Forget every "find someone who looks at you" meme you've ever seen. When it comes to gazes that'll make you dream of being adored in the same way, Loving just can't be beaten. Jeff Nichols' latest film is affectionate by name and by nature, and so is its central couple. From the moment that the movie opens with the life-changing words "I'm pregnant", Mildred (Ruth Negga) and Richard Loving (Joel Edgerton) are clearly head over heels. The looks that they direct at each other at every chance possible, make the extent of their feelings obvious. Neither gets weak at the knees; they're not that kind of people. They easily could though, as could those of us sitting in the audience. Of course, for anyone who has seen Shotgun Stories, Take Shelter, Mud or Midnight Special, it won't come as a surprise that Nichols pays such keen attention to their glances. As he's demonstrated in all his films over the past decade, he's a filmmaker who trades in intimate tales that bubble with big emotions. What's more personal, devoted and overflowing with feeling than sending a yearning look someone's way or silently locking eyes? As you watch Negga and Edgerton watch one another, you'll know the answer: nothing. Indeed, as Nichols' delves into the details of the Lovings' real-life romance, it's soon apparent that his quiet, patient approach really couldn't be more appropriate to such an important story. Falling in love in the segregated state of Virginia in 1958 where interracial marriage was against the law, the pair made history with their fight to be together. That said, despite the threats of imprisonment and legal persecution, Loving isn't a big, fist-pumping courtroom drama, although it probably would've been in lesser hands. Instead, taking its cues from the couple at its centre, it's a contemplative, considered, sensitive and sincere account of a relationship attacked from the outside, but never under threat from within. That leaves Negga and Edgerton with a considerable task, though it's one they achieve with the same grace and tenderness that marks the movie from start to finish. Nominated for an Academy Award for her performance, Negga imbues Mildred with growing resolve — not about her marriage, which she never doubts, but about doing what she needs to live the modest life she wants with her husband. One of the many pleasures of the film is seeing Mildred grow more and more confident about taking action against inequality, and witnessing Edgerton's hard-working, plain-spoken Richard grow increasingly enamoured with her passion. They never discuss this, and they don't need to. As with everything in Loving, it's all there in their eyes. Throw in Nichols regular Michael Shannon in a brief but memorable part as a photographer, plus Nick Kroll leaving his usual comedic antics behind in his roll as a civil rights lawyer, and Loving couldn't be more convincingly cast. Add honeyed tones that layer the film's gentle sights with a warm glow, and it couldn't look any better, either. Both help make a subtle yet sweeping effort even more rich and resonant. Ultimately though, it's in conveying the power and significance of Mildred and Richard's love that Nichols' latest movie really shines. https://www.youtube.com/watch?v=s7YeyiNVHXY
UPDATE, NOVEMBER 9: Sandtunes has been cancelled, with organisers noting that "without sand between our punters' toes, the very notion of the beachside festival in a stadium meant low sales". Ticketholders who purchased by credit or debit card will receive refunds automatically within ten working days, while those who purchased in an agency will be contacted by phone with a fortnight to make refund arrangements. UPDATE, SEPTEMBER 3: Sandtunes has advised that it has changed venues, moving from the previously announced Coolangatta beachfront to Metricon Stadium "after listening to responses from the local community". Ticket prices have also been reduced, with single-day tickets now $129 and two-day passes costing $199. The festival will also be open to patrons aged 15 years and over. Already one of the country's go-to spots for sand, surf and sun, the Gold Coast now boasts another reason to plan a visit this summer: Sandtunes, a massive two-day music festival. Debuting this year across Saturday, November 30 and Sunday, December 1, the new event will take over Metricon Stadium with a jam-packed lineup of live tunes, with Travis Scott, Logic, Chvrches and Carly Rae Jepsen leading the bill. The festival will mark Scott's only Australian performance this year, so if you're keen to see the Texas-born rapper play tracks from his 2018 album Astroworld, this is the place to be. If you're a fan of fellow US hip hop star Logic, you'll also be treated to his first-ever Aussie show. While Scottish trio Chvrches are no strangers to our shores — they're on this year's Spilt Milk lineup as well — Sandtunes will also welcome Canadian pop star Carly Rae Jepsen for her debut performance in Australia. When you're not singing along to 'Call Me Maybe' live, you can also check out the rest of the just-announced first lineup, which spans Juice WRLD, Dean Lewis, Sampa the Great, Tkay Maidza, Cub Sport, Kait, Kwame, WAAX, Kian, Alice Ivy, Genesis Owusu and Saint Lane. A word of warning: the festival dates do overlap with part of Schoolies — although, thankfully Carrara is never particularly hectic with revelling school leavers as Surfers Paradise.
As fun as parties, feasts and downing eggnog all are at this time of year, one thing can make them better: games. We're not just talking about guessing how long until your uncle falls asleep after lunch, or seeing who knows all the words to every pop Christmas carol. Instead, we're talking about eating, drinking, playing and being merry in Brisbane's very own bar-slash-arcade. 'Tis the season for all of the above at Netherworld, and they're throwing quite the shindig to prove it. Just bring your button-mashing self, some cash for tokens, brews and a Hellmouth roast, and a $5 wrapped gift that you can swap in the Secret Santa pit. It all takes place from 5pm on December 23, complete with Santa pictures in-between rounds of whatever pinball, arcade, console or board game takes your fancy. Photos require a donation, with funds going the Asylum Seeker Resource Centre. And a karma keg will be pouring at the bar, raising more cash for those needing some festive help.
It can be pretty thirsty work navigating the bountiful rotation of food vendors at Welcome To Bowen Hills. So, it's very handy that the new food truck park has just launched its own permanent on-site gin bar, where you can settle in with a cool glass of something and rest those feet. Fittingly dubbed Swill, the new venue boasts an impressive collection of around 115 gins, sourced from across Australia and the globe. You'll spy drops from the likes of Kyneton's Anemis Ambrosian, Healesville's Four Pillars and Brunswick's Patient Wolf, to name just a few. If gin's not your thing, fear not — there's also a solid rotation of craft beers on the taps, as well as a lineup of crafty cocktails. Open Thursday through Sunday from 5pm onwards, the bar's got room for about 150 thirsty punters, boasting a great mix of indoor and outdoor spaces. A comfortable industrial fit-out comes courtesy of the team at Derlot. Think, soaring ceilings, moody lighting and luxurious booths that were simply made for kicking back with a post-burger Gin & Tonic. Swill is now open Thursday to Sunday at Welcome To Bowen Hills, 631 Gregory Terrace, Bowen Hills. For more info, visit wtbh.com.au.
Amanda Wolf and Joseph Breikers are two Brisbane-based artists who aren't afraid to poke around in the dark, humorous side of art. Their latest collaborative exhibition, Life, Death and Miscellaneous, does just that as they examine the deep, dark getaways of two of literary fiends. Wolf and Breikers use the work of Patrick Suskind's novel Perfume and Mikhail Bulgakov's Master and the Margarita to explore the transformative places that lie beyond plain sight. In Perfume, the protagonist slithers away from the world into a cave on the Plomb du Cantal — and in Master and the Margarita, Satan holds the hell -raising Spring Valley of the Full Moon in a dimension beyond the known. Ipso facto, these guys caved out the two ultimate grottos. Through disrupted and abstract art, Life, Death and Miscellaneous explores the cave as both a physical and psychological space. As both a sanctuary and place of exile, Wolf and Breifers dig deep to define what the grimmest of hollow spaces have come to represent in this exhibition. If you've got a keen interest in the unknown, we suggest you check it out. Image: 'Big Toe 3', Joseph Breikers, 2015, Digital image (dimensions variable).
Get ready for solid dose of intoxicating dance beats. Melbourne's electronic disco outfit World's End Press are hitting stages across the east coast this week to wrap up their 'Spirals' tour, geared up to bring their hypnotic mix to Alhambra Lounge. Off the back of their debut self-titled album release in 2013, World's End Press will be bringing their one-of-a-kind dance mixes to audiences along the East Coast this December. Offering irresistibly rhythmic melodies with every single, WEP is one highly underrated live act rumoured to dominate this summer festival season. Playing alongside electronic legends Phoenix and Architecture in Helsinki earlier this year, the band will wrap up 2014 in style with these East Coast shows. Fans will know the kind of energetic antics to expect from these guys. For those looking to start the weekend right, you won't go wrong nabbing tickets to this ripper electronic mini-rave. Supported by Multiple Man + Tremors.
