The eighth movie in the Mission: Impossible comes with a loaded title: Mission: Impossible — The Final Reckoning. The film's trailers, both the first teaser in 2024 and the just-dropped full sneak peek now, also play up the idea that everything has been leading to this. Does Tom Cruise (Top Gun: Maverick) only have one more stint in Ethan Hunt's shoes left in him? That's the vibe that the promotional campaign for The Final Reckoning is aiming for. Whether or not that actually proves accurate, its star is doing what he always his in this action-packed spy franchise, ever since he stepped into it almost three decades ago: testing his limits through death-defying stunts. Initially, this new chapter was called called Mission: Impossible — Dead Reckoning Part Two, given that it directly follows on from 2023's Mission: Impossible — Dead Reckoning Part One. But then the film was delayed during Hollywood's strikes, pushing back its release by almost 12 months. Now, your mission, should you choose to accept it, is getting ready for potentially seeing the last of Cruise as Hunt come May. The feature's two trailers so far traverse everywhere from snow and sky-high heights to under the sea and frozen in ice — and, as always, include plenty of Cruise running. Story details are sparse, however, but of course the film's star is seen hanging off of a plane. Another focus: that everything that happens to us, and Hunt, is the truly sum of our choices. Indeed, the franchise's protagonist isn't just sighted in the trailer, but discussed at length. Viewers can expect more world-hopping intrigue, explosions, chases and fights, though, as regularly occurs when Ethan Hunt and his Impossible Missions Force team return. Also back: a cast including Simon Pegg (The Boys), Ving Rhames (The Wild Robot) and Hayley Atwell (Heartstopper), Vanessa Kirby (Napoleon), Esai Morales (Crescent City), Pom Klementieff (Guardians of the Galaxy Vol. 3), Henry Czerny (Zombie Town), Angela Bassett (9-1-1) and Shea Whigham (Lawmen: Bass Reeves) — and, behind the camera, director Christopher McQuarrie helms again after doing the same on Mission: Impossible — Rogue Nation, Mission: Impossible — Fallout and Mission: Impossible — Dead Reckoning Part One. On-screen, Holt McCallany (The Lincoln Lawyer), Janet McTeer (The Old Man), Nick Offerman (Civil War) and Hannah Waddingham (The Fall Guy) feature, too. Check out the full trailer for Mission: Impossible — The Final Reckoning below: Mission: Impossible — The Final Reckoning will release in cinemas Down Under on Saturday, May 17, 2025. Read our review of Mission: Impossible — Dead Reckoning Part One. Images: Paramount Pictures and Skydance.
This spring, Yo-Chi stores across Australia are transforming into a Fun House, filled with games, surprises, activities, and prizes to be won. Taking place from Friday, September 19, through to Sunday, October 12, the Fun House is targeted towards kids and teens on school holidays. At the centre of the festivities is the launch of Yo-Chi's new Bestie Testie card game. Packed with questions from your last Google search to your most regrettable social post, it's designed to spark conversation between Yo-Chi enjoyers. You can play in-store or take a pack home for $12. Each venue will also have its own Chi-E-O, who is responsible for running a rotating lineup of activities, including colouring in and Chi Pong. Then, at random points during the day, a secret song will play across every venue nationally, signalling the ultimate froyo treat: Yo-Chi on the house for whoever's inside at that moment. Yo-Chi is also rolling out a limited-edition strawberry and mango swirl, alongside new toppings like rainbow mochi, sour clouds, wafer discs and choc cone bits. So make sure to try the new flavour and toppings while you explore all that the Yo-Chi Fun House has to offer. The Yo-Chi Fun House runs nationwide from September 19 to October 12. Find out more via the Yo-Chi website.
What do Heath Ledger serenading Julia Stiles and a monkey playing music have in common? If you head to Moonlight Cinema in February 2025, they're both on the program — and they're indicative of a lineup that's going big on films about love and also flicks where tunes have a prominent part. 'Tis the month for big-screen romances, unsurprisingly. The outdoor picture palace is celebrating a heap of recent pictures that are either musicals or about musicians, too. If you'll be attending with a date, 10 Things I Hate About You is on the bill nationally, as are The Notebook and How to Lose a Guy in 10 Days. With Moonlight Cinema operating in Brisbane, Sydney, Adelaide, Melbourne and Perth, some cities will also get the chance to revisit Notting Hill. And from cinema's brand-new fare, the Florence Pugh (Dune: Part Two) and Andrew Garfield (Under the Banner of Heaven)-starring We Live in Time is popping up multiple times at all sites, while the new Bridget Jones: Mad About the Boy is scoring a preview screening. All of the above pop up in what the venue is calling a 'week of romance' — around Valentine's Day, naturally. Wicked keeps earning a place on Moonlight Cinema's roster, this time with sing-along sessions in all cities. In some locations, A Complete Unknown is another returning title, because who can get enough of Timothée Chalamet (Wonka) as Bob Dylan? So is Mufasa: The Lion King, complete with songs by Hamilton great Lin-Manuel Miranda — and also Better Man, aka the Robbie Williams biopic that brings the British singer to the screen as a CGI chimp. With the specific program varying per venue, viewers can also look forward to the electing-a-new-pope thrills of Conclave, the 1972 Munich Olympics-set September 5, a preview of Gettin' Square sequel Spit, and blasts from the past courtesy of Twilight and The Devil Wears Prada — among other titles, and depending on where they live. If you're in Queensland or South Australia, take note: Brisbane's season is on until Sunday, February 16 in Roma Street Parklands, while Adelaide's runs till the same date in Botanic Park. Elsewhere, Moonlight Cinema's stints at Centennial Parklands in Sydney, Royal Botanic Gardens in Melbourne, and Kings Park and Botanic Garden in Perth all extend through to Sunday, March 30 — so there'll be another lineup drop to come. As always, the films and the setting are just two parts of the Moonlight experience. Also a drawcard: the Aperol spritz bar. Nosh-wise, the event is again letting you BYO movie snacks and drinks (no alcohol in Brisbane, though), but the unorganised can enjoy a plethora of bites to eat onsite while reclining on bean beds. There's two VIP sections for an extra-luxe openair movie experience, too, as well as a platinum package with waiter service in Sydney and Melbourne only, and a beauty cart handing out samples. Plus, dogs are welcome at all sites except Perth — there's even special doggo bean beds. Moonlight Cinema 2024–25 Dates Brisbane: Thursday, November 21, 2024–Sunday, February 16, 2025 in Roma Street Parklands Sydney: Friday, November 22, 2024–Sunday, March 30, 2025 in Centennial Parklands Adelaide: Thursday, November 28, 2024–Sunday, February 16, 2025, 2024 in Botanic Park Melbourne: Friday, November 29, 2024–Sunday, March 30, 2025 in Royal Botanic Gardens Perth: Thursday, December 5, 2024–Sunday, March 30, 2025 in Kings Park and Botanic Garden Moonlight Cinema runs until February 2025 in Brisbane and Adelaide, and until March 2025 in Sydney, Melbourne and Perth. For more information and to buy tickets, visit the cinema's website — and we'll update you with further program details when they're announced.
If you love to hunt for treasure, look no further than Woolloongabba Antique Centre. This mega-warehouse is filled to the brim with 65 dealers pedalling furniture, crockery and knick-knacks from yesteryear. Open 9-5 seven days, the stores specialise in everything from kitsch tea towels and vintage clothes, to Danish design and designer goods. The air conditioned space also houses a retro cafe (hot tip: grab a milkshake), and there is a pop-up barber on the last Sunday of every month.
