictates the former. And, obviously, for Styles' latest on-screen stint after Dunkirk, Eternals and Don't Worry Darling, which releases a month earlier in October. Check out the full trailer for My Policeman below: My Policeman will be available to stream via Prime Video in Australia and New Zealand on November 4. Images: courtesy of Prime Video © AMAZON CONTENT SERVICES LLC.
It only ran for three short years, but when international dance festival Creamfields took a hiatus in 2013, it left a big, fat hole in the Aussie festival calendar (large-scale festivals, at least). Now, folks who count the days for big drops have something to plan for, with today's announcement that Creamfields will make its return to Australian shores at the end of this year. Transplanting the clubbing experience into a huge outdoor event, Creamfields has given the global electronic music scene a solid shake-up since it first landed in 1998, starting life as a one-day UK show with a crowd of 25,000. In the years following, it's been staged in 22 countries, with that original UK festival morphing into a 70,000 capacity, four-day camping situation. It's raked in the accolades too, including the 2010 Music Week Award for Festival of The Year, and the 2016 gong for Best Major Festival at the UK Festival Awards. And this November, as it celebrates the big 2-0, Creamfields is heading back to Melbourne, set to bring with it a suitably huge lineup of DJs and electronic artists. Exactly which names will take the stage is yet to be revealed, but with past Aussie headliners including the likes of Skrillex and David Guetta, it's looking pretty darn promising. Both the lineup and venue for Creamfields Australia 2017 are yet to be announced, but you can register here for first dibs on tickets and the chance to win some sweet prizes. Images: Supplied.
We've made it to the end of the year, and to celebrate, Falls Festival has just gifted us with one helluva lineup. Helping to ring in the art and music festival's 26th year is a pretty buzzworthy gang of musical mates headlined by American rapper Anderson .Paak. He'll be taking the stage with his band The Free Nationals, and performing hits off his Grammy Award-nominated album Malibu and maybe a tune or two off his highly anticipated third album, Oxnard Ventura. He's joined on the bill by big names like UK foursome Catfish and The Bottlemen, who'll be debuting some fresh new material at their only Aussie show; Australia's own Vance Joy; Scottish synth-pop trio Chvrches, who'll also be here for NYD celebration Field Day; Interpol, fresh off the back of their new album release, Marauder; and Toto. Toto. Yes, the American rock band behind the masterpiece that is 'Africa' is heading to Falls. While you're feeling nostalgic, you'll also be able to hit up Hilltop Hoods — call dad. True to form, the Falls 2018 local lineup is equally exciting, and every bit as broad. Homegrown acts hitting the stage include the dance-ready Flight Facilities, Melbourne's psychedelic King Gizzard & The Lizard Wizard, Sydney producer Touch Sensitive, Gold Coast native Amy Shark and Heaps Gay DJs & Friends back for another year. This year, too, an impressive 48 percent of acts performing have female artists and, while it's not quite half — and there are still lots of other minority groups that are underrepresented — it's a start. As always, the tunes are backed by a colourful curation of art events, performances, pop-ups, markets, wellness sessions and gourmet eats. It's all happening over New Years at the usual spots in Tassie's Marion Bay, Lorne in Victoria, the North Byron Parklands and the Fremantle Oval Precinct, WA. FALLS FESTIVAL 2018 LINEUP Anderson .Paak & The Free Nationals Catfish and The Bottlemen (no sideshows) Vance Joy Chvrches Hilltop Hoods Toto Interpol 88Rising Feat. Rich Brian, Joji, Niki & August 08 (no sideshows) Flight Facilities Amy Shark DMA's Kind Gizzard & The Lizard Wizard Golden Features First Aid Kit (no sideshows) Ocean Alley Hockey Dad Cashmere Cat (no sideshows) The Vaccines Cub Sport Ruel Jack River Bishop Briggs Mallrat Briggs Touch Sensitive Tkay Maidza Dermot Kennedy Tired Lion Hobo Johnson & The Lovemakers Soccer Mommy Banks Triple One Alice Skye Heaps Gay DJs & Friends + More to be announced
Something delightful has been happening in cinemas in some parts of the country. After numerous periods spent empty during the pandemic, with projectors silent, theatres bare and the smell of popcorn fading, picture palaces in many Australian regions are back in business — including both big chains and smaller independent sites in Brisbane at present. During COVID-19 lockdowns, no one was short on things to watch, of course. In fact, you probably feel like you've streamed every movie ever made, including new releases, Studio Ghibli's animated fare and Nicolas Cage-starring flicks. But, even if you've spent all your time of late glued to your small screen, we're betting you just can't wait to sit in a darkened room and soak up the splendour of the bigger version. Thankfully, plenty of new films are hitting cinemas so that you can do just that — and we've rounded up, watched and reviewed everything on offer this week. HALLOWEEN KILLS They can't all be treats. That's true each time October 31 hits, sending children scurrying around the streets in search of sweets, and it's true of the film franchise that owns the spookiest