At the beginning of 2020, Netflix announced news that no fan of The Crown wanted to hear: that, when the royal drama's fifth season hits the streaming service, the show will come to an end. While the revelation didn't mean that the popular series would be finishing up anytime soon — the series' third season only released via Netflix last November — it did cut short creator Peter Morgan's original six-season plan. It also meant that The Crown's storyline probably wouldn't venture too far into the 21st century. Six months is a long time in the entertainment world, though (and it seems even longer during a pandemic, as we all know). Having a change of heart, Netflix has now announced that The Crown will carry on for a sixth season after all. When it airs — after season four and five hit the streaming platform, obviously, so likely still a couple of years away — it really will mark the end of the series. https://twitter.com/NetflixUK/status/1281225790991020032 In a Netflix tweet, Morgan explained the change of plans, noting that "as we started to discuss the storylines for series five, it soon became clear that in order to do justice to the richness and complexity of the story we should go back to the original plan and do six seasons". That means that viewers will watch one more season with Oscar-winner Olivia Colman as Queen Elizabeth II, before seeing Downton Abbey, Maleficent and Paddington star Imelda Staunton — an Oscar nominee for Vera Drake, and known for playing the Harry Potter franchise's Dolores Umbridge — don the titular headwear for seasons five and six. Of course, Colman herself took over from season one and two star Claire Foy. With the fourth season in the works at the moment and set to take place during Margaret Thatcher's time as Britain's prime minister — and feature Princess Diana, who'll be played by Pennyworth's Emma Corrin — the fifth and sixth seasons are then expected to follow the Queen as the 2000s arrive. And, while Netflix hasn't unveiled the entire roster of actors that'll be joining Staunton in the show's final two batches of episodes, it has revealed that Princess Margaret will be played by Staunton's Maleficent co-star and Phantom Thread Oscar-nominee Lesley Manville. She'll take over the role from Helena Bonham Carter (in seasons three and four) and Vanessa Kirby (in seasons one and two). In case you haven't watched The Crown's third season yet, check out the trailer below: https://www.youtube.com/watch?v=vLXYfgpqb8A The Crown's fourth season is expected to hit Netflix towards the end of 2020 — we'll update you with exact details when a specific release date is announced. Via Variety. Image: Des Willie / Netflix
Saying that M. Night Shyamalan's latest film offers an improvement over his most recent efforts isn't really saying much. After impressing with The Sixth Sense and Unbreakable, and a little less so with Signs and The Village, the likes of Lady in the Water, The Happening, The Last Airbender and After Earth won the writer/director few kind words. The Visit seems to fall somewhere in the middle; however, in plodding towards his usual twist and doing so with a clumsy blend of shocks and laughs, it soon proves closer to his latter work than his former. Fifteen-year-old Becca (Olivia DeJonge) and her thirteen-year-old younger brother Tyler (Ed Oxenbould) take the trip of the movie's title, leaving their single mother (Kathryn Hahn) for a week with the estranged grandparents they've never before met. Upon arriving at the remote farm their Nana (Deanna Dunagan) and Pop Pop (Peter McRobbie) call home, the siblings find their elders a little odd, but are reassured that their eccentricities stem from their advanced age. When even stranger occurrences start happening at night, Becca and Tyler are convinced that something else is going on. To complicate what becomes little more than kids simply being spooked by creepy old people, pseudo fairytale-style, Shyamalan throws the current horror movie trend — found footage — into the mix. Accordingly, The Visit is presented as a documentary being shot by wannabe filmmaker Becca, with Tyler assisting with the camerawork when he's not rapping in front of the lens. Shyamalan's found footage effort is not a slapdash attempt to capitalise upon the current fondness for a certain subgenre of film — at least as far as the actual found footage conceit is concerned. The director never abandons his approach, and even weaves the consequences of a constantly rolling camera into the story. Expect bit players performing because they know they're being watched, just as Tyler does. Don't expect shots from angles that can't be justified in the narrative, just because they look cool. Alas, around the well-executed and committed stylistic gimmick sits cliche and a veering tone that colours everything that happens. Attempted frights are easily foreseen in the shadowy Hansel and Gretel-like offering, though thankfully Shyamalan's love of the supernatural never rears its head. The predictability of the script certainly inspires much of the guffawing that will echo around the cinema, though many of the feature's gags are intentional. Making a good horror-comedy is as difficult a feat as mastering found footage, but The Visit doesn't succeed in the first instance. Giggling at, not with, the film, feels like the more frequent outcome as bodily functions are mined for humour alongside the naked elderly form. And with the jump scares few and far between, comic moments aren't quite being used to diffuse tension. Australians DeJonge and Oxenbould try hard to wade through the wavering mood, turning in playful performances that brighten up the standard story, but being asked to spout dialogue about filmmaking technique doesn't do their characters any favours. Still, to say that the duo ranks alongside Shyamalan's handling of found footage as the feature's highlights is accurate — although, in the context of the complete movie, that's once again not saying much.
When January is in full swing, the sun is out and we're all still in a holiday mood — whether or not we're actually still on holidays — no one needs an excuse for a weekend road trip. But here's one anyway, coming courtesy of Harvest Newrybar: eating dishes whipped up by acclaimed chef Danielle Alvarez. Formerly of Fred's in Sydney, Alvarez is heading to the Byron hinterland to cook up a storm for three days. That means that diners at A Weekend with Danielle at Harvest have three chances to tuck in: for dinner from 5.30pm on Friday, January 20 and Saturday, January 21, and for lunch from 12pm on Sunday, January 22. [caption id="attachment_885631" align="alignnone" width="1920"] Nikki To[/caption] It's the first time that Alvarez has brought her old-world cooking techniques to the region, and her all-round thoughtful approach to the kitchen as well — and she'll be matching Harvest's own focus on sustainability and top-notch local ingredients, of course. Indeed, she's visiting the producers that the restaurant works with, and Harvest family farm Picone Orchard, to come up with her culinary lineup. On the menu: oyster with gazpacho, fish tartare with finger lime and fish sauce in betel leaf, flatbread with charred chilli and clam butter, and a plate of pickled and wood oven-roasted veggies paired with locally made fresh cheese. And, there's also squid and prawn rice with coriander and chilli tahini, roasted Bangalow sweet pork and grilled fish with summer squash. Plus, dessert spans fruit from Piccone on ice, as well as lemonade fruit granita with lychees. Bookings will cost you $130 per person for a three-course set menu, or $220 with matched wines. Harvest Newrybar images: Jess Kearney.
With Brisbane about to head into another lockdown from 6pm on Tuesday, June 29 until the same time on Friday, July 2 — this time encompassing 11 Local Government Areas in southeast Queensland, including both the Sunshine and Gold Coasts — home cooking and takeaway is back on the menu. Fancy the latter more than the former? Spent too much time baking during January and March's similar stint at home? Eager to order in for any reason possible? If you fall into any of the above categories, and you're keen to both support local eateries and keep an eye on your bank balance, Deliveroo is ditching its delivery fees for orders from most restaurants for three days. From 5pm on Tuesday, June 29 until the end of Friday, July 2, the service is doing free delivery from a hefty range of Brissie restaurants. It's also doing the same on the Sunshine Coast, if that's where you're based. Exactly how many eateries will be taking part hasn't been revealed, but expect to have plenty of choices if you're keen to get something delivered without spending a cent. The aim: to encourage folks to help local restaurants during this latest stay-at-home period and, because that's the world we live in, to help stop panic buying at supermarkets as well. Plus, to ensure that all of the eateries involved aren't missing out on revenue or left out of pocket, Deliveroo is footing the bill for the discounted amount, too. If you're suddenly hungry, you'll need to place an order via the Deliveroo app. There are a few caveats, unsurprisingly, with the free delivery deal not extending to bottle KFC or to places listed in the app as 'delivered by restaurant'. You'll also need to spend at least $10 at most eateries, $12 at McDonald's, Subway and Baskin-Robbins, and $15 if you're purchasing from Red Rooster. Deliveroo is doing free delivery across Brisbane and the Sunshine Coast from 5pm on Tuesday, June 29 until the end of Friday, July 2. To make an order, head to the Deliveroo app.
Outpost hasn’t curated a dud event to date, and their latest is no different. In a brilliant fusion of art, design and music, Southern Crucifixion, tangles together a number of highly heralded talents in the one Brisbane venue suited to all things dark - Crowbar. Key import, UK-based artist/illustrator French (pictured), will be star attraction of the night. His name may not be familiar but his art definitely should be – he’s been published in Dazed and Confused, Tank Magazine and dozens more magazines, and has worked with the likes of Paul Smith and Virgin Music. He’ll be presenting aside woodblock creationist, Alex Gillies, who etches just about anything he can get his hands on, and the pragmatic peace-hater, with an gift for die-hard-design, Murdoch Stafford. Bands Frown and Heavy Chaos will be playing musical backdrop. With songs like 'Face Ripper' and 'Kill Dick Control' and art pieces laden with skulls, blood and dread, don’t be expecting sunshine, daisies and lace-collared puppies at Southern Crucifixion - expect so much more.
In the face of the increasing cynicism and self-self-self-referentialness of art, thank god for the Italians. They still like romance in their films the way they insist on full fat milk in their coffee. Now in its 14th season, the Italian FIlm Festival promises to return "like the lingering embrace of a cherished lover". Twenty-seven films will deliver stories in which uncontrolled passions run high. Highlights include A Five Star Life (Viaggio Sola), the tale of a jetsetting hotel critic who knows her five stars from her four but whose analytical faculties let her down when it comes to her own life; A Perfect Family (Una famiglia perfetta), a comedy about a rich but lonely man who 'rents' a family for Christmas and even writes a script for each member; and Ali Blue Eyes, a Romeo and Juliet-esque drama driven by a taboo love affair and a stabbing. Both opening and closing nights will feature films that'll make you want to go to Rome: Paolo Sorrentino's The Great Beauty, starring Toni Servillo as a renowned journalist and ladies man who once dreamed of becoming a novelist, and Fellini's 1972 classic Roma. Young European star Clara Ponsot will be making guest appearances in Melbourne, Sydney, Canberra and Brisbane, presenting her new film, Cosimo and Nicole. Screenings at Palace Centro and Barracks. Image: The Great Beauty https://youtube.com/watch?v=m2bcwSwNgOQ
Every September and October, Germany erupts with brews, food and lederhosen-wearing revellers for its annual Oktoberfest celebrations. When that time rolls around Down Under, Australia follows suit. One such festivity is Oktoberfest in the Gardens, which has been throwing big Bavarian-themed celebrations around the country for 14 years — and is returning to Brisbane for 2024. Oktoberfest in the Gardens will make its latest River City stop at Brisbane Showgrounds on Saturday, October 19. If you're keen to head along, expect company; the event expects to welcome in over 65 people enjoying steins, schnitties and German shindigs across this year's seven-city run. Brisbane's fest will serve up the same kind of beer- and bratwurst-fuelled shenanigans that Germany has become so famous for. So, if you have a hankering for doppelbock and dancing to polka, it's the next best thing to heading to Europe. Oktoberfest in the Gardens boasts a crucial attraction, too: as well as serving a variety of pilsners, ciders, wine and non-alcoholic beverages, it constructs huge beer halls to house the boozy merriment. When you're not raising a stein — or several — at the day-long event, you can tuck into pretzels and other traditional snacks at food stalls, or check out the hefty array of entertainment. Live music, roving performers, a silent disco, rides and a sideshow alley are all on the agenda.