Remember the name Deniz Gamze Ergüven. The Turkish-French filmmaker may have only directed one feature to date, but it's a movie audiences won't forget in a hurry. In focusing on the troubled plight of five sisters confined to their home, Mustang might bring The Virgin Suicides to mind. Yet there's much more to the film than the comparison might indicate. Setting her film in a conservative seaside village in northern Turkey, Ergüven probes the complicated reality that siblings Lale (Günes Sensoy), Nur (Doga Zeynep Doguslu), Ece (Elit Iscan), Selma (Tugba Sunguroglu) and Sonay (Ilayda Akdogan) face on a daily basis. Stuck in a patriarchal society — and in a house overseen by a strict uncle (Ayberk Pekcan) and dutiful grandmother (Nihal G. Koldas) — their teenage lives are not their own. They're not allowed to just be girls who want to have fun; they're future wives, mothers and caregivers, destined to be defined by their husbands rather than themselves. Indeed, when Lale characterises their existence as "a wife factory", her choice of words couldn't be more fitting. As the youngest child as well as the film's narrator, it's through her eyes that viewers experience both the harsh limitations that dictate the sisters' days, and the need they feel to break free. It all starts when school winds up for the summer, with the quintet heading to the beach to splash around with a group of boys. By the time they get home, news of their apparently inappropriate behaviour has already reached their relatives' ears, inspiring a regime of virginity tests, locked doors, barred windows, cooking lessons and desperate attempts to marry them off. Being trapped in such a restrictive situation is as devastating as it sounds. And yet, thanks to the sisters' different personalities and Lale's undying defiant streak, the narrative is also laced with amusing moments and ample tenderness, as well as the spirit of female empowerment and camaraderie. As co-written by Ergüven with Augustine filmmaker Alice Winocour, the Academy Award-nominated effort proves as much a celebration of young women refusing to simply do what they're told as it is an indictment of the male-controlled status quo. It's also a film that's immersed in blossoming femininity from start to finish. While Sensoy steals every scene she's in with her naturalistic charm, her four main co-stars are no less effective. Cinematographers David Chizallet and Ersin Gok shoot the movie to stress intimacy even amidst rampant oppression, while the score by Warren Ellis evokes both tension and yearning. Accordingly, though Mustang is undoubtedly concerned with domination and escape, it's not a tale of victims, but rather a testament to resilience.
If you like scary movies, then you've likely watched a Scream film or five over the past quarter of a century. And, across that period — ever since the OG flick became a box-office smash in 1996, then delivered 1997's Scream 2, 2000's Scream 3, 2011's Scream 4 and 2022's Scream, plus TV spinoff Scream: The TV Series — you've seen the saga's mask-wearing killer Ghostface slash his way through the fictional Californian town of Woodsboro multiple times, as well as a college in Ohio and then Hollywood. Until now, viewers haven't witnessed the series' villain follow in The Muppets' footsteps, though. But thanks to Scream VI, which arrives in cinemas in March 2023 and just dropped its first teaser trailer, that's changing. This time around, Ghostface is getting slashy while taking — and terrorising — Manhattan. No, everyone's favourite felt characters didn't quite do that, but they did galavant across the New York City borough first. When the first Scream VI trailer begins, it's clearly Halloween, and costumes abound on a NYC subway. Among all that spooky attire: more than one black-clad person in a Ghostface mask, making passengers and franchise returnees Sam Carpenter (Melissa Barrera, In the Heights), her sister Tara (Jenna Ortega, Wednesday) and their film-obsessed pal Mindy (Jasmin Savoy Brown, Yellowjackets) more than a little distressed. Scream VI's trailer doesn't provide any other story detail, but it does still love scary movies, riffing on Alien's famous "in space, no one can hear you scream" tagline. It's also set to bring a few other familiar Scream faces back — sadly not Neve Campbell, after the actor turned down a reappearance after a salary dispute, but seeing Courteney Cox (Shining Vale) return as TV reporter Gale Weathers, Mason Gooding (Fall) pop up again after the last flick and Hayden Panettiere (Nashville) rejoin the fold following Scream 4. Will this make Panettiere's Kirby Reed the killer this time around, because this franchise does love links when it comes to Ghostface's identity? At this stage, we can only guess. What anyone who has even just heard of the Scream flicks does know, of course, is that stabbing murders and horror movie fandom will combine no matter who's wielding the knife. Ready or Not's Matt Bettinelli-Olpin and Tyler Gillett return to helm Scream VI, as they did with 2021's Scream. And yes, why the franchise's titles have gone from Scream to Scream 2, Scream 3 and Scream 4, then back to Scream, and now to Scream VI, makes about as much sense as running up the stairs when someone should be heading out the front door. Also set to feature in Scream VI: She-Hulk: Attorney at Law and The Other Two's Josh Segarra, Servant and The Grand Budapest Hotel's Tony Revolori, and Australian Nine Perfect Strangers and Ready or Not star Samara Weaving, plus Dermot Mulroney (Umma) and Henry Czerny (another Ready or Not alum). Check out the first Scream VI teaser trailer below: Scream VI releases in cinemas Down Under on March 9, 2023.
Only 12 women have won the Archibald Prize, Australia's coveted award for portraiture, in the accolade's 103-year history. Laura Jones is now one of them. For the second year running, a female artist has taken out the prestigious gong, with four-time finalist Jones receiving the prize for her likeness of Australian author Tim Winton. She was inspired to commit his image to canvas after meeting him at an environmental advocacy event, then taking part in a 2016 artist residency that focused on studying the bleaching of the Great Barrier Reef. Even with artists winning the award twice, this is still just the 14th time that a woman has taken home the accolade — an honour that the Greater Western Sydney-based Jones has called "a life-changing moment". "There is an array of brilliant finalists for the 2024 Archibald Prize. I am shocked and humbled to be chosen as the winner," said the artist, who paints, draws, sculpts and makes prints with a focus on the connection between humans and the environment, in a statement announcing the winner of this year's award. "I would like to thank my sitter, Tim Winton. Tim is one of the world's greatest novelists and also a tireless advocate for the environment. He is an inspiration to me as both an artist and as a human being." [caption id="attachment_961081" align="alignnone" width="1920"] Winner Archibald Prize 2024, Laura Jones 'Tim Winton', oil on linen, 198 x 152.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Tim Winton.[/caption] As unveiled on Friday, June 7, 2024, Jones emerged victorious from a 2024 lineup of 57 finalists for the Archibald Prize, which was whittled down from 1005 entries. One such fellow contender: Matt Adnate's Rhythms of heritage, a portrait of Baker Boy that received this year's Packing Room Prize on Thursday, May 30. Other works in the running included Caroline Zilinsky's portrait of Saltburn and Priscilla's Jacob Elordi, Mia Boe's of Tony Armstrong, Jessie Bourke's of Heartbreak High star Chloé Hayden, Paul de Zubicaray's of Jaguar Jonze and Angus McDonald's likeness of Professor Marcia Langton. Also on the list: Drew Bickford's portrait of Hello Dankness filmmakers Dan and Dominique Angeloro, aka Soda Jerk; Camellia Morris' of Anthony Field from The Wiggles; Tim Owers' of Matildas player Cortnee Vine; and Nick Stathopoulos' of film critic David Stratton. [caption id="attachment_961086" align="alignnone" width="1920"] Installation view, 'Archibald, Wynne and Sulman Prizes 2024', Art Gallery of New South Wales, photo © Art Gallery of New South Wales, Jenni Carter.