time of year. Since debuting 43 years ago, the Halloween series has delivered both gems and garbage — and off-kilter delights such as Halloween III: Season of the Witch — but its latest and 12th entry carves a space firmly in the middle. Halloween Kills ticks plenty of boxes that a memorable Halloween movie should, and is also a horror sequel on autopilot. Somehow, it's also a Halloween movie lacking purpose and shape. It has The Shape, of course, as Michael Myers is also known. But it's more an exercise in spending extra time in Haddonfield, in its boogeyman's presence and in world inhabited by franchise heroine Laurie Strode (Jamie Lee Curtis, Knives Out) than a compelling slasher flick on its own. After giving the Halloween realm its second-best chapter in 2018, it's easy to see why returning writer/director David Gordon Green (Stronger) and his frequent collaborator Danny McBride (The Righteous Gemstones) have taken this approach. When you've just made a classic follow-up to a stone-cold classic — again, only John Carpenter's iconic franchise-starter is better — you keep on keeping on. That's not quite how Halloween Kills turns out, though. It picks up immediately where its predecessor left off, lets Michael stab his way through small-town Illinois again, and brings back Laurie's daughter Karen (Judy Greer, Where'd You Go, Bernadette) and teenage granddaughter Allyson (Andi Matichak, Son) from the last spin. It also pads things out with a vengeance storyline that endeavours to get political, yet proves about as piercing as a butter knife. In the last film — called Halloween, like the flick that started it all — Laurie faced the man who turned her into a victim back when she was a 17-year-old babysitter. She unleashed four decades of rage, fear and anxiety during a moment she'd been preparing for across all of that time, and it proved cathartic for her and for viewers alike. This saga was always going to add another sequel, however. As the second part of a trilogy under Green and McBride's guidance, Halloween Kills will also gain its own follow-up in a year's time. When it arrives in 2022, Halloween Ends won't actually live up to its name. No horror movie lover would want it to. Still, it already haunts Halloween Kills — because, like the townsfolk that the latex mask-sporting, overall-wearing Michael just keeps stalking, it feels uncertain about where it should head. First, Halloween Kills sends its three generations of Strode women to hospital, riffing on 1981's Halloween II. Sadly, it also replicates one of the latter's missteps, leaving Laurie there as her nemesis keeps slicing — and splitting its attention around Haddonfield. Here, both Karen and Allyson have also had enough of Michael's nonsense. So has Tommy Doyle (Anthony Michael Hall, The Goldbergs), one of the kids that Laurie babysat on that fateful night all those years ago. So, he rallies a mob and transforms the grieving and scared locale into a haven for vigilante justice; "evil dies tonight!" is their cheer. Read our full review. PASSING Locking gazes across the room, staring intently with a deep fascination that feels fated, seeing oneself in the sparkle of another's eyes: when these moments happen in a movie, it's typically to fuel the first flushes of romance. When they occur early in Passing, however, it's because former childhood friends Irene (Tessa Thompson, Westworld) and Clare (Ruth Negga, Ad Astra) have spied each other in a swanky Manhattan hotel. The pair peer back and forth, intrigued and attentive. That said, it isn't until Clare approaches Irene — and calls her Reenie, a nickname she hasn't heard in years — that the latter realises who she's been looking at. It's the immaculately styled blonde bob that fools Irene, as it's meant to fool the world. As becomes clear in a politely toned but horrendously blunt conversation with Clare's racist husband John (Alexander Skarsgård, Godzilla vs Kong) shortly afterwards, Irene's long-lost pal has built an entire life and marriage around being seen as white. Passing's eponymous term comes loaded not just with meaning, but with history; adapted from Nella Larsen's 1929 novel of the same name, it's set in America's Jim Crow era. This introductory scene between Irene and Clare comes layered with multiple sources of tension, too, with Irene only in the hotel because she's decided to flirt with visiting a white establishment. Still, she's shocked by her pal's subterfuge. When she initially spots Clare, the film adopts Irene's perspective — and its frames bristle with a mix of nervousness, uncertainty and familiarity. Irene rediscovers an old friend in a new guise, and also comes face to face with the lengths some are willing to go to in the name of survival and an easier life. Friendships can be rewarding and challenging, fraught and nourishing, and demanding and essential, including all at once, as Passing repeatedly demonstrates from this point onwards. Irene can't completely move past Clare's choices and can't shake her fears about what'd happen if the vile John ever learned Clare's secret; however, she's also quick to defend her to others — to her doctor husband Brian (André Holland, The Eddy), who swiftly warms to Clare anyway; and to acclaimed white novelist Hugh Wentworth (Bill Camp, News of the World), who's her own entry point into an artier realm. Indeed, in household where talk of lynchings is