If you like words and you live in Brisbane, the last month has been mighty spectacular. First, Brisbane Writers Festival returned for 2022. Now, Emerge — Queensland Poetry Festival is back as well — because this town is home to multiple citywide celebrations of literature and language. As always, this tribute to waxing lyrical has compiled a diverse program that showcases the artform in a number of ways. Focused around the titular theme — that'd be 'emerge' — the lineup ponders coming out of the chaos of the last few years, how poetry itself breaks into the world, plus talents emerging to prominence themselves. After an online lineup in March, Brisbanites can now head to the in-person component from Friday, June 3–Sunday, June 5 at the Judith Wright Arts Centre. On the program: readings of Indigenous poetry to kick off the fest, an up-late poetry lounge, a chat about LGBTQIA+ poetry, pondering poetry's power when facing climate change and the pandemic, a session on erotica, a focus on mental health and more. And, doing the speaking and performing: a roster of talent that includes Busty Beatz, Madina Ahmad, Lisa Fa'alafi, Hot Brown Homies, Simone King, Jazz Money, Janaka Malwatta, Tony Norris, Felicity Plunkett, Samuel Wagan Watson and Nicholas Powell. Yes, the list goes on. [caption id="attachment_812379" align="alignnone" width="1920"] Maeve Baker, 'Do Your Chores, Try Not To Think Too Much, And Repeat', 2020, IMA Belltower Façade Projection. Commissioned by the Institute of Modern Art for 'Making ArtWork'. Photo: Charlie Hillhouse.[/caption] Top image: Queensland Poetry Festival.
The Warrego River gives life to this dusty part of the country, stretching for more than 1000 kilometres and supporting the region's remarkable flora and fauna. Running through central northern New South Wales and southwest Queensland, this alluring intermittent river system is best experienced up close — and Cunnamulla is one of the best spots from which to do just that. Bringing along a kayak or canoe ensures you catch a glimpse of the shifting landscape, which traverses through wide-open plains and dense timber forests. The Warrego is also great for fishing, with freshwater species like silver perch and Murray cod known to inhabit the biodiverse waterways. Image: Tourism and Events Queensland
Brisbanites have spent plenty of time in their own castles over the past 18 months. Now, with the city currently out of lockdown, it's time to mosey through a giant inflatable version instead. From Friday, September 3–Saturday, September 25, the city will welcome a luminous installation comprised of a cluster of colourful arches — as created by multidisciplinary studio ENESS. Called Sky Castle and part of this year's Brisbane Festival program, the towering pop-up will span Northshore Hamilton until Tuesday, September 14, filling it with colour. Then, from Wednesday, September 15, it'll be on the move. It isn't just shifting locations, however, but it'll float along the river nightly as part of a watery art experience called Brisbane's Art Boat. The arches are designed to reflect a rainbow — and to bring a spot of brightness to the city after its tough experiences during the pandemic, just like rainbows do after storms. Yes, that's what everyone could use right about now. And, they're interactive, too, changing their hues as you move through them. As well as vivd tones, plenty light and sky-high arches, Sky Castle also includes a xylophone soundscape, which changes while you're wandering as well. And, it's one of two ENESS installations that form part of the Bris Fest lineup. So, when it isn't at Northshore Hamilton, its sibling event Airship Orchestra will be — and vice versa. The same applies to its berth on Brisbane's Art Boat as well. Images: Zhu Rui.
You can't help but conjure up images of the romanticised '60s Woodstock era while listening to Richard In Your Mind. Putting forward a Beatles-ish pop sound swathed with psychedelic and krautrock rythyms, the Sydney five-piece have just released their newest album, Ponderosa via Rice Is Nice, the local record label boasting a host of Sydney talent such as Donny Benet and SPOD. RIYM's tunes are a fun and light-hearted affair, exploring overarching themes of things like nature, exploration and escapism — no doubt influenced by the band's hours spent in the Blue Mountains, where they recorded the tracks. To launch Ponderosa, Richard In Your Mind are playing a couple of intimate shows along the East Coast. This Brisbane leg sees the crew supporting New York-based (via Japan) avant-garde legends Cibo Matto on their first trip to Australia, joining Regurgitator's Ben Ely. It might not be the 1960s anymore, but these guys are definitely making sure the crazy psychedelia still lives on. And if you haven't seen the video for latest single 'Hammered in the Daytime', do yourself a favour and click the tab above. It's the family TV show we truly wish existed. https://youtube.com/watch?v=kMyxjFAyLMU
This article is sponsored by our partners, Rekorderlig. The words 'Full Moon Party' might usually bring to mind sandy, sunburnt backpackers in their tens of thousands lost in a cocktail-bucket-fuelled dance frenzy on some remote Thai island, but Thredbo's reclaiming their wintry potential on Australian soil. On three separate occasions this ski season, the Thredbo Alpine Hotel's Keller Bar is being transformed into a black-lit, werewolf-ridden dance cave, where you're pretty much invisible unless you've donned your white or fluorescent best. Just in case you're the forgetful type, you'll be presented with face paint and glow sticks as you walk through the door — free of charge (as is entry). For a beautifully Swedish start your night, arrive at the firepit-lined courtyard nice and early. The tunes start at 3pm and the Rekorderlig Hot Pool will be steaming (bonus: delicious mulled Winter Cider will be steaming too). The first part in the three-act series took part on July 12, with sets from SOSUEME DJs and Purple Sneakers, but the good news is, you've still two more opportunities to get in on the action. On August 10, you'll catch the Crooked Colour DJs, who were recently shortlisted in the Stoney Roads Producer of the Year Awards, and the I Oh You DJs. Then, on September 9, you'll be hearing from The L D R U, fresh from their crowd-wowing Splendour appearance, and Leah Mencel, 2012 winner of EMI's She Can DJ Comp.
Australia's answer to South by Southwest, the biggest music industry gathering in the southern hemisphere descends once again on Fortitude Valley — BIGSOUND. Music business meets pleasure in a boastful lineup of top-notch industry speakers and next level ones-to-watch artists performing in various locations across Brisbane’s biggest cultural precinct. Delegates will flock en masse to daytime conferences to tune in about the state of our national music scene — how to succeed in the exciting realm of music management and performing, and how to best support and promote Australian artists who are proving a success on local and international stages. Triple j’s Richard Kingsmill, ARIA-winning, platinum-selling artist Megan Washington, the legendary Neil Finn of Crowded House fame and Peter Noble, the brains behind Bluesfest are just a drop in the bucket of pure steeze dishing out their insider industry knowledge in the conference component of BIGSOUND. After dark, artists will take over stages in and around Fortitude Valley for two epic nights of loud and proud performances. With a solid lineup of official and unofficial parties, gigs and showcases scheduled, the choices of how to spend your two nights in this double-header of a festival are pretty limitless. Catch the likes of Deep Sea Arcade, Kingswood, Avaberée, Thelma Plum, Holy Holy and a sizeable avalanche more, all you need is your golden ticket (otherwise known as a wristband of awesomeness) to take your pick. The go-to happening for Australian music fans and industry leaders alike, BIGSOUND is your ticket to big gigs, big rubbing shoulders ops and even bigger ideas. Check out the full BIGSOUND program of panels, events and gigs right here. If you're strapped for time or slightly unorganised, we've counted down the ten artists you must see at BIGSOUND over here.
The best joke in The Boss is the one that no one talks about. Whatever Michelle Darnell (Melissa McCarthy) is wearing, her outfit includes a turtleneck jumper pulled up over her chin. Whether it's meant to be slimming or is simply an eccentric style option, it looks as ridiculous as it sounds — and while there's no avoiding the silly sartorial sight that greets viewers every time the protagonist graces the screen, the unusual clothing choice is actually among the film's most subtle elements. The fact that it remains hilarious while never earning a mention or explanation is refreshing, particularly in a movie that takes every other chance it can to either state or rely upon the obvious. At the beginning of the film, which McCarthy co-wrote with her director husband Ben Falcone, Darnell is a self-made titan of business. After wheeling and dealing her way to the top, she's the 47th wealthiest woman in America, and at the filling stadiums, splashing cash around and dispensing self-help advice stage of her career. Alas, all it takes is an insider trading charge and a stint in prison for her fame and fortune to disappear. With nowhere to go upon her release, Darnell turns to her former assistant Claire (Kristen Bell) to help get her life back on track — and seizes upon a brownie-selling opportunity inspired by Claire's young daughter Rachel (Ella Anderson). The Boss is an awkward film, and not just because it pairs a predictable storyline with clumsily inserted scenes of outlandish behaviour. It's the kind of movie in which school girls brawl with their mothers in the street, and swearing and physical antics are presented as the height of comedy. Yet the bulk of the awkwardness stems from McCarthy herself. Arguably The Boss ranks alongside The Heat and Spy as one of the actresses better starring roles, but with Identity Thief and Tammy also on her resume, that's not saying much. As committed as she remains to doing whatever it takes to garner laughs, there's no escaping the feeling that she's done it all before. The fact is, audiences may well be getting tired of watching McCarthy bear the brunt of violence, become the butt of jokes and deliver expletive-filled dialogue. Showcasing rather than stretching the energetic performer's many talents is the movie's main aim, however it actually fares best in quieter, less exaggerated moments. There's an astuteness and understanding in the ever-changing dynamic between McCarthy and Bell, even if the latter frequently threatens to steal the show from the former. Dissecting the ways women can both come together and tear each other apart, their exchanges provide The Boss with its much-needed heart. Of course, such moments of depth are few and far between, as is demonstrated by McCarthy's other main adversarial relationship with an over-the-top Peter Dinklage as her ex-boyfriend turned rival. That the end result proves a jumble of earnest sentiment, too-easy gags, one-dimensional characters and inconsistent absurdity is hardly surprising. But at least there's always those unexplained turtlenecks to keep you chuckling.
In an age of GPS navigation and Siri-dependency, the idea of using of a hand-held, pull-out map seems a little dated. But one Brisbane artist, Sue Beyer, is exercising her cartography skills liberally to construct meaningful, allegorical masterpieces that combine her painting skills with the rigid, boundary-heavy outlines of maps. Her latest exhibition, Betwixt and Between, is driven by Beyer’s unique set of interests in painting, roller-skating and motor biking, and the role location can have on each. Her pieces show the concept of place as a continually fluid and shifting set of experiences — her work incorporates traditional lines and shapes that give maps their structure but combine it with puddles and patches of colour. This combination makes for bold and dynamic abstract forms, with information and illusion coming together to on the canvas.