[/caption] Jones' $100,000-winning piece came about after she contacted the Perth-based writer with 30 books to his name — Breath, Dirt Music, Cloudstreet, The Turning and Blueback included — and showed him her work. "I wrote Tim a letter and sent him a book of my reef paintings, and we seemed to really connect on our interest in climate activism. I was amazed by the humility of this great novelist, who has enchanted generations of Australian readers," explained Jones. "Last year, I watched his ABC documentary Ningaloo Nyinggulu, about the fight to save Ningaloo Reef. It was beautiful and terrifying... I was stunned to discover a portrait of Tim had never been a finalist in the Archibald Prize." [caption id="attachment_961082" align="alignnone" width="1920"] Winner Wynne Prize 2024, Djakaŋu Yunupiŋu 'Nyalala gurmilili', natural pigments on bark, 263 x 154 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.[/caption] AGNSW pairs the Archibald Prize with two other awards: the similarly coveted Wynne and Sulman prizes. The Wynne received 738 entries in 2024, with 41 named as finalists, while the Sulman received 628 entries, naming 40 as final contenders. 2024's $50,000 Wynne Prize, which recognises the best landscape painting of Australian scenery, or figure sculpture, has been awarded to Yolŋu elder and artist Djakaŋu Yunupiŋu, who hails from Yirrkala in the Northern Territory. The first-time finalists's bark painting Nyalala gurmilili earned her the award. Depicting the miwatj or "sunrise side" in Yolŋu Matha, it's one of the largest bark paintings ever made. The $40,000 Sir John Sulman Prize is presented to the best mural, subject or genre painting, with Naomi Kantjuriny, an Aṉangu Pitjantjatjara Yankunytjatjara (APY) community elder, doing the honours in 2024. Her winning piece: Minyma mamu tjuta, in which mamu — aka spirits both good and bad — feature. Also a first-time finalist for the award, she's also the third Indigenous Australian artist to win the Sulman. [caption id="attachment_961085" align="alignnone" width="1920"] Winner Sulman Prize 2024, Naomi Kantjuriny 'Minyma mamu tjuta', synthetic polymer paint on linen, 197 x 153.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter.[/caption] If you'd like to see all of the above, plus the rest of 2024's finalists across the Archibald, Wynne and Sulman prizes, they'll all be on display at the Art Gallery of NSW in Sydney from Saturday, June 8–Sunday, September 8, 2024. Don't agree with the judges? You can cast your own vote for People's Choice, which will be announced on Thursday, August 8. Jones' win adds to a diverse recent history for the Archibald. In 2020, Vincent Namatjira's portrait of Adam Goodes did the honours, and also marked the first time the award has gone to an Indigenous artist. In 2021, Peter Wegner's portrait of fellow artist Guy Warren nabbed the gong. In 2022, it was Blak Douglas' portrait of artist Karla Dickens in the Lismore floods that came out on top, while 2023's accolade went to Julia Gutman for a portrait of Montaigne. [caption id="attachment_961087" align="alignnone" width="1920"] Installation view, 'Archibald, Wynne and Sulman Prizes 2024', Art Gallery of New South Wales, photo © Art Gallery of New South Wales, Jenni Carter.[/caption] Archibald Prize 2024 Dates: Saturday, June 8–Sunday, September 8, 2024 — Art Gallery of NSW, Sydney, NSW Friday, September 20–Sunday, November 17, 2024 — Orange Regional Gallery Saturday, November 30, 2024–Sunday, January 26, 2025 — Ngununggula, Southern Highlands Regional Gallery Friday, February 7–Sunday, April 6, 2025 — Casula Powerhouse Arts Centre Thursday, April 24–Sunday, June 15, 2025 — Araluen Arts Centre, Northern Territory Friday, July 4–Sunday, August 31, 2025 — Lismore Regional Gallery [caption id="attachment_961089" align="alignnone" width="1920"] Installation view, 'Archibald, Wynne and Sulman Prizes 2024', Art Gallery of New South Wales, photo © Art Gallery of New South Wales, Jenni Carter. [/caption] [caption id="attachment_961088" align="alignnone" width="1920"] Installation view, 'Archibald, Wynne and Sulman Prizes 2024', Art Gallery of New South Wales, photo © Art Gallery of New South Wales, Jenni Carter.[/caption] 2024's Archibald, Wynne and Sulman prize-winners will display at various locations around the country from Saturday, June 8, 2024. If you can't make it to any of the above exhibition dates, you can check out the winners and finalists of the Archibald, Wynne and Sulman prizes on the Art Gallery of NSW website. Top image: excerpt of the winner Archibald Prize 2024, Laura Jones 'Tim Winton', oil on linen, 198 x 152.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter. Sitter: Tim Winton.
What makes a great avocado on toast? The answer to that question is subjective, because we all have different tastes when it comes to the breakfast and brunch staple. What makes a serving of avo on toast so spectacular that it's dubbed the best that Australia, nation of avid avo toast worship, has to offer? Avocados Australia, the industry body representing the Aussie avo industry, thinks it knows — and it has just named the country's top version, in fact. Since June, the organisation has been running the first-ever Australia's Best Avo Toast competition, aiming to find the avo on toast that'd make all other avo on toasts envious if the dish had feelings (and turned even greener with envy about better avos on toast). The winner hails from Brisbane, with Balmoral's Little Hideout Cafe getting the nod for a menu item called 'seasonal avocado'. [caption id="attachment_862831" align="alignnone" width="1920"] Little Hideout Cafe[/caption] If you're a Brisbanite keen to give it a try — if you haven't already — or you now know where you're headed for an avocado fix next time you're up north, the winning dish goes with slices of avo, rather than smashing it all up. It places them atop a toasted slice of grainy sourdough, then pairs it with roast tomato aioli, whipped feta and beetroot hummus, as well as slices of radish and a sprinkle of homemade dukkah. The cost: $16.90. No, spending that on avo on toast won't rob young Aussies of their chance to buy a house. Yes, visiting the cafe for some avo will help make a dent in Australia's current glut of avocados. View this post on Instagram A post shared by Little Hideout Cafe (@littlehideoutcafe) Little Hideout emerged victorious from a list of ten finalists, with Queensland performing strongly. Nodo in Newstead, Anouk Cafe in Paddington, Cinnamon and Co in West End and Kin and Co Cafe in Teneriffe all hail from Brissie, too, while Guyala Cafe is located in Cairns. In New South Wales, Barbetta Cucina in Paddington and Bolton Street Pantry in Newcastle made the list, while Faraday's Cage in Fitzroy was the sole Victorian finalist, and The Banksia Tree in Port Adelaide the lone South Australian venue. [caption id="attachment_862832" align="alignnone" width="1920"] Barbetta Cucina[/caption] And if you're wondering how the competition worked, it was judged by Avocados Australia, with a focus on the quality of avocados used and how they were heroed in the dish. Little Hideout's avos are supplied by Big Michael's, and grown by Simpson Farms. Little Hideout Cafe is located at 2/185 Riding Road, Balmoral, Queensland. For more information about Avocados Australia's best avo toast competition, head to the organisation's website.