common dinner conversation, Irene recognises far more in Clare's decision than she'll vocally admit. Almost everyone she knows is pretending to be something else as well, after all, including Irene in her own ways. Largely confined to Irene and Brian's well-appointed Harlem home and other parties in the neighbourhood — after that first hotel rendezvous, that is — Passing is an economical yet complicated film. It may seem straightforward in charting Irene and Clare's rekindled acquaintance, but it's exacting and precise as it interrogates both societally enforced and self-inflicted pain. Its Black characters live in a world that pushes them aside and worse merely for existing, with its central pair each internalising that reality. Their every careful move reacts to it, in fact, a bleak truth that actor-turned-filmmaker Rebecca Hall (The Night House) never allows to fade. That's one of the reasons she's chosen to shoot this striking directorial debut in elegant, crisp and devastatingly telling monochrome hues: both everything and nothing here is black and white. Read our full review. ANTLERS When daylight nightmares infiltrate the horror genre and expose humanity's fears to the sun — in 2019's Midsommar, for instance — viewers tend to take notice. That isn't the case with Antlers, a film that's as gloomy in appearance and mood as an unsettling movie can be, whether it's finding darkness in mining shafts, neglected homes or the memories that haunt teacher Julia Meadows (Keri Russell, The Americans) upon returning to her home town after fleeing as a teen decades earlier. This is a grim and bleak feature in every way it can be, in fact, but it also throws sunlight upon troubles that too often go unmentioned. Writer/director Scott Cooper (Black Mass) uses Antlers' brooding hues and tones to lurk in the realm of myth, to confront domestic abuse, and to muse on the persecution of and violence against America's First Peoples and their land — and, as grey as this creature feature always proves, it wields its colour palette like a spotlight. Antlers can be blunt and blatant, traits that don't bode well for a film about a ravenous beast out of Indigenous American folklore that's biting back at its oppressors. It can be delicate and savvy as well, though, especially when it explores how Julia and her student Lucas Weaver (feature debutant Jeremy T Thomas) both grapple with childhoods no one could ever dream of. Julia has only come back to live with her brother Paul (Jesse Plemons, Jungle Cruise), who is now the town's sheriff, after their father's death. She still sees her younger self cowering in fear wherever she looks, and she can't help but gaze with yearning at bottles of liquor in the local store. Lucas, a slip of a boy, is nervy, jittery and defensive. He looks at the ice cream parlour with the same desire, wanting to lose himself in something fleeting but soothing — a sugar rush, in his case. It was never going to take long for Julia to notice that Lucas is also victim; however, in adapting Nick Antosca's short story The Quiet Boy, one of the smartest things that Cooper, Antosca and their co-scribe Henry Chaisson do is to make the connection via a lesson on storytelling. Julia informs her class about the importance and function of spinning tales. Then, only because he's called upon, Lucas shares his own illustrated version of Goldilocks and the Three Bears that's definitely no fairytale. Antlers may too often opt for the obvious route as it tracks the horned creature stalking the town, as well as the illness that's overcome Lucas' father (Scott Haze, Minari) and younger brother (Sawyer Jones, Modern Family) — two things that are linked from the movie's very first scene in that aforementioned mine shaft-turned-meth lab — but in baking the way we use stories to cope with life's horrors into its frames, it's also devastatingly astute. When Antlers is at its best, it echoes with unease, longing, guilt and sorrow. As both Crazy Heart and Out of the Furnace have shown, Cooper is no stranger to the latter trio emotions — and as both prior movies also demonstrated, he's at his finest when his cast is up to the task of conveying all three. Russell and Thomas each fit the bill here with a sense of trauma that's always haunting. Their respective characters tussle with threats both external and internal (and supernatural and domestic), and weariness and tension seeps through their every move. Antlers perceptively makes that malaise pulsate in a broader sense as well; it's the malaise of people and towns, and of a culture and a land subjected to far more than it should have to bear. And, in its gore, ooze, horns and crunched bones, it ensures that pain feels visceral. Cooper can't always find the right balance from scene to scene, but when Antlers pierces, it wounds. RON'S GONE WRONG In Ron's Gone Wrong, an internet-enabled R2-D2-style kids' gadget starts operating beyond its standard programming. Illegally sold to Barney Pudowski's (Jack Dylan Grazer, Luca) father (Ed Helms, Rutherford Falls) and grandmother (Olivia Colman, The Father), who are desperate to get the pre-teen the belated birthday gift he wants, the damaged robot sports an off-kilter personality and is nowhere near as concerned with mining the details of its owner's life for corporate data as it's meant to be. The same can't be said of this family-friendly animated