As soon as the mercury hits anything above 25 degrees, Queenslanders will drop everything to find the nearest body of water- working commitments be damned! On a bad day, said 'body of water' might look like a room temperature bath, or a partially deflated kiddie paddling pool. But on a good day? Well, it might look a bit like the Spring Hill Baths. Don't waste your time battling highway traffic to get to the beach- this heritage-listed pool is just a stone's throw from the CBD. With more aquatic group fitness classes than you can shake your goggles at, Spring Hill Baths is famed for being Brisbane's first in-ground pool. The brightly painted changing room doors, and traditional grandstand seating, gives this swimming spot a sweet, nostalgic touch. Plus, there is a dive-in cinema, for some seriously chilled summer viewing.
If going to a theme park by day is your idea of fun and excitement, then prepare to experience your favourite pastime notched up a few levels. At Screamworld, you won't just visit Dreamworld by night, but enter a version of the famous destination overrun with zombies. Yes, the park's nine thrill rides — yes, nine — aren't the only things that will be giving your lungs a workout. Prepare to yell on the WipeOut, Giant Drop, Tower of Terror II, BuzzSaw, Cyclone, The Claw, Pandamonium, Motocoaster and TailSpin, of course. Then prepare to unleash a blood-curdling squeal as you walk through scare attraction Zombie Evilution. There, you'll wander through the town of Kevil Hill, which just happens to be teeming with undead nasties. For those less fond of such horrors, Screamworld also offers an illuminating laser show spectacular, plus music for you to dance the night away to. Yes, there really is something for everyone.
If you live in Brisbane, you've heard all about the city's connections with Asia; we are the home of the Asia Pacific Triennial of Contemporary Art and the Asia Pacific Screen Awards, after all. Since 2013, the BrisAsia Festival has also been on that list, paying homage to the culture of our neighbours. Timed around Lunary New Year — running from Saturday, February 1–Saturday, February 29 this year — the 2020 program features yet another mix of traditional and contemporary Asian arts, channelled into events across Brisbane. And while some of the unmistakable highlights will serve up a feast for your stomach — a new Valley of Spices festival in Fortitude Valley, plus a BrisAsia Bazaar with markets and street food — that's just the beginning of the fun. Where do we start? Attend a lunar new year rooftop party, dress up for a cosplay-filled summer shindig at Reddacliff Place or head to a Chinese festival in King George Square. Or, pair some Asian food with a film, embark on a culinary tour of Sunnybank, dance at a silent disco, bust out your gaming skills and do yoga all over the city.
When Christmas Eve hits, most of us are already feeling the festive spirit. If you work in retail or hospitality, however, you might have to press pause on your merriment until your shift is over. Even worse — while the majority of folks are getting into the swing of seasonal celebrations, those left serving food and drinks, manning store counters and just working in general aren't being compensated more than their usual rates. Following in the footsteps South Australia and the Northern Territory, the Queensland Government has just implemented a solution: turning Christmas Eve into a public holiday. Well, turning part of December 24 into a public holiday, at least. Announced back in August and now passed into law on Wednesday, November 27, the move sees penalty rates come into effect once 6pm hits — meaning that anyone left working when it's literally the evening before Christmas will be paid accordingly. Receiving community support after a public consultation period that ended in September, with 71 percent of submissions in favour of the change, the part-day public holiday applies from this year — so yes, this Christmas is covered. Affected workers will receive penalty rates of up to 250 percent of their normal wages, as well as the option not to work, where reasonable. For further information, visit the Queensland Government website.
It took more than 25 years for Twin Peaks to revisit its moody, otherworldly and all-round odd small-town mysteries — and if you're not done diving into the television show's wonderful and strange world just yet, don't stress. Whether there'll be any more episodes is anyone's guess, but you can spend an evening with the show's stars in the interim, with five of the series cast members heading to Australia later this year. Although David Lynch famously refuses to talk in-depth about any of his work, including Twin Peaks' three seasons to date and the film Twin Peaks: Fire Walk With Me, expect Sheryl Lee (Laura Palmer), Kimmy Robertson (Lucy Moran), Michael Horse (Deputy Hawk), Al Strobel (Philip Gerard) and Dana Ashbrook (Bobby Briggs) to be much more forthcoming as they chat about their experiences both on- and off-screen. Between August 25 and September 2, they'll be joining forces with Twin Peaks producer Sabrina S. Sutherland for a series of 'Conversation with the Stars' discussions around the country. If you've ever wondered what it was like to be wrapped in plastic, or to line up piles and piles of doughnuts, or to play the other half of the series' evil entity, here's your chance to find out. While Twin Peaks' lead Kyle MacLachlan won't be making the trip, the lineup is still a Peaks-lover's dream come true. Lee played Laura Palmer, the teen sweetheart whose murder sparked the whole series, while Ashbrook swaggered through highs-chool hallways as her boyfriend Bobby Briggs, and then turned unlikely cop in the latest season. Robertson is best known as bubbly police station receptionist Lucy, and Horse played the enigmatic Deputy Hawk — and had one of the most recent series' most moving scenes. As for Strobel's Phil Gerard, he was pals with Bob before becoming a resident of the Black Lodge. If all of the above gets you thinking about damn fine coffee and the Double R Diner's cherry pie, then you'll be keen to nab tickets to the intimate chat, which heads to Melbourne, Brisbane and Sydney for one night only. No word yet if the cast members will be sitting in front of red curtains or being interviewed by someone called Diane, but we can only hope. And if you're an absolute die-hard Peaks fan with some spare cash (around $500 in spare cash), meet-and-greet tickets are also available. Twin Peaks: A Conversation with the Stars comes to Melbourne's Palais Theatre on Saturday, August 25, Brisbane's Eatons Hill Hotel on Sunday, August 26 and Sydney's ICC Theatre on Saturday, September 1. Tickets go on sale at 10am on Friday, July 6, with a pre-sale at 10am on Thursday, July 5 — for more information, visit the event website.
Last year, the Fever-Tree Gin & Tonic Festival was an in-person affair, with the huge gin and tonic festival descending upon Sydney's Centennial Park. That was then, though. For 2020, lovers of the classic tipple can look forward to the Fever-Tree Online Gin & Tonic Festival instead. Yes, as the extra word in its title makes plain, it's going virtual. Here, you'll have the chance to sample eight different gins, as matched with top tonics from Fever-Tree's range of mixers. For $55, they'll be sent to your house — in a festival kit that also includes homemade dehydrated garnishes, two glasses, a tasting mat, snacks and a pairing guide, as well as access to the digital festival. Then, all you need to do is hop online from 5.30–7pm on Saturday, June 13, when the fest will unleash a heap of juniper-themed boozy fun. Think guided tastings and gin masterclasses, with bartenders and gin experts on hand. Gins from Adelaide Hills, Bombay Sapphire and Hendrick's will also be on offer — and if you already have enough gin at home, you can join in for free on the night without needing to buy a festival kit. A link to the virtual fest will be made available on Fever-Tree's social media on the date.
Whether you're looking for something on a budget, or you're after the best vintage fare, there's nothing like trawling through other people's wares. Forget your regular old household clear-outs, trash and treasure markets, outlet sales and car boot offerings though — Brisbane's biggest clothing garage sale is back again. When it ran pre-pandemic, we're not sure whether that size had been officially confirmed. Post-lockdowns, the event will be a bit smaller, featuring 15 sellers per event rather than its usual 33. Still, it'll keep delivering a massive array of sartorial bits and pieces — taking over Bizzell's Garage on Latrobe Terrace from 10am–3pm on Saturday, July 25. Prepare to arrive with shopping on your mind and leave with a full basket. Prices vary, as will condition, but expect to pay anywhere from $1 to over $100 for clothes, swimwear, shoes, accessories, denim, leather items and jewellery. Brands spanning the sporty likes of Adidas and Puma, the upmarket style of of Burberry, and the street cred of FILA and Calvin Klein will all be on offer. And, if you want to add a few plants to your home garden — including succulents — you'll find greenery on sale too, as well as DVDs, records and books as well. Top image: Lil J's Vintage.
Footscray's Mr West is known for many things: its craft beer-packed bottle shop, its dog-friendly bar, its charcuterie boards and its espresso martini and negronis on tap. Previously, you had to visit the Melbourne bar to try said cocktails, but now you can have them delivered to your door. In 1.5-litre 'bagnums', no less. Made with Mr Black Coffee Liqueur, Boston Black cold drip coffee, stout and vodka, the Good Spirits espresso martini packs a serious alcohol- and caffeinated-punch. The Good Spirits negroni is made with Poor Toms dry gin, Campari and Mr West's house-blended vermouth. It's suggested you serve the latter over ice with an orange garnish, but straight-up in a mug is okay, too. Each 'bagnum' (a portmanteau of 'bag' and 'magnum') costs $99 and contains 12 serves of espresso martini and 20 serves of negroni, which works out to be about $8 a serve for the former and $5 for the latter (a bargain). As an added bonus, the espresso martini bag also comes with a mini Parisian cocktail shaker, so you can froth up your drink a little before serving. If you're located in surrounding suburbs in Melbourne, you can get the bagnums delivered to your door within an hour from 1–7pm daily for a $7.50 flat rate. Sydneysiders and Brisbanites can get them shipped in three-to-ten days from $12. Mr West's online bottle shop doesn't just have oversized cocktail bags, either. You'll also find a whole heap of craft beers, natural wines, local and international spirits, sakes and so much more. Those wanting to commit to more regular drinking can also sign up to Mr West's subscription service Good Booze Project, which sees boxes of three, six or 12 wines and beers delivered to your door every month. You can order a Good Spirits espresso martini or negroni bagnums via the Mr West online shop.