The energetic and soulful Jake Bugg made a name for himself with his self-titled debut album, becoming the first male artist to debut at the top of the UK charts with a first release. His unique blend of folk, pop and rock tunes has astounded audiences worldwide, and his shows in Australia last year lived up to the hype. This April, the 19-year-old rock star in the making is bringing his act back here to show off his sophomore album, Shangri La. The album recruited legendary producer Rick Rubin, as well as other stalwarts of the music industry, including Red Hot Chili Peppers drummer Chad Smith. The sound is classic Bugg, with a renewed, revved up energy. Get in quick to make sure you see the prodigy who is sure to continue climbing the charts for a good while yet. https://youtube.com/watch?v=Veq6GQHU3is
Throw those GoPros, bubble bottles and novelty gumboots in your rucksack, Splendour in the Grass is returning to North Byron Parklands for another year of festival merriment. As usual, speculation has run wild in anticipation of the lineup announce — will Childish Gambino be on the lineup (and actually show)? Will there by more than three females? — but the details for Splendour 2019 are finally here. And we're happy to report that some of the rumours were true. Childish Gambino — AKA Donald Glover — himself, will be Splendouring. Well, we hope. Childish Gambino recently cancelled his Spilt Milk appearance and Australian tour due to an ongoing injury, but the lineup also doesn't state that Splendour is his only show — so stay tuned for news of a replacement national tour (hopefully). The other huge names are Chance the Rapper and Tame Impala, the former who is American rap royalty, the latter homegrown Aussie talent who were recently been announced as one of the headline acts for this year's Coachella. There's also a big female contingent — that is kick-ass but still nowhere near as big as the pool of male performers — which includes SZA, Santigold, Courtney Barnett, Thandi Phoenix, Hatchie, Meg Mac and all-female indie rock band Warpaint. Also doing their only Australian shows at Splendour will be Santigold and Slaves. The lineup seems to go on forever, including Foals, The Streets, The Lumineers, James Blake, Friendly Fires, the list goes on. Anyway, we know what you're here for. We'll cut to the chase. SPLENDOUR IN THE GRASS 2019 LINEUP Chance the Rapper Tame Impala Childish Gambino SZA Foals Catfish and the Bottlemen James Blake Santigold The Lumineers The Streets Russ What So Not Courtney Barnett Warpaint Mystery Oz Act Matt Corby Wolf Alice Friendly Fires Broods Dean Lewis Fidlar Cosmo's Midnight Meg Mac Ziggy Alberts Hayden James Dave Dope Lemon Dermot Kennedy Allday & Friends Little Simz The Rubens Maribou State Winston Surfshit Tycho Pond The Teskey Brothers Jacob Banks Wolfmother Tropical F*ck Storm Kyle Hall Local Natives Mansionair Odette Ruby Fields Mike Servito Last Dinosaurs Thelma Plum Trophy Eyes Harvey Sutherland (DJ set) K.Flay Sam Fender Slaves Pub Choir Seb Wildblood The Beths Set Mo Hatchie Honne Kwame The Nude Party Nathan Micay Slowly Slowly Pychedelic Porn Crumpets Kian Kenji Takimi Dear Seattle Charly Bliss Kaiit Phony Ppl A. Swayze and the Ghosts The Midnight Channel Tres Pist Idiots Mormor Suzanne Kraft Erthlings Telephones Moaning Lisa Thandi Phoenix DJ Jnett Wax'o Paradiso Andy Garvey Tyne-James Organ Lastlings Merve Jennifer Loveless Noise in my Head Skin on Skin Rebel Yell Nina Jirachi Body Promise Donald's House Casual Connection DJ Klasik Close Counters Merph Dameeeela Lex Duluxe Splendour will return to North Byron Parklands on Friday 19, Saturday 20 and Sunday 21 July. Onsite camping will once again be available from Wednesday, July 17. Tickets go on sale Thursday, April 11 at 9am sharp AEST through Moshtix. For more info, head to the official Splendour In The Grass site. Image: Bianca Holderness.
Easter in Sydney doesn't just mean chocolate, hot cross buns and whatever other sweet treats the city's eateries happen to come up with at this time of year — it also means the Sydney Royal Easter Show. And, while you won't find the latter at El Camino Cantina's Tex-Mex joints in Brisbane, of course, the chain is getting into the spirit of the event nationwide with its returning limited-edition margarita menu, which it has dubbed The Greatest Rita Show in 2024. For its latest batch of creative flavours, El Camino Cantina is serving up cream'n soda, sour lemonade, bubblegum, sour grape cloud, cherry bomb and chilli triple-buttered popcorn versions, too. The six showbag-inspired ritas are on offer from Monday, March 18–Sunday, April 7, in both 15-oz and 24-oz glasses — and they also come with new drunken bears, which are gummy bears infused with tequila and Grand Marnier. If you'd like to pair your sips with tacos, you'll find The Greatest Rita Show food menu on offer as well. Ever had a puffy taco? It's also a fresh limited-time addition, features a puffed-out taco shell, and comes filled with your choice of steak, marinated prawns, brisket, pulled pork and grilled chicken. To round out the bites, banana fritters are your dessert choice. In southeast Queensland, you'll find The Greatest Rita Show tempting your tastebuds at El Camino in Bowen Hills, South Bank and Chermside in Brisbane; Robina and Surfers Paradise on the Gold Coast; and Sunshine Plaza on the Sunshine Coast.
When museums come to mind, so do two things typically found within their walls. Dinosaurs tend to feature across their halls of knowledge. Digging into humanity's past as well, so do ancient artefacts. Accordingly, it should come as little surprise that Brisbane's Queensland Museum started off 2024 embracing prehistoric creatures — albeit in Lego form — and that it will now end it with a big showcase of objects spanning 3000 years of Egyptian history. Hailing from the Dutch National Museum of Antiquities, and already featuring at the Western Australian Museum in 2023, then the National Museum of Australia in Canberra since late the same year, Discovering Ancient Egypt now has a date with southeast Queensland. When it opens on Friday, October 25, the showcase will be filled with highlights, especially if you're interested in how ancient Egyptians approached the afterlife. Among its 200-plus items, five sarcophaguses will be on display, as will painted funerary coffins and papyrus sheets from the Egyptian Book of the Dead. Discovering Ancient Egypt isn't just concerned with rituals and beliefs around dying, however, with the daily lives of ancient Egyptians, as well as their innovations, also a focus. When it arrives in Brisbane, complete with carved statues from the Saqqara necropolis as well, Queensland Museum expects the exhibition to be a hit — because diving into Egypt's history always is for the institution. In fact, this type of blast from the past has proven among the ten most-popular exhibitions at the venue. Another highlight that'll display alongside Discovering Ancient Egypt: 34 pottery vessels from Queensland Museum's antiquities collection that hail from necropolis of Esna, as unearthed by British archaeologist John Garstang. "Whether you're an avid history fan, a curious explorer, or simply seeking an unforgettable cultural experience, we're delighted to host Discovering Ancient Egypt before it returns to the Netherlands," said Queensland Museum CEO Dr Jim Thompson. "It has been inspiring to see the dedication, passion and enthusiasm that our Australian colleagues have brought to transforming this exhibition into something truly unique and exemplary," added Dr Wim Weijland, Director of the Dutch National Museum of Antiquities. Discovering Ancient Egypt displays at Queensland Museum Kurilpa, corner of Grey and Melbourne streets, South Bank, South Brisbane, from Friday, October 25, 2024. Head to the venue's website for more information and to join the ticket waitlist.
A coffee and a pastry mightn't be the healthiest way to start the day, but it is one of the tastiest. If you're in the mood for forgetting the former and embracing the latter, and you live on Brisbane's south side, then The Whisk Fine Patisserie should be your next port of call. Like all good bakeries should be, the Mount Gravatt establishment is the kind of place that you'll want to spend more than just your allocated brekkie time in. There's just something about grabbing a bite to eat in a quaint little suburban cafe, settling into a tiny table and whiling the morning away — and that's before we even get to the menu. If the aromas of baking croissants and Cleanskin's brand of caffeinated brews don't entice your taste buds, well, you just mustn't be a fan of either. Those keen for a treat on the run can satisfy their hunger with a brightly coloured macaron or handcrafted chocolate — or, why not one of both?