film, unsurprisingly. It's a tech-focused all-ages flick straight out of the box, and designed to sell merchandise to its target audience. It's sweet, lively and bouncy enough, but also thematically problematic; stressing the importance of individuality and switching off while also positing that everyone needs an online device and social media to make friends and unlock their best will do that. Ron (voiced by Zach Galifianakis, Baskets) is a B-Bot; "your best friend out of the box" is the marketing slogan. When Facebook-meets-Apple style tech giant Bubble releases the product, every student at Nonsuch Middle School soon has one — except Barney, who gets teased about his rock collection instead. The peer pressure to get his own robot soon gives way to disappointment when he learns of Ron's idiosyncrasies; however, in its broad strokes, Ron's Gone Wrong tells a story of acceptance. After Bubble learns that one of its products has gone rogue — including pushing around Rich (Ricardo Hurtado, Malibu Rescue), the prank-loving bully making Barney's life hell — it decides to claim Ron back and crush him, but an entire grade's worth of children come to discover that that's not how you treat a friend. As spirited as Ron's Gone Wrong repeatedly proves, there's still a strong and inescapable sense of disconnection between its cavalcade of conflicting messages, which include: be yourself; be authentic; love your friends for who they are; don't try to change people; appearances don't matter; everyone has something in common; let technology help you find pals by showing what you all share; connect with others via your gadgets; and living your life online will lead to your best self. As a result, the film plays like a colourful mechanism for turning young viewers into eager consumers — of the Ron-shaped toys they'll now want immediately, and of social media — especially given how weakly it satirises big tech. When it's just about Barney, Ron and the joys of having a best friend, a warm-hearted thread of human-AI buddy comedy does manage to lurk inside writer/director Sarah Smith (Arthur Christmas), co-directors Jean-Philippe Vine (Shaun the Sheep) and Octavio Rodriguez (The Epic Tales of Captain Underpants), and co-screenwriter Peter Baynham's (Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan) film. Much about the movie's parodies of technology's insidiousness and the way mobile phones have changed our daily lives balances both truth and humour, too — but not enough to make the overall formula, soulless product-spruiking and Ron's Gone Wrong glossy #sponcon Instagram post-esque atmosphere go right. If you're wondering what else is currently screening in cinemas — or has been lately — check out our rundown of new films released in Australia on June 10, June 17 and June 24; July 1, July 8, July 15, July 22 and July 29; August 5, August 12, August 19 and August 26; September 2, September 9, September 16, September 23 and September 30; and October 7, October 14 and October 21. You can also read our full reviews of a heap of recent movies, such as Lapsis, The Conjuring: The Devil Made Me Do It, Fast and Furious 9, Valerie Taylor: Playing with Sharks, In the Heights, Herself, Little Joe, Black Widow, The Sparks Brothers, Nine Days, Gunpowder Milkshake, Space Jam: A New Legacy, Old, Jungle Cruise, The Suicide Squad, Free Guy, Respect, The Night House, Candyman, Annette, Shang-Chi and the Legend of the Ten Rings, Summer of Soul (...Or, When the Revolution Could Not Be Televised), Streamline, Coming Home in the Dark, Pig, Big Deal, The Killing of Two Lovers, Nitram, Riders of Justice, The Alpinist, A Fire Inside, Lamb, The Last Duel, Malignant, The Harder They Fall and Roadrunner: A Film About Anthony Bourdain.
He's been hailed as the king of documentaries, known for his fearless deep dives into the boldest of subjects, from sex trafficking to religious extremists and just about everything in between. And now, Louis Theroux is stepping out from in front of the camera and onto the stage, venturing Down Under for his second Aussie speaking tour this summer. In January, the intrepid BBC filmmaker will hit Brisbane for his new show Louis Theroux Without Limits. In three shows over two days, the fearless journalist will be joined by local media personality Julia Zemiro for a two-hour on-stage adventure, dropping insights into his extraordinary life and behind-the-scenes secrets from his impressive catalogue of work. With more than two decades of filmmaking experience and multiple awards under his belt, Theroux has a knack for digging deep and getting people to spill the beans, telling it exactly how it is. From the opioid epidemic and the San Fernando Valley porn industry to the Church of Scientology, his work has given him countless fascinating stories to dish up on this latest speaking tour. "Australians are obviously connoisseurs of the weird side of life," Theroux said in a statement. "I look forward to coming back to share even more memorable moments and extraordinary stories from the people I have encountered in my films." He was last here in 2016, when he took his (sell-out) speaking tour to Sydney, Melbourne, Adelaide, Brisbane and Perth. While you wait for Louis to head Down Under, you can catch his new series of documentaries on BBC Knowledge from Thursday, June 27. You can check out a teaser for the new show Louis Theroux Without Limits here.