After months of discussion and debate, Queensland is reopening its border from Friday, July 10, allowing residents from all Australian states and territories other than Victoria to enter the state for the first time since March. But anyone hoping for a quick trip over the border — whether you're holidaying up north or heading home to the Sunshine State — should expect plenty of company. In fact, more than 200,000 Aussies are planning to make the trek in the next seven days alone. At a press conference today, Thursday, July 9, Queensland's Chief Health Officer Dr Jeannette Young advised that the state has already received 238,000 applications for border declaration passes — the permits that anyone entering Queensland from interstate, including Queenslanders returning home, are required to obtain before they'll be allowed across the border. The passes only permit entry into the state within seven days from approval, which means that a hefty amount of people are planning to make the trek within the next week. As Dr Young notes, "that is a lot of people — so that will mean that we'll see congestion and delays". The huge figure was revealed as Queensland announced significant changes to its border policies, including increasing restrictions on travellers who've been to Victoria in the past 14 days. While, since Friday, July 3, Queensland has required anyone travelling from Victoria, including Queenslanders, to go into forced quarantine for 14 days — in a hotel, at your own expense — it'll now completely ban visitors from Victoria from noon on Friday, July 10, including from both accessing the state and quarantining in the state. Exemptions will be given "for essential specialist workers, as well as for health, legal or compassionate grounds", but Premier Annastacia Palaszczuk advises that "very few exemptions will be granted". Although Queenslanders returning to the state from Victoria will still be able to come home, they'll continue to be required to go into forced quarantine for 14 days, in a hotel, and pay for the costs. https://twitter.com/AnnastaciaMP/status/1281002263457132545 Queensland also revealed that it's implementing new requirements for interstate visitors who develop COVID-19 symptoms while in the state. As announced by Deputy Premier and Minister for Health and Ambulance Services Steven Miles, anyone entering Queensland will be required to get tested if they show any signs of the coronavirus within 14 days of arriving in the state — and, to commit to that requirement, you'll have to make a binding declaration to get tested when you apply online for your border pass. Mobile testing clinics will be set up at popular tourist destinations to help travellers get tested — and anyone who refuses testing will face a $4004 fine. The testing requirement will also apply to Queenslanders returning to Queensland, with folks in both categories receiving text messages from Queensland Health to ask if they have developed symptoms and remind them that they must get tested. At the time of the announcement — and at the time of writing this article — Queensland only has two active cases of COVID-19 in the state. To find out more about Queensland's COVID-19 restrictions, and the status of the coronavirus in the state, visit Queensland's online COVID-19 hub. To find out more about the status of COVID-19 in Australia and how to protect yourself, head to the Australian Government Department of Health's website. Top image: Tourism and Events Queensland.
Heading to Given Terrace staple Darling & Co is all about hangs in the venue's breezy space, and every Aussie knows that a weekend party isn't complete without a little (or a lot of) bubbly. Happy to oblige, the Paddington spot has launched bottomless prosecco and spritz brunches, which are now on offer every Sunday. And the restaurant isn't simply offering the standard two hours of bottomless booze. Instead, patrons have unlimited access to a fountain. You'll be able to pour your own bubbly and spritzes from its taps throughout the two hours, while enjoying an extensive spread. Find a comfy spot while tucking into an antipasto platter stacked with marinated olives, roasted peppers, bocconcini and watermelon wrapped in prosciutto, your choice of three pizzas, and a side salad. Although your $69 ticket gets you all of the above food and all the drinks for the fountain you like for two hours, the weekly event runs from 12–4pm, so you've got some options in terms of timeslots.
Questions flow freely in She Said, the powerful and methodical All the President's Men and Spotlight-style newspaper drama that tells the story behind the past decade's biggest entertainment story. On-screen, Zoe Kazan (Clickbait) and Carey Mulligan (The Dig) tend to be doing the asking, playing now Pulitzer Prize-winning New York Times journalists Jodi Kantor and Megan Twohey. They query Harvey Weinstein's actions, including his treatment of women. They gently and respectfully press actors and Miramax employees about their traumatic dealings with the Hollywood honcho, and they politely see if some — if any — will go on the record about their experiences. And, they question Weinstein and others at his studio about accusations that'll lead to this famous headline: "Harvey Weinstein Paid Off Sexual Harassment Accusers for Decades". As the entire world read at the time, those nine words were published on October 5, 2017, along with the distressing article that detailed some — but definitely not all — of Weinstein's behaviour. Everyone has witnessed the fallout, too, with Kantor and Twohey's story helping spark the #MeToo movement, electrifying the ongoing fight against sexual assault and gender inequality in the entertainment industry, and shining a spotlight on the gross misuses of authority that have long plagued Tinseltown. The piece also brought about Weinstein's swift downfall. As well as being sentenced to 23 years in prison in New York in 2020, he's currently standing trial for further charges in Los Angeles. Watching She Said, however, more questions spring for the audience. Here's the biggest heartbreaker: how easily could Kantor and Twohey's article never have come to fruition at all, leaving Weinstein free to continue his predatory harassment? In a female-driven movie on- and off-screen — including director Maria Schrader (I'm Your Man), screenwriter Rebecca Lenkiewicz (Small Axe) and cinematographer Natasha Braier (Honey Boy) — She Said details all the moments where the pivotal piece of reporting could've been forced to take no for an answer, something that Weinstein wasn't known for. At the NYT, assistant managing editor Rebecca Corbett (Patricia Clarkson, Sharp Objects) and executive editor Dean Baquet (Andre Braugher, Brooklyn Nine-Nine) are always supportive, starting when Kantor picks up the story, and continuing when she brings in Twohey fresh off an investigative article into Donald Trump's sexual misconduct. But, unsurprisingly, the women made victims by Weinstein are wary. Many also signed non-disclosure agreements. Kantor and Twohey's pitch: by speaking out and ideally going on the record, they can assist in ensuring that what they endured doesn't happen to anyone else. Knowing the end result, and the whole reason that She Said exists, doesn't dampen the film's potency or tension. Instead, it heightens the appreciation for the bravery of those who spoke out — at first and afterwards — and the care with which Kantor and Twohey handled their task. The two reporters knew that they were asking women to revisit their darkest traumas, make their worst ordeals public and take on a man who'd been untouchable for decades (with the spate of NDAs and settlements with many of his targets to prove it). Even Rose McGowan (voiced by The Plot Against America's Keilly McQuail) is hesitant; she's mentioned but not quoted in the final piece. Persevering to bring Weinstein's crimes to attention, Kantor and Twohey keep digging, and keep trying to persuade their potential interviewees — and She Said doubles as a lesson in compassionately and respectfully doing just that. Some of the women approached are household names, with Ashley Judd appearing as herself and Gwyneth Paltrow referenced but not seen. Others worked in less visible roles in Weinstein's orbit — and She Said's moments with Samantha Morton (The Serpent Queen), Jennifer Ehle (Saint Maud) and Angela Yeoh (The Batman) as ex-Miramax employees Zelda Perkins, Laura Madden and Rowena Chiu, helping the feature explore why they agreed to talk, are electrifying and heartbreaking at the same time. In a blistering scene set in a London cafe, Morton plays someone toughened by and determined because of her 90s efforts to stand up for a colleague, her anger radiating from the screen. Ehle is the face of sorrowful regret, with the pain she conveys about being accosted as a young woman — a flashback to which opens the movie — just as palpable. And Chiu is devastating as someone who hasn't even told her husband about what happened, such was is misplaced shame and lingering fear. Great procedurals, of which She Said is one, know the importance of three things: diligently putting pieces together, charting the dedicated efforts making that happen and showing the impact of a job well done. Not all such films get as satisfying an IRL ending — Zodiac is an all-timer and the serial killer it focuses on has never been caught — but conveying why the work matters is one of the genre's key aims. No one needs a movie to stress that fact here, obviously. The results of Kantor and Twohey's efforts have garnered headlines for five years now and will continue to. Still, consider She Said a testament to that hard work, and a film eager to ensure that toiling gets its due. It isn't a self-congratulatory flick, but a solidly compelling, sensitive and astute one. It never even lets Weinstein's face be sighted. And, it tells its tale with naturalistic, lived-in visuals, including in the NYT's offices and cafeteria, always emphasising that its details are real and tangible. Where 2019's chilling and exceptional The Assistant fictionalised a film production company led by a Weinstein type and the culture of sexual harassment it enabled, She Said always dwells in fact. Both movies are gripping, engaging, moving and essential, however, as well as attentively directed and outstandingly cast. For the second time in the past few years, Mulligan confronts the abhorrent treatment of women by men, and strikes back — and while this feature couldn't be more different tonally from Promising Young Woman, she's a firmly committed presence in both. Quiet strength emanates from Mulligan and Kazan alike, while their characters are doing their jobs and as they're balancing home lives. That juggling act is never the point of She Said, which seamlessly works in the pair's respective children, plus Twohey's pregnancy and post-natal depression. Nonetheless, including it helps reinforce the variety of ways that this is a women-centric story — crucially so — and what that means on an array of levels.
Getting comfy on the couch is nothing new for avid readers. Staying in to attend Brisbane Writers Festival is, though. Like many other events in 2020, the annual celebration of all things literary is going virtual this year, serving up a week-long celebration of the written word that's being delivered digitally. Called Brisbane Writers Festival 2020: Room to Dream, the fest runs from Monday, August 31–Sunday, September 6, with seven events on the agenda. Each day, two artists will respond to the theme as part of a call and response-style presentation that's available to watch via the BWF website. Also, checking out their readings, poetry, art and dance is completely free. First up is poet Alison Whittaker and dancer and choreographer Katina Olsen, offering up a piece that's being described as "a fusion of feelings". Also on the bill: Vietnamese Australian author Vivian Pham's words brought to life with artworks by Vietnamese illustrator Camelia Pham; a collaboration between award-winning novelist James Bradley and writer and video game enthusiast Shastra Deo; and real-life partners Chris Flynn (author of Mammoth) and Eirian Chapman (an illustrator). The list goes on, which is reason enough to tune in each day — and to get your BWF fix before it returns as a physical event from May 7–9, 2021. https://www.youtube.com/watch?v=RLEw15OmF0M&feature=emb_logo Brisbane Writers Festival 2020: Room to Dream runs from Monday, August 31–Sunday, September 6 via the BWF website.
If you're a sugar-lovin' Brisbanite, we've got good news for you. Next time you’re in the vicinity of New Farm — specifically, New Farm Cinemas — you might want to treat yo'self. After working markets here, there and everywhere around Brisbane, New Farm Confectionery now has a permanent home. Tucked around the side of the cinemas on Barker Street just off Brunswick Street, the new confectionery shop is a cute little haven dedicated to the kinds of handmade, high quality goodies that you can't find just anywhere. These aren't mass-produced, supermarket-variety lollies filled with additives — everything's free of artificial colours and flavours, and made in store in small batches. Think couverture chocolate honeycomb, marshmallows flavoured with real fruit and oil, and individually-wrapped salted caramels. We'd keep listing things, but there’s too much goodness to choose from — including six different milkshake flavours. Is your mouth watering yet? New Farm Confectionery was originally inspired by a trip to Paris by owner Jodie Neilson, who saw sweet bites to eat everywhere throughout the French city and wanted to offer the same luxury to Australian adults. That's excellent news for those in Brisbane with a sweet tooth, but for those outside the city, the store will ship their products anywhere in Australia. You can still find them at Eat Street on weekends; this just means there's more deliciousness on offer more often.