Prepare to stare at the moon in all of its glory — up close, without a telescope and without zooming into space. Measuring seven metres in diameter and featuring renderings of the celestial body's surface based on NASA imagery, the Museum of the Moon is a detailed installation by UK-based artist Luke Jerram. The giant sculpture has been touring the world since 2016, displaying in New York, Hong Kong, Mumbai and plenty of spots around Europe. Between December 1, 2018 and April 28, 2019, it'll add Melbourne to its orbit. Inspired by Jerram's time living in Bristol and "noticing the huge tidal variation as he cycled over the Avon Cut each day" according to the Museum of the Moon's website, the artwork recreates the moon at a scale of approximately 1:500,000, with each centimetre equating to five kilometres of the lunar surface. And if you're wondering just how intricate the 120dpi imagery is, the high-resolution NASA photograph that it uses is 21 metres wide, and was taken by by a satellite carrying the Lunar Reconnaissance Orbiter Camera. The spherical sculpture is lit from within, so it'll add a glow when it comes to Scienceworks for five months. It also combines its imagery and light with a surround sound piece created by composer and sound designer Dan Jones, and just how each venue displays it is up to them. Basically, it's never the exact same installation twice. Jerram has multiple moons, with several touring simultaneously — so the Museum of Moon will also be on display in Newcastle in the UK across some of the same period. Its stint at Scienceworks will mark the Museum of the Moon's second visit Australia, following 12-day showing on the Gold Coast during the city's Commonwealth Games-adjacent arts festival earlier this year.
For almost four decades, Hans Zimmer has given cinema a distinctive sound. The German composer helped put the bounce in The Lion King's score and the droning in Inception's memorable tunes, and has loaned his talents to everything from Thelma & Louise to Christopher Nolan's Dark Knight trilogy to Blade Runner 2049. It's an impressive list that just keeps going — and it'll sound even more impressive played live and accompanied by an orchestra. As well as working his music magic on a wealth of movies — Hidden Figures, The Boss Baby, Dunkirk, Widows, X-Men: Dark Phoenix and the upcoming Lion King remake are just some of his recent credits — Zimmer has been taking his show on the road over the past few years. After touring his Hans Zimmer Revealed concert series in 2017, including to Australia, he's returning to our shores with Hans Zimmer Live, which'll echo through arenas in Brisbane, Sydney and Melbourne this October. While the Oscar, Golden Globe, Grammy and Tony-winner obviously isn't going to play every single one of his iconic film scores, expect to hear plenty of your favourites from a lineup that also includes Wonder Woman, Gladiator, Pirates of the Caribbean, 12 Years a Slave, Sherlock Holmes, Mission Impossible II and Pearl Harbour — plus the small screen's The Crown and Blue Planet II as well. Zimmer will be joined not only by a massive orchestra, but a full band and a huge stage production, complete with a luminous light show and other eye-catching visuals. [caption id="attachment_724806" align="alignnone" width="1920"] Hans Zimmer, Los Angeles, LA, Tour, Concert, Performance, April 14 2017, EVI[/caption] Hans Zimmer Live will hit the Brisbane Entertainment Centre on Thursday, October 3, Sydney's Qudos Arena on Saturday, October 5 and Melbourne's Rod Laver Arena on Monday, October 7. Tickets go on sale at 10am on Monday, June 17 — for further details, visit the promoter's website. Top image: The World of Hans Zimmer Berlin by Frank Embacher Photography.
If you're going to open a new burger place in what must surely be the country's burger capital by now, you probably want to give the concept a bit of a kick in a different direction. Or a sonic boom, or maybe a hadouken, perhaps? Don't worry, once you're done eating, you won't have to travel to a different country to do it all over again. Yes, that '80s and '90s arcade and Super Nintendo staple that is Street Fighter is the source of inspiration for Super Combo, which joins the growing number of eateries making the Brisbane's Showgrounds' King Street precinct some of the most coveted culinary real estate in the city (with The Lamb Shop, GG's Espresso, The George, Fat Dumpling, Il Verde, Sushi & Nori and Hello Chicken also among the current or coming tenants). And now it will be slinging burgs with the same fury that Ryu, Blanka and company approach brawling in public — that is, with plenty. The retro-styled joint comes from childhood friends Michael Nham and Hao Vu, who, as you might've guessed, found hanging around their local Brissie takeaway shop smashing out super Street Fighter combos the best way to spend their time. They're also behind Melbourne's NSHRY, with Nham boasting two Vietnamese restaurants including Banoi on his resume (which is set to open in Brisbane this year). When it came to opening a place with such strong ties to their youth, however, it made sense to get things started in Brisbane. Indeed, the King Street digs is being trumpeted as Super Combo's first in Australia, so you can bet that more burgs will be flying to more cities in good time. As for just what those edible morsels will be, expect a menu influenced by international cuisine, plus sides, globally sourced speciality sauces and epic shakes. Yep, everyone really is a winner here. UPDATE MARCH 7, 2018: To celebrate a year of operation, Super Combo is unleashing its slickest moves yet: $5 burgers. From 11.30am on March 10, the first 1000 customers that walk through the Bowen Hills' eatery's doors will get their burg for little more than pocket change. The offer isn't available via UberEATS, Deliveroo or Foodora.
Call it the City of Angels. Call it the City of Stars. Call it Tinseltown, too. Whichever you go with, Los Angeles isn't short on tourist attractions, especially if you're fond of show business. But if you grew up playing Nintendo's games, you've now got one must-visit Hollywood spot to head to: Super Nintendo World at Universal Studios Hollywood. Let's go! This is the globe's second-ever theme park area dedicated to the company and all of its video-game characters, after the first IRL Nintendo-themed amusement park opened in Osaka in Japan in 2022. The attraction's US debut has been in the works for a while, but finally opened its doors on Friday, February 17 — complete with a new way to play everyone's beloved Mario Kart beyond the many various devices that the game has popped up on over the years, not to mention Google Maps, mobile phones and reality. Clearly, you can never have too much Mario in your life. 2023 is also the year that a new Super Mario Bros movie is hitting cinemas, after all. Head to Super Nintendo World at Universal Studios Hollywood, however, and you won't just be staring at a screen. Looking as glorious as its Japanese counterpart, the LA site features life-sized recreations of both Bowser's Castle (complete with spiked fences and heavy iron doors) and Peach's Castle, plus Mario Kart rides as well. Also, themed shopping and dining are a part of the experience, of course, including slurping mushroom soup out of the cutest mushroom bowl — with a red-and-white lid — that you've ever seen. Just walking around the space is a drawcard enough, with warp pipes, piranha plants and question blocks all part of the larger-than-life design. The colours are as bright as in the games, too, and you really can enter through a green tube, then punch blocks to collect coins — digital ones, but still coins — as you wander. Hollywood's Mario Kart fix comes courtesy of Mario Kart: Bowser's Challenge, a twist on Osaka's version that focuses on Koopas. Inspired by the games, it uses augmented reality (AR) with projection mapping technology — but there's also a moving track, plus genuine Mario Kart set pieces along the way. So, you'll sit in a vehicle and navigate courses, including underwater and in the clouds, but on a rail and with AR helping fill in the details. Thanks to the blend physical sets, technology and projections, you really will feel like you're in the game. To even get to the ride, you need to queue from Mount Beanpole, one of the park's towering landmarks. And, you'll also see the aforementioned Bowser's Castle, which no one will miss with its massive statue of its namesake out the front. Inside, there are corridors and passages to wind through as you make your way towards the IRL Mario Kart. Also a highlight: the Toadstool Cafe, which is where that soup comes in. The menu spans themed dishes such as toadstool cheesy garlic knots, piranha plant caprese, the Mario bacon cheeseburger, the Luigi pesto chicken burger, question block tiramisu and Princess Peach cupcakes. And, like the Osaka venue, Hollywood's Super Nintendo World features wearable wrist bands, called Power Up Bands, which connect to a special app and allow patrons to interact with the site using their arms, hands and bodies. That's how you collect coins just like Mario does in the Super Mario games. Super Nintendo World is now open at Universal Studios Hollywood, 100 Universal City Plaza, Universal City. For more information, head to the theme park's website. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Somewhere in the multiverse, Doctor Strange in the Multiverse of Madness is terrific. In a different realm, it's terrible. Here in our dimension, the 28th film in the Marvel Cinematic Universe teeters and twirls in the middle. The second movie to focus on surgeon-turned-sorcerer Dr Stephen Strange (Benedict Cumberbatch, The Power of the Dog), it's at its best when it embraces everything its director is known for. That said, it's also at its worst when it seems that harnessing Sam Raimi's trademarks — his visual style, bombast, comic tone and Evil Dead background, for instance — is merely another Marvel ploy. Multiverse of Madness is trippy, dark, sports a bleak sense of humour and is as close as the MCU has gotten to horror, all immensely appreciated traits in this sprawling, box office-courting, never-ending franchise. But it stands out for the wrong reasons, too, especially how brazenly it tries to appear as if it's twisting and fracturing the typical MCU template when it definitely isn't. Welcomely weirder than the average superhero flick (although not by too much), but also bluntly calculating: that's Multiverse of Madness, and that's a messy combination. It's apt given its eponymous caped crusader has always hailed from Marvel's looser, goofier and, yes, stranger side since his MCU debut in 2016's plainly titled Doctor Strange; however, it's hard to believe that such formulaic chaos was truly the plan for this follow-up. Similarly, making viewers who've long loved Raimi's work feel like their strings are so obviously being pulled, all for something that hardly takes creative risks, can't have been intentional. It's wonderful that Multiverse of Madness is clearly directed by the filmmaker who gave the world Army of Darkness and its predecessors, the Tobey Maguire-starring Spider-Man movies and Drag Me to Hell. It's fantastic that Raimi is helming his first feature since 2013's Oz the Great and Powerful, of course. But it's also deeply dispiriting to see the filmmaker's flourishes used like attention-grabbing packaging over the same familiar franchise skeleton. Multiverse mayhem also underscored Multiverse of Madness' immediate predecessor, for instance — aka 2021's Spider-Man: No Way Home. That's the last time that audiences saw Stephen Strange, when he reluctantly tinkered with things he shouldn't to help Peter Parker, those actions had consequences and recalling Raimi's time with Spidey came with the territory. Strange's reality-bending trickery has repercussions here as well, because Wanda Maximoff (Elizabeth Olsen, Sorry for Your Loss) isn't thrilled about her fellow super-powered pal's exploits. Yes, Multiverse of Madness assumes viewers have not only watched all 27 past MCU movies, but also its small-screen offshoots — or WandaVision at least, where the enchantress that's also Scarlet Witch broke rules herself and wasn't still deemed a hero. Multiverse of Madness begins before its namesake and Wanda cross paths after their not-so-smooth moves, actually. Strange's latest escapade kicks off with monsters, moving platforms, a shimmering book, and a girl he doesn't know and yet wants to save. It's a dream, but said teen — America Chavez (Xochitl Gomez, The Babysitters Club) — is soon part of his waking life. Hailing from another dimension and possessing the ability to hop through the multiverse, she's still being chased. Interrupting Strange's brooding at his ex-girlfriend Christine's (Rachel McAdams, Eurovision Song Contest: The Story of Fire Saga) wedding, rampaging critters reappear as well, while a sinister tome called The Dark Hold also factors in. The mission: save the girl and all possible worlds, aided by Strange's old friend and now-Sorcerer Supreme Wong (Benedict Wong, Nine Days), and via a run-in with nemesis Mordo (Chiwetel Ejiofor, Locked Down). An evil book, basically being dragged to hell, reanimated corpses, a scrappy young adventurer, wisecracks, a leading man with the initials BC: they're all Raimi staples, and they're all accounted for in Multiverse of Madness. So is a signature casting move that's to be thoroughly expected, and remains as delightful as ever. Michael Waldron, the writer/producer behind Loki, has scripted the feature with its filmmaker firmly in mind — or tinkered with the screenplay after OG Doctor Strange helmer Scott Derrickson left the sequel — and Raimi has taken those nods and run with them. But magic isn't about conjuring up the easily apparent, as the flick's cloak-wearing protagonist has learned over his time. Off-screen, that's something Marvel rather than its creatives-for-hire need reminding of, and what makes Multiverse of Madness a strategic exercise above all else. (It doesn't help that an inventive, clever and bold blast of multiverse movie, unrelated to the MCU, has beaten the latest Doctor Strange to cinemas by mere weeks. Everything Everywhere All At Once is inescapably chaotic, but gloriously, entertainingly and revealingly so, and never in a checklist-marking way.) Marvel has a pattern, though. It hires directors with distinctive styles and vibes, uses them to differentiate any given MCU instalment from the last, and hopes that counteracts the formula at work. And, it can. Even this many pictures in, great films eventuate that don't completely feel squeezed through an assembly line in every frame; see: Taika Waititi's Thor: Ragnarok, Ryan Coogler's Black Panther, Cate Shortland's Black Widow and Chloé Zhao's Eternals. If Multiverse of Madness wasn't also saddled with other well-used, patently recognisable Marvel tactics, that might've proven true here, too. If only it had. But when a new MCU entry leans on multiple versions of its main figure (again), plus wholly fan-servicing cameos (again) — going for more is more several times over (yes, again) — and then attempts to freshen itself up by splashing around a famed director's beloved touches (again), it's always going to struggle to be convincing. Gleefully pushing obvious buttons and trying to incite easy cheers was No Way Home's main aim as well; Multiverse of Madness fares better, thankfully. It's a lesser auteur-helmed MCU movie and a lesser Raimi-directed film, but it still benefits from the latter doing what he's able to within company-controlled confines. Danny Elfman's (The Woman in the Window) moody score always sets the right tone, and the kaleidoscopic imagery has its dazzling moments — albeit with too many pixels showing in the name of serving up a shiny spectacle. And, in all of its key roles, Multiverse of Madness is still extremely well-cast. Indeed, the scenes that linger are those shared by Cumberbatch with either Olsen, McAdams, Wong or Gomez that call for genuine emotion rather than dwelling on superhero schtick, nefarious villains, multiverse mechanics, incursions, surprise guests and the like. Alas, being gifted more of that, and more of anything that doesn't have to tick 75,000 of Marvel's usual boxes along the way, sadly and frustratingly isn't a reality for this film in our caped crusader-worshipping universe.
Australia mightn't have much of a diner culture, but we sure do love pairing something greasy with milk. The combo that is burgers and milkshakes might instantly spring to mind; however the same principle applies with chicken. It's like having fried poultry and ice cream on your waffles on the same time, just without the waffle. If that sounds like your idea of a delicious meal, then make a beeline over to Coorparoo's Special Rub on Thursday evenings until December 13. From 6pm, it's serving up wings and shakes — and it'll just keep serving them until you say when. The all-you-can-eat wings and bottomless milkshakes special is also highly affordable at just $25 (or $20 if you don't want a shake), but you do need to book in advance. You can choose your flavour when it comes to chicken and shakes, and it's a great excuse to get some really spicy chook, given that milk helps sooth the heat.