Black suits, black shades, futuristic weaponry and plenty of aliens: the Men in Black are back. Because film franchises never die — they just get revamped/remade/rebooted/reimagined — the sci-fi series is releasing its fourth instalment. It's a spin-off, and it features a brand new cast. In Men in Black: International, Thor Ragnarok co-stars Chris Hemsworth and Tessa Thompson step into the outfits originally made famous by Will Smith and Tommy Lee Jones. The Aussie star plays Agent H, while Thompson plays agent M, a newcomer who nabs a job after tracking down the secretive organisation. Helping them with their London-based efforts are Emma Thompson and Liam Neeson, who are also donning the requisite attire. Two (unrelated) Thompsons are better than one, clearly, and, when it comes to Neeson, why not? Directed by Straight Outta Compton and The Fate of the Furious' F. Gary Gray, Men in Black: International arrives 22 years after the original flick (and the original theme tune that you now have stuck in your head). It follows the new agents as they not only try to keep watch over the world, but attempt to track down a mole inside the Men in Black. If it wipes the franchise's rather average Men in Black II and Men in Black III out of our memories, it'll achieve something. Men in Black: International opens in Australian cinemas on June 13, 2019 — check out the trailer below. https://www.youtube.com/watch?v=gexS_FVXdhk&feature=youtu.be
With Game of Thrones ending its run this year, there's currently a huge fantasy-shaped hole in the TV and streaming landscape. Of course, the beloved show will go on thanks to its own prequel; however plenty of networks and platforms are trying their hands at the genre in the interim — and giving television buffs plenty to watch. Amazon is hoping to fill the gap with its forthcoming Lord of the Rings series, although it isn't due until 2021. HBO's next contender will arrive sooner, courtesy of its adaptation of His Dark Materials. And, while Netflix already has its Dark Crystal prequel launching in August, it'll soon drop new series The Witcher as well. An exact date for the latter hasn't been announced, but the Henry Cavill-starring show has just unveiled its first trailer at San Diego Comic-Con. The witcher of the title is Geralt of Rivia (Cavill, sporting long blonde locks), a monster hunter who prefers to work — aka slay beasts — alone. But life has other plans for the lone wolf, forcing him to cross paths with powerful sorceress Yennefer of Vengerberg (Anya Chalotra, Netflix's Wanderlust) and young princess Ciri (newcomer Freya Allan). The latter harbours a secret, because of course she does, with the series blending plenty of fantasy staples such as magic, royalty, fighting factions, battling hordes, fearsome creatures, a heap of sword-swinging and many a scenic location. After stepping into Superman's shoes and facing off against Tom Cruise in Mission: Impossible — Fallout, The Witcher marks Cavill's return to TV a decade after starring in regal period drama The Tudors. Behind-the-scenes, the show's eight-part first season is created, executive produced and co-scripted by Lauren Schmidt, who has everything from The West Wing, Parenthood and Power to Daredevil, The Defenders and The Umbrella Academy to her name. If the series' name sounds familiar, that's because The Witcher is based on the short stories and novels of writer Andrzej Sapkowski — and, as well as being turned into comics, it was adapted the video game series of the same name. A Polish film and TV show also reached screens back in the early 2000s, although they were poorly received. Check out the trailer for Netflix's The Witcher below: https://www.youtube.com/watch?v=cSqi-8kAMmM The Witcher will hit Netflix sometime later this year. We'll keep you updated with a release date when we have one.
Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). The John Wick movies — the first blasting into cinemas in 2014, John Wick: Chapter 2 hitting the target in 2017, John Wick: Chapter 3 — Parabellum shooting straight in 2019, and now this striking four years later — seem like they should be oh-so simple. Slip Keanu into a black suit, let his 90s grunge-style hair frame his face, get him next to an array of dazzling backdrops, let him raise hell against whoever is thrown his way: that's the basic formula. And, wanting nothing more than a quiet life with the dog left to him by his deceased wife, then the pets that've replaced that pooch since, the eponymous Wick doesn't like to overcomplicate anything. Witnessing a John Wick film, though, means seeing how much stunning action choreography, energetic cinematography, lightning-fast editing and stellar production design goes into making these pictures flow so smoothly. Reeves is so in his element that he'll always be remembered as John Wick (and Neo, Bill & Ted's Theodore 'Ted' Logan and Point Break's Johnny Utah), but the John Wick movies are spectacular technical achievements. All that gun-fu mastery spins through a story — one that is similarly straightforward, but also meticulously constructed to look and play that way. Initially, the happily retired but recently widowed John got dragged back into the hitman life over that aforementioned puppy and a full-hearted quest for revenge. Since then, that move keeps sparking consequences in an action franchise that mixes the western genre's gunslingers and crusades for vengeance, plus their strong, silent types and scenic use of backgrounds, with a musical's rhythm, steps and set pieces. So, Jonathan tried to stay out of the game. Then, he endeavoured to escape the death-for-hire business after its powers-that-be, aka the High Table, started meting out punishment for breaking their rules. Summing up the situation brings another epic crime saga's words to mind: "just when I thought I was out, they pull me back in!". Picking up where its immediate predecessor left off, John Wick: Chapter 4 saddles its namesake with the Marquis (Bill Skarsgård, Barbarian), the High Table's emissary, as his new adversary. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' latest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). Retaliating against the High Table, and just trying to stay alive, involves jumps to Japan, Berlin and Paris — starting from New York, naturally — and shooting, stabbing, slicing and battling through hotels, nightclubs, apartment blocks and more. In the latter category sits two of the saga's most ambitious locations yet, where two of its most glorious fight scenes take place: the traffic circle around the Arc de Triomphe and the 222 steps up to Montmartre's Sacré-Coeur Basilica. Indeed, with Stahelski a four-film John Wick veteran, cinematographer Dan Laustsen (Nightmare Alley) up to three, and editor Nathan Orloff (Ghostbusters: Afterlife) dropping in seamlessly as a newcomer, all 169 minutes of John Wick: Chapter 4 is an action marvel. More John Wick has long been a good thing, whether more movies or more in those movies; the last hour here, as Wick and the Marquis' conflict sprawls across Paris, is the franchise's pièce de résistance. With frenetic frays such a focus, and so expertly and inventively executed — doorbell sensors and bulletproof vests have significant parts, gun fu becomes car fu, and filming flats from above is mesmerising — it'd be easy for anyone new to the ways of John Wick to assume that the plot is secondary. Or, that screenwriters Shay Hatten (returning from Chapter 3) and Michael Finch (American Assassin) have built John Wick: Chapter 4's narrative around the onslaught of carnage, not vice versa. These are lovingly crafted films, however — and layered and thoughtful, as seen when Winston name-drops Ned Kelly and his supposed last words "such is life". The John Wick series is deeply steeped in its own mythology, which swirls around John aka the Baba Yaga, the High Table's workings and love of retro tech, the various Continentals, and all the regulations that underscore the to-ing and fro-ing that leads to such a massive body count, so referencing an IRL figure also steeped in myth is a smart and knowing move. Casting has always worked comparably, drawing upon McShane's Deadwood standing, Lance Reddick's The Wire pedigree, Franco Nero's history as the OG Django in Chapter 2 and Skarsgård's time as Pennywise, for instance. No one is as immaculately cast in the John Wick universe as Keanu, who continues to invest everything into his stoic-faced character by playing it just right — never adding anything superfluous, never undercooking his performance, and always dancing through the franchise with the weight and agility it needs. Still, Yen is his absolute equal, to zero astonishment given that he's Donnie Yen. Physical feats so fleet that they stand out even in this highly physical flick, charm and wit in spades, pitch-perfect doses of comedy: they're all on show. Yen also delivers a gleaming Point Break nod, and owns John Wick: Chapter 4's debt to Japan's swordplay-heavy Zatoichi pictures (a homage he knows well thanks to Rogue One: A Star Wars Story, but he's not repeating himself). No matter how a John Wick movie finishes, it ends with viewers wanting more — and this is no exception, including more of Yen as Caine alongside Keanu.
Pouring a drink and overcome with a big dose of city pride? Australian Distilling Co certainly hopes so. The Aussie outfit's whole remit is making gins that pay tribute to local places — with its master distiller teaming up with distilleries in each region to craft drops that reflect everywhere from Brisbane and Perth to Bondi and Adelaide. In the case of the aptly named Brisbane Gin, that means you'll be tasting lime and ginger. When it comes to Perth Gin, lemon myrtle features heavily. Handcrafted in small batches, each product is designed to celebrate its namesake. Australian Distilling Co's range has also proven quite the award-winner, too, picking up 56 gongs in the past 18 months. Including Melbourne Gin, Sydney Gin and Darwin Gin, too, Australian Distilling Co's are available via its online shop.
To most of us, a black box is an aviation term, referring to the famously indelible record of the events of a flight. To fans of artists Ian Burn, Roger Cutforth and Mel Ramsden, the term brings to mind both the method by which they posted the contents of their seminal combined exhibition to Melbourne’s Pinacotheca Gallery in 1969, as well as the nature of Ramsden’s famous ‘Secret Painting’, an entirely black, square canvas which promises an invisible artwork beneath its monotone appearance. For 1969: The Black Box of Conceptual Art, the idea of the black box as a record of data is still apt. The exhibition recreates the artists’ 1969 project The Field, a controversial, provocative collection of three installations that sparked debate and conversation about the purpose of art in Australia at that time. This restaging acts as a time capsule, against which the progression of conceptual art can be measured. 1969 opens at QUT Art Museum on 11 September, and continues to 8 November. Image: Ian Burn, Installation photograph for Xerox Books, Pinacotheca 1969 (detail) black and white photograph. © Estate of Ian Burn
The brainchild of cosmic Melbourne trio Midnight Juggernauts, Siberia Records plays host to a swag of electronically-grounded, eclectic artists worth giving a significant damn about. For their highly-anticipated Vivid label party Siberian Nights they're bringing Mancurian electronic wizard Andy Stott and his formidable bass/vox fusion to The Studio on May 23, alongside Sydney threesome Black Vanilla, Forces, Cassius Select (Guerre), DCM and Four Door. Plus, the Middy Juggs will be jamming as well, bringing their fully immersive experience AERIALS to psych everyone out. To psych you up for Friday's highly anticipated Studio party, the dudes at Siberia have put together a playlist of weird and wonderful offerings; from the charismatic strangeness of Kirin J Calinan to the smooth stylings of Cassius Select. So jump in, bliss out and make the trek to Siberia on Friday night. https://youtube.com/watch?v=rUtZOGP8VCA 1. Alex Cameron — Jumping the Shark "Technically this is an album. But one of my favourites this year. An interesting exploration into the down and out world of show business (see video). Alex was self releasing it on his website for free so we decided to press a small run baby blue vinyl for it. It now sits proudly on my shelf, and hopefully yours too. "He's in London right now where he's been playing a few shows with R. Stevie Moore but will be magically appearing at our Siberia show at Vivid, along with the next character — it's a bit of a secret how they'll actually get there..." https://youtube.com/watch?v=ycK1xMEzQeQ 2. KIRIN J CALLINAN - Constant Craving (feat. Sophia Brous) "Kirin also covered 'Apology Accepted' by The Go Betweens a few years ago. Both great Australian covers in my honest opinion. KD Lang might be Canadian but this version slices and dices her into the Southern Hemisphere. "Like I was saying, Kirin will be present in 'some form' this weekend at the Siberia night however, technically he'll still be in London recording his second album." https://youtube.com/watch?v=s9LYXnII_7Q 3. FORCES - Altered States "A classic Australian electronic track. And band. I fell in love with these guys about four years ago when they did a reworking of another artist we were working with. They hadn't released any original material at that point and then they sent me this track, among others. "We ended up bringing them to Sydney to play at a rave in 2012 in an abandoned room in Hibernia House (that we somehow got the keys to). There's a great photo of them almost getting arrested when the cops came and shut it down. You can find it somewhere online." https://youtube.com/watch?v=OZWmYEUoweg 4. SPK - SLOGUN "These guys were quoted to be the inventors of industrial music by Throbbing Gristle. Little do people know, the beginnings of industrial music actually started in Sydney Australia with SPK. These guys were working at the asylum in Balmain (that is now SCA) and they mention in interviews they were influenced by the sounds they were hearing all day, that bled into their first album. They then went onto actually sampling those sounds in subsequent records. "To me they are a great representation of some of the harshness of Australian music. One of them eventually moved to Hollywood and now creates incredible sound design — he did the soundtrack to The Crow in the 90's. This video has a bit of a history lesson on the group if you're interested. I like the quote in the comments: "This is the result of leaving a 56k modem in the microwave.'" https://youtube.com/watch?v=FtH_6fVLHgk 5. CASSIUS SELECT - Judge / Lock "Lavurn Lee's debut video. I've known this guy for a long time through Guerre and now Black Vanilla. His solo material as Cassius Select is incredible. I find it hard to engage with electronic music sometimes but this is totally immersive. It sets such a strong tone; dark and menacing yet in a strange way euphoric and slinky. It's totally fresh. We've just started doing stuff with him and I think he's got a lot of exciting things coming." Siberian Nights is happening in The Studio on Friday May 23 for Vivid LIVE. More details over here.
Head along to The Underdog for a rare opportunity to see some of Australia’s most talented singer/songwriters band together for an intimate evening of melodies. Summer Flake is the name fronting Adelaide’s own Stephanie Crase (Birth Glow, Batrider) as a solo venture, a stripped and raw sound teetering on the line of fine craft and chaos. She is supported by the steamrolling rock outfit Gravel Samwidge - powerhouses in their own right as far as sound and influence are concerned. They have recently toured alongside the legendary Mudhoney and Feedtime and have earned the respect of musicians on a global scale. Joining the fray are also The Wrong Man who take to the stage with drums and guitar and limitless possibilities. They will fit in superbly with their darker take on the rock sound. Finally, the relatively upbeat Bent will have your night off to a stomping good start, their edgy garage sounds seeping into your conscious before you know it.
Adam Driver driving a bus. Kristen Stewart trying to talk to ghosts. Casey Affleck confronting past trauma in his home town. They're just three things in the 2016 Brisbane Asia Pacific Film Festival program — and yes, each of the movies they're in hails from outside of the fest's titular region. This year, BAPFF is veering ever-so-slightly into broader territory. That means New Jersey-set Cannes hit Paterson, French director Oliver Assayas' Personal Shopper and the Oscar-tipped Manchester by the Sea will all screen at the cinema showcase from November 23 to December 4, alongside an array of efforts from the Asia Pacific area. It's a move anyone who has missed the kind of big-name arthouse flicks the now-defunct Brisbane International Film Festival used to schedule should be excited about. Ten international selections, including German comedy Toni Erdmann, the Dardennes brothers' The Unknown Girl and Bulgarian-made Locarno Film Festival winner Godless among them, will feature. Of course, looking closer to home still remains the name of the game, as the bulk of the 82 films in the event's third-ever lineup demonstrate. And, just like last year, BAPFF will unleash a few titles upon the city's cinephiles before the main fest, which is great news for anyone who wants their fix as soon as possible. One of the pre-screenings is Lav Diaz's eight-hour epic A Lullaby to the Sorrowful Mystery, with the ticket price including a light lunch during intermission. And, for those keen on outdoor viewing rather than an in-cinema marathon, 1953 classic Love Is a Many-Splendored Thing will play at a one-night-only deckchair cinema in King George Square. From opening night's sexual politics-focused Parched to closing night's upbeat road trip El Clásico, there's still more on offer: 31 Australian premieres and 33 Queensland premieres over 12 days at Palace Barracks and Palace Centro, in fact, as well as 31 of the 39 films just announced as nominees for this year's Asia Pacific Screen Awards. On the Australian front, MIFF's opening night pick The Death and Life of Otto Bloom makes its way to Queensland, while recent Venice success Hounds of Love — starring The Castle's Stephen Curry as you've never seen him before, and taking audiences into a Snowtown-like suburban horror — will make its debut on home soil. The eagerly anticipated Queen of Katwe, directed by Indian-American filmmaker Mira Nair and starring Lupita Nyong'o and David Oyelowo, also ranks among the highlights. So does Train to Busan's animated zombie companion piece Seoul Station, woman-with-a-tail drama Zoology, culinary documentary Ants on a Shrimp, and Cannes Best Actress recipient Ma'Rosa from Filipino director Brillante Mendoza. His compatriot, Lav Diaz, pops up again, this time with the more modest, just under four-hour Venice Film Festival Golden Lion winner The Woman Who Left. Still, you'll want a comfy seat. Elsewhere, the talent keeps on coming, particularly as far as established names are involved. Fans of Iranian legend Abbas Kiarostami can watch his last-ever finished film, the short Take Me Home, alongside a personal documentary about his passing from one of his long-term collaborators. No Home Movie provides another cinematic goodbye, this time for feminist director Chantal Akerman. And it wouldn't be a BAPFF without the latest soju-soaked Hong Sang-soo movie, Yourself and Yours. The 2016 Brisbane Asia Pacific Film Festival runs from November 23 to December 4 at Palace Barracks and Palace Centro, with pre-festival screenings taking place on November 12, 15 and 18. To view the program and buy tickets, visit the BAPFF website.