Twenty years ago, Melbourne animator Adam Elliot won the Academy Award for Best Animated Short Film for Harvie Krumpet. This winter in his home town, he's opening the Melbourne International Film Festival with Memoir of a Snail. 2024's cinema celebration in Victoria's capital will kick off with the voices of Sarah Snook (Succession), Kodi Smit-McPhee (Elvis), Eric Bana (Force of Nature: The Dry 2), Tony Armstrong (Tony Armstrong's Extra-Ordinary Things), Nick Cave (The Electrical Life of Louis Wain), Jacki Weaver (Hello Tomorrow!) and Magda Szubanski (After the Trial) echoing from a new claymation feature, Elliot's second full-length stop-motion flick after 2009's Mary and Max. "After eight long years, producer Liz Kearney and I are a bit exhausted but thrilled to be asked to be the opening night film for MIFF 2024. It is truly a Melbourne film and MIFF is the perfect place for its Australian premiere," said Elliot about Memoir of a Snail launching this year's festival on Thursday, August 8. "About Melbourne, made by Melburnians and voiced by Melburnians, Memoir of a Snail is a handmade stop-motion film lovingly crafted by a team of local artists. Opening night at MIFF will be a celebration of their artistry and a celebration of this wonderful city in which we live." Spanning its usual 18-day run — this year from Thursday, August 8–Sunday, August 25 in Melbourne cinemas; from Friday, August 9–Sunday, August 25 online; and across both Friday, August 16–Sunday, August 18 and Friday, August 23–Sunday, August 25 in regional Victoria — MIFF's 2024 program will include more than 250 titles once Memoir of a Snail commences the annual excuse to spend almost three weeks in darkened rooms. The full lineup doesn't drop until Thursday, July 11, but the fest has unveiled 23 other flicks that'll feature when the projectors get whirring. And if you're a Melburnian feeling a taste of Sydney Film Festival envy to start off June, you'll recognise a few titles. Sundance sensation I Saw the TV Glow from We're All Going to the World's Fair's Jane Schoenbrun, Hunter Schafer (Euphoria)-starring thriller Cuckoo, the Sebastian Stan (Dumb Money)-led A Different Man and restaurant-set dramedy La Cocina featuring Rooney Mara (Women Talking) are among the movies that'll play MIFF after SFF. So are Frederick Wiseman's (City Hall) Menus-Plaisirs — Les Troisgros, which brings his observational gaze to a three-Michelin-starred French restaurant; the Taika Waititi (Next Goal Wins)-executive produced We Were Dangerous; and the Bundaberg-set Flathead. While an amount of crossover always happens between each Australian city's major film fest, MIFF also boasts a heap of pictures beyond Memoir of a Snail that'll be making their Aussie premiere — or even world premiere— in Melbourne. Thanks to the MIFF Premiere Fund, which supports local flicks, audiences an look forward to Justin Kurzel (Nitram)-directed documentary Ellis Park, about iconic musician Warren Ellis establish an animal sanctuary in Sumatra; Magic Beach, an animated adaptation of Alison Lester's children's book; and Audrey, starring Jackie van Beek (Nude Tuesday) as a mother who steals the identity of her teenage daughter, who is in a coma. There's also Queens of Concrete, a doco about three skateboarders balancing been teens with trying to score an Olympics berth — and fellow documentary Left Write Hook, where seven female survivors of sexual assault as children attend a recovery program. Similarly with local ties: Fungi: Web of Life, which is playing in IMAX in 3D, is narrated by Björk, and heads to Tasmania's Tarkine rainforest in search of a specific blue mushroom. After That Sugar Film and 2040, Australian actor-turned-filmmaker Damon Gameau helms Future Council, charting a cross-Europe trip with eight young minds to explore climate change solutions. Elsewhere among the just-unveiled flicks, MIFFgoers can check out Blue Sun Palace, which just won an award at Cannes Critics' Week for its tale of two Chinese workers in New York; Didi, the coming-of-age film that nabbed first-time feature director Sean Wang two prizes at Sundance; Grand Theft Hamlet, which is indeed about staging Shakespeare in Grand Theft Auto; documentary Look Into My Eyes, about psychics and their clients from Miss Americana and Pretty Baby: Brooke Shields director Lana Wilson; and Teaches of Peaches, which goes on tour with its namesake The list already goes on, with MIFF Artistic Director Al Cossar dubbing this year's full program "another extraordinary voyage through cinema". "MIFF is pleased to share our First Glance for 2024, a sneak peek of the program arriving this August — the marvellous visions, diversions, and cinematic surprises coming your way as over 250 films illuminate the screens this winter across 18 days of unbridled binge-viewing." "First Glance already sees us lifting the lid on some of the most anticipated films of the year, alongside films you won't find anywhere else — bold, thrilling, thoughtful, hilarious, terrifying, and essential new cinema, from Australia and all around the world," Cossar continued. The 2024 Melbourne International Film Festival runs from Thursday, August 8–Sunday, August 25 at a variety of venues around Melbourne; from Friday, August 16–Sunday, August 18 and Friday, August 23–Sunday, August 25 in regional Victoria; and online nationwide from Friday, August 9–Sunday, August 25. For further details, including the full program from Thursday, July 11, visit the MIFF website.
From the youthful rough and tumble of 1973's Mean Streets, to the bona fide masterpiece that is 1990's Goodfellas, to the Boston-set crime machinations of 2006's The Departed, Martin Scorsese's filmography is filled with gangster movies. Throw in 1996's Casino as well, and the acclaimed director has basically become synonymous with the genre. As a result, it should come as no surprise that his latest film once again steps into the mobster fold — or, given Scorsese's penchant for working with the same actors over and over again, that it tasks a heap of familiar faces with getting down and dirty in America's criminal underworld. In the pipeline for years (since back before 2013's The Wolf of Wall Street, in fact), The Irishman corrals Robert De Niro, Al Pacino, Joe Pesci and Harvey Keitel into quite the true tale — of organised crime in the US post-World War II, as experienced by union official and hitman Frank Sheeran. De Niro plays the main role, while Pacino plays notorious union boss Jimmy Hoffa, with the movie particularly interested in the ongoing mystery that is the latter's disappearance. If that's not exciting enough, there's also the fact that Pesci — who won an Oscar for Goodfellas — makes his first on-screen appearance in almost a decade. The rest of the cast features plenty of big names, too, including Ray Romano, Bobby Cannavale, Anna Paquin, Jack Huston and Jesse Plemons. And, because The Irishman's story spans decades, there's also the movie's use of 'de-ageing' special effects, with De Niro and Pacino playing their characters in both their younger and older versions. With the film releasing via Netflix sometime this spring, the fact that a filmmaker of Scorsese's calibre is making a huge, star-studded, potentially Oscar-worthy movie for the streaming platform is also notable, as well as a sign of the times. For those keen to see the great director's first flick since 2016's Silence on a big screen, watch this space (and probably cross your fingers, too). The Irishman will premiere at this year's New York Film Festival in September, and receive a limited theatrical release in the US; however, whether Netflix will pop it into cinemas Down Under has yet to be revealed. Check out The Irishman's first trailer below: https://www.youtube.com/watch?v=S3hh68LpkWQ&feature=youtu.be The Irishman will hit Netflix sometime this spring — we'll update you with a release date when it's announced.
Well, we don't know what kind of high-flying career goals you're reaching for this year, but here's one you might want to pop on your list. Domino's is offering one hard-working food-lover the chance to come on board as its new Chief Garlic Bread Taste Tester. Now there's a gem for the ol' resume, if ever we saw one. While the thought of being paid to scoff hot, buttery, garlic-infused carbs sounds like some sort of fantasy, Domino's ain't joking. The company has posted a real-deal job listing for the role on Linked In and is already taking applications. So what's involved in this dream gig, you ask? Unfortunately, it's just a one-day role, but the lucky employee will spend a tasty 7.5-hour work day at Domino's Brisbane HQ, sampling the company's various garlic breads and other products, scoring a sneak peek at future menu items and offering feedback to the team. Here's one of the garlicky dishes you could be getting paid to eat: https://www.facebook.com/DominosAustralia/photos/a.220268216411/10157998133836412/?type=3&theater You'll earn a tidy $30 an hour for your efforts, too. And return domestic flights will be provided if you live outside of Brisbane, as will one night's accommodation if a same day return flight isn't available. A lunchtime pizza feast is also included, so leave the packed lunch at home. Domino's has thrown down a few key qualifications you'll want to have if you're applying for the job, including "a detailed understanding of the pizza and garlic bread relationship", "a history of reviewing other people's food choices" and "working tastebuds". It's also after someone with at least five years' experience in garlic bread consumption — which is peanuts compared to what most of you seasoned garlic bread fiends would have under your belts. If you're ticking all of Domino's boxes for the gig, you'll probably want to have some degree of carb obsession and a solid grasp of the perfect 'crunch to softness' ratio. Oh, and vampire-identifying folk need not apply. To apply for the Chief Garlic Bread Taste Taster role, you'll need to complete the Domino's survey and apply via a 30-second video or 200-word essay, before Monday, October 7.