UPDATE, November 18, 2020: Destroyer is available to stream via SBS On Demand, Google Play, YouTube Movies, iTunes and Amazon Video. Directed towards Jack Nicholson's hard-boiled Los Angeles private eye, "forget it Jake, it's Chinatown" is one of cinema history's most iconic lines. But Chinatown could've been a little less specific with its famous quote and still conveyed the same sentiment (although "forget it Jake, it's LA" just doesn't have the same ring to it). Los Angeles may be America's city of angels, but it's also a destroyer of dreams. It's where starry-eyed hopefuls flock with their sights set on fame and fortune, where so few secure that wish, and where plenty of unpleasantness lurks beyond the glitz. It's also a place where rise-and-fall tales like La La Land and A Star Is Born can sit beside slacker noir flicks like Inherent Vice and Under the Silver Lake, neo-noir comedies such as The Nice Guys and grim noir dramas like Destroyer. Indeed, noir, the stylised crime genre so often populated by detectives dredging through society's ills, seems particularly drawn to Los Angeles. Where else can gloss and grime reside in such close proximity, one shining and the other tarnishing? There's little that glistens in Destroyer, though. While set in a city almost perpetually bleached from above, this bleak thriller shares little of LA's stereotypically sunny appearance. Instead, the film dwells in the shadows and styles itself after its exhausted protagonist, as portrayed by a far-from-glamorous Nicole Kidman. Proving increasingly chameleonic as her career progresses, the Australian actor plays detective Erin Bell — the usual noir cop with a chequered past; a flawed anti-hero desperate to correct past wrongs. Nearly two decades earlier, Bell went undercover with her partner Chris (Sebastian Stan) to try to sniff out a California gang. All this time later, she still can't shake the difficult gig or the failed bank robbery that brought it to an unhappy end. When ink-stained notes from the heist arrive in the mail, Bell attempts to hunt down the criminal crew's shifty leader Silas (Toby Kebbell). She has other worries, including a teenage daughter (Jade Pettyjohn) who wants little to do with her, but she won't stop until she has put her old case to rest. Bell could walk alongside any of noir's dogged investigators and hold her own. Kidman could do the same among any of the genre's best stars. Destroyer lives and breathes through its complicated protagonist and phenomenal lead performance, with each putting on a stunning show. Baked into both, and into every element of the movie, is the feeling of determination in the face of near-certain defeat. It's the same undying pluck amidst inevitable peril that made a line like "forget it Jake, it's Chinatown" such an emblem of the genre. Noir's most compelling figures know that little is going to turn out well, but they also know that soldiering on anyway is the only option. What an experience it is to see Bell do just that, and to witness Kidman bring her to life (as aided by the appropriate wigs and makeup). The Aussie talent's recent roles in Boy Erased, Aquaman, Big Little Lies and The Beguiled couldn't seem further away from her work here, and yet she couldn't seem more perfect for the part. While the film's title applies to many aspects of its story, Destroyer completely ravages the idea that these dark, hard-luck tales are the domain of men. It's easy to say that gender doesn't matter to a character like Bell, who couldn't be less feminine — but the way the world has worn this woman down, and the way she's worn herself down to cope and survive, never escapes notice. With its incredible bank heist scenes — some of the most riveting since the original Point Break — Destroyer's versatility doesn't evade attention either. As directed by Karyn Kusama, it's a sunlit noir, a scorching character study, a subversion of typical gender roles and an impressive action movie. Working with her regular screenwriters Phil Hay and Matt Manfredi, the filmmaker already has a diverse and notable record, including Girlfight, Jennifer's Body and The Invitation. With Destroyer, however, both the director and her star sear themselves into viewers' memories. Their film might reside in a world and genre that tells everyone to forget, wipe their minds and move on, but everything about this heavy-hitter lingers. https://www.youtube.com/watch?v=KcKinfILGDk
Unhealthy habits add up. A soft drink here, a packet of potato chips there, week after week. Before you know it, you've got some serious health problems on your hands. For many people, getting healthy and eating clean means swearing off deliciousness altogether — embarking on the monk-like tedium of a broccoli-watercress-brown rice kind of diet. But we all know what happens here — a day or two of self-inflicted torture later, desperate for a modicum of joy, they tear into the nearest packet of chocolate biscuits. And another. Luckily, it doesn't have to be that way. In fact, pendulum-like feasting and fasting is the most ineffective way of kicking a noxious lifestyle. The trick is baby steps. Swap one ingredient for another, one at a time. New Australian delivery service Youfoodz are pros at this, they're delivering healthy versions of your favourite indulgences every night of the week — from fish and chips to raspberry and coconut protein pancakes. And they make sure the substitutes are tasty, so you don't even notice you're going healthy. Here are ten super easy ideas to get you started — that you'll actually want to give a chance. SWAP VEGE OIL FOR COCONUT OIL Shortly after the UN revealed that bacon had graduated to its cancer hit list, vegetable oil took a beating. Leading scientists told us many vege oils, when heated, contain dangerous concentrations of aldehydes — chemicals linked, not only to cancer, but to heart disease and dementia, too. The good news is that coconut oil isn't anywhere near as nasty — in fact, it can help to sort out cholesterol levels and reduce the risk of heart disease. What's more, it doubles nicely as a moisturiser. SPREAD WITH AVO SMASH RATHER THAN BUTTER Science's many contradictory studies of butter have left us confused as to just how bad — or good — it is. According to the latest research, it's okay in small doses. But you don't want to go lathering everything in it. So smash and spread an avocado instead. This little green powerhouse is packed with goodness, from vitamins and minerals galore to potassium to fibre. Plus, it tastes mighty, mighty fine. ASK FOR BROWN RICE INSTEAD OF WHITE If you don't ask, most restaurants will pile white rice on your plate. But, in most cases, the brown variety is available. Even if it costs you a little extra, it's cheaper than medical bills from long-term health problems. Brown rice is crowded with nutrition that's been stripped from its white equivalent — Youfoodz do brown rice with their Moroccan chicken tagine. With every cup of brown rice, you'll score 80 percent of your daily manganese requirements (great for your nervous system), a burst of antioxidants, stacks of selenum (keeps arthritis away) and loads more healthy things. GO ITALIAN WITH SPAGHETTI SQUASH RATHER THAN PASTA Spaghetti squash looks, feels and even tastes so much like pasta, it's spooky. All you have to do is buy it, season it and bake it in the oven for 40 minutes or so (until it's soft). Scrape out the flesh with a fork and voila! Your pasta substitute is ready to go. Every serve delivers omega-3, omega-6, beta carotene, potassium, antioxidants, vitamin A and vitamin C. SNACK ON AIR-POPPED POPCORN INSTEAD OF POTATO CHIPS There's no doubting the addictiveness of salty, crispy potato chips. But there's even less doubting their detrimental effects. The low nutrition to high calorie ratio makes them a fast track to weight gain. Add to that their generous doses of sodium and saturated fat and you're in sky-high blood pressure territory. One easy way to break your chip-munching habit is by replacing it with an air-popped popcorn routine. You still get all the crispiness and morishness, but without the baddies. DESSERT ON YOGHURT INSTEAD OF ICE CREAM The unhealthiness of your ice cream does, of course, depend on where you're getting it from. Some scoops are chock-full of sugar and additives, while others are made using clean, natural ingredients. Either way, though, your body will thank you for choosing yoghurt instead. That's not any old, sugary yoghurt laden with gelatine and food acids, by the way, but the high-quality, sugar-free gear. If you're craving creamy satisfaction, Greek yoghurt's the way to go. Whichever you choose, find one that's made using old-school, set-in-the-pot methods. EAT PROTEIN BALLS, NOT CHOCOLATE Of all food addictions, chocolate can be the hardest to kick. In fact, one study at Drexel University demonstrated that, for some people, chocoholism inspires similar reactions to those experienced by drug addicts. If feel like your habit is taking over, get it gone by swapping it for protein ball snacking — and variations like Youfoodz's rocky road protein balls will make you forget they're good for you. When you're feeling tired or low, they pack an energy punch, while reducing cravings. TRAIL MIX INSTEAD OF SWEETS Like chocolate, sweets tempt us when our energy levels are sinking. Ignoring cravings altogether is tough — you'll overcome them much more easily by replacing sweets with fruit and nut mix. You'll get the pick-me-up you need, but without a sugar-inspired crash and burn, and with a whole pack of healthy stuff — like magnesium, zinc and fibre. You can even snack on trail mixes made up into bars if you're on the go, like YouFoodz's supa food bar. ADD VANILLA IN PLACE OF SUGAR This one's for the bakers in the house. Biscuits and cakes packed with sugar and fat can be tasty — there's no denying that — but, to get some sweetness without slowly killing your audience, cut back on sugar and add vanilla. You can use extract or, for a really intense flavour boost, try beans. They're pricey, but worth it. DRINK SPARKLING WATER, NOT SOFT DRINKS When the sun's beating down, we often reach for a soft drink, hankering for its cool, effervescent rush and sugary high. But next time you're feeling hot and thirsty, go for sparkling water. You'll get all the refreshment with none of the calories. If plain water doesn't appeal to you, add a dash of sugar-free juice. Lemon is especially effective in summer. Images: Youfoodz, Dollar Photo Club, Wikipedia/Wikimedia Commons, Cary Bass-Deschenes (Flickr).
Brisbane artist Erika Scott teases the chaos out of everyday objects in her latest exhibition 'No Wonder'. Graduating from the Queensland University of Technology with Honours in Visual Art and as the co-director of Accidentaly Annie St space, if there were anyone fit to develop such an intricate showcase, it's the talented Scott. Using second hand fish tanks, photographs, gap filler, boxer shorts, dusters, glass and a live axolotl, she challenges the order of our world, in turn unveiling the pandemoneum that lies beneath. All out of interest in shifting definitions, ambivalent attitudues, confusion, allusion and a little bit of delusion, Scott's installation looks to seek a 'space' where the subjective ackowledges 'carefully caliberated feeling'. This exhibition is a sculptural collage that exposes, interrupts and investigates our simple world, and it's relation to beauty.
Turning an unloved patch of the inner city into Brisbane's newest riverside precinct, Howard Smith Wharves is quickly making its presence known. Breweries, overwater bars, Greek tavernas — you'll find them all here. Come Monday, December 31, you'll also find plenty of ways to party. Getting into the NYE spirit to cap off its first two months of operation, HSW is throwing a heap of shindigs to see out 2018. It's a choose-your-own-adventure kind of deal, with something on offer for all price ranges — and both laidback and luxe options as well. Of course, there's one thing they all share: a mighty fine view of the fireworks. Want to get the celebrations started early? Head to Felons' free shenanigans from midday, where you'll find brews aplenty, plus live entertainment from 5pm. Fancy a picnic in the parkland? That's also on offer from$43.45, complete with a feast of cheese, prosciutto, dip, baguettes and more. Even better — pay an extra $28.15, and you'll get access to a 1000-square-metre arcade. You can also spend the evening on the Moët and Chandon Lawn from $68.95, where there'll be pop-up bars and food trucks as well. Sitting down to a full meal by the river (from $155.65) and partying in the precinct's overwater hangout (from $104.65) round out the range of festivities. Image: Howard Smith Wharves.
Christmas means many things: chaos in the shops, carols invading your brain, and a focus on all things red and green. In Brisbane, it also means Queensland Ballet's final production for the season, with The Nutcracker brightening up the QPAC stage every year. It really wouldn't be the festive season without it. Whether you've experienced the Tchaikovsky-scored two-act performance about sentient toys, dancing snowflakes and the Sugar Plum Fairy before, or you're joining little Clara on her Christmas Eve journey for the first time, you're certain to get swept up in the show's magic. And if you don't already have a ticket, don't delay — selling out is also an annual tradition. Queensland Ballet's The Nutcracker dances across the Lyric Theatre stage from Thursday, December 16–Thursday, December 23 — and, depending on the day, you can either hit up an evening session or a matinee. Top image: David Kelly.
There's no shortage of places to eat and drink in Paddington, especially on the stretch of road that starts off as Caxton Street, segues into Given Terrace and eventually becomes Latrobe. Nowhere has stood the test of time like The Paddo, however. It dates back to 1885, although it definitely looks a little different these days. As well as a slice of inner-west history, The Paddo has something else on its menu on Tuesdays: two-for-one meals with a side order of karaoke. Grab a cheap meal then belt out a tune — and banish any midweek blues in the process. Mains include pork belly, lamb cutlets and Atlantic salmon, aka just the kind of pub food favourites you'd expect to find in the area's favourite pub. And, if you don't have to work the next day, you can show off your singing skills until late, with the karaoke session kicking on until 2am.