2014 has been a massive year for Sonic Masala. Originally started as a humble local music blog, Sonic Masala has slowly become a reputable and respected presence in the ever expanding music blog community. For a while now Sonic Masala have been hosting live shows around Brisbane with some of the coolest bands around and have even started their own record label; releasing some critically acclaimed albums this year from Roku Music and Tape/Off. Sonic Masala Fest is the biggest and most ambitious project from the blogging team to date, with heaps of local and interstate bands set to perform at Greenslopes bowls club this Saturday. If you are fan of local music you cannot pass up an opportunity to attend. The line-up is massive, seriously. Check this out: TURNPIKE ROKU MUSIC (Pictured) NARROW LANDS TAPE/OFF SPARTAK GAZAR STRIPS THE STEADY AS SHE GOES COBWEBBS SEAPLANE THE STRESS OF LEISURE BRAINBEAU BARGE WAAOI TINY MIGRANTS ANDREW TUTTLE GHOST NOTES PALE EARTH NANA VIGILANTE EL MOTEL SECRET BIRDS BOSS FIGHT + MYSTERY GUESTS... Tickets are $10 on the door. What great value for money!
There's an international day for everything these days, but regardless of this saturation of the market, we're still pretty damn happy there's an International Hummus Day. And seeing as it's today, we thought there was no better time to dig into a mass bowl of the stuff. But before you go to Woolies to buy a tub of hummus and a packet of corn chips, just hang on for a seccy. We've convinced the guys from Thievery to slip us their burnt butter paprika hummus recipe. If you've had this at their Glebe restaurant, you'll know it's about as out of this world as hummus could possibly be. So before your mates come over for a few glasses of plonk tonight, whip this baby up — you'll just need a blender, a packet of chickpeas and a few other basic ingredients. While you're at it, you might want to make their baba ghanoush too. Thievery's Burnt Butter Paprika Hummus 1kg dry chickpeas 1500ml water 16g fine sea salt 80ml fresh lemon juice 80ml extra virgin olive oil 4g crushed garlic 120g tahini For the paprika burnt butter 100g butter 10g paprika Method Soak the chickpeas in water overnight and cook until soft and tender. This will take about two to three hours. In the morning, strain the chickpeas and then blend until the consistency is relatively smooth. Reserve some of the liquid to add back into the mixture (about one cup will be enough). Blend the chickpea puree with the oil, salt, lemon juice and garlic. If the mixture is too stiff, add a little of the liquid to ensure the hummus comes out with a smooth and silky consistency. In a bowl, whisk together the tahini and any extra salt to taste. For the burnt butter, melt the butter over a low heat until the milk solids separate. Leave it until the butter turns a golden brown (this usually happens at about 150 degrees celsius). Whisk in the paprika. Pour the burnt butter paprika mixture over the hummus. Then get stuck in. Image: Nikki To.
This year, Campari is transforming September into Negroni Month. While the main event takes place from Monday, September 22, to Sunday, September 28, there will be four whole weeks dedicated to the classic Italian cocktail. Made with equal parts Campari (because there's no negroni without Campari), gin, and sweet vermouth, the bitter apéritif is taking centre stage on menus across the city. Fish Lane Arts Precinct, which stretches from South Brisbane to the West End, is dedicating the entire week to creating twists on the much-loved cocktail, and hosting negroni-worshipping events. This includes the Secret Handshake Tour on Saturday, September 27, taking you on a sip and stroll throughout the cultural precinct. Tickets are $95 per person and include negroni-inspired drinks and specials to showcase the Fish Lane bartenders and restaurateurs. It's all for a good cause as this Negroni Month, Imbibe Magazine and Campari are joining forces with Slow Food to foster a more sustainable world of food and beverage. Donations raised by you simply buying drinks during Negroni Month will help to continue Slow Food's mission of defending biological and cultural diversity. Ready to add some Campari kick to your September? Here are the top Brisbane venues to sip your way through this Negroni Month. [caption id="attachment_916758" align="alignleft" width="1920"] Midtown[/caption] Midtown Midtown has quickly become a go-to spot for after-work drinks in Fish Lane Arts Precinct. Despite being known for its martinis, Midtown does a mean negroni. On Wednesday, September 24, the bar will be hosting a long Negroni Week dinner to celebrate the Italian classic. Featuring Tuscan toast, Vitello Tinatto, gnocchi gorgonzola, and even a negroni cheesecake for dessert, each dish will be served with a negroni-based beverage such as the Smoky Negroni and the Negroni Colada. Get in quick, though. This dinner has previously sold out and is booking up fast. If you can't make it to the dinner, Midtown will be keeping the cocktails on the menu for Negroni Week from Monday, September 22, to Sunday, September 28. Buy your tickets for the Negroni Week dinner, here. [caption id="attachment_867581" align="alignleft" width="1920"] Bar Brutus[/caption] Bar Brutus Given the negroni's Italian heritage, Bar Brutus is a must-try during Negroni Month. The aperitivo bar is the kind of venue where one pre-dinner apéritif can quickly turn into two, and the small plates of spuntini are perfect for picking over a bitter negroni. Bar Brutus is hosting a Negroni Pop-Up Bar on Friday, September 26 and Saturday, September 27, so you can enjoy the classic cocktail while people watching in the heart of Town Square. Julius Pizzeria Looking for a hearty meal to pair with your negroni? Julius in South Brisbane is an Italian-style pizzeria serving delicious wood-fired pizza and a number of aperitivo, including, of course, the negroni. Throughout September, Julius will be offering a special negroni menu so you can try a twist on the ruby red cocktail for yourself. [caption id="attachment_867584" align="alignleft" width="1920"] Kiki[/caption] Kiki Located in the centre of Fish Lane Arts Precinct's Town Square, Kiki is a popular local lunch spot that's also known for its cocktails. Open for coffee and bahn mi from 7am, Kiki Kiosk transforms into a bustling cocktail bar once the afternoon strikes. During September, be sure to try a negroni from Kiki's curated Negroni Month menu. [caption id="attachment_867582" align="alignleft" width="1920"] Hello Please[/caption] Hello Please Modern Vietnamese restaurant, Hello Please, is the perfect Friday night dinner pick. With small plates of crispy tofu and prawn toast, and large share plates of pork belly in garlic soy honey, Hello Please will get your appetite (and tastebuds) going. The Asian-Australian restaurant also serves a deliciously bright negroni for your weekend pick-me-up. Keep an eye out during September for Hello Please's curated Negroni Month menu, dedicated to the art of the apéritif. Maker Maker may be a small bar, but it has big flavour ambitions. The bar focuses on unique, seasonal cocktails, making it the perfect venue to add to your Negroni Month list. With just 20 seats and walk-ins only, Maker is an intimate cocktail bar that's sure to put a creative twist on the classic drink. Head to the South Brisbane bar during Negroni Month to peruse the specially curated negroni-inspired menu. Please remember to drinkwise. Lead image: Midtown
There's something strange in the neighbourhood this week. In plenty of neighbourhoods across the city, in fact. With the second season of Stranger Things heading to Netflix on October 27, it's safe to say that many a Brisbane household will be diving into the show's '80s-set horror/sci-fi world — and quite a few bars as well. Hot on the heels of Electric Avenue's trivia night comes The Scratch's Stranger Things Tribute Art Show, which isn't simply a bunch of paintings made to appease the demogorgon (as fun as that definitely sounds). And, given that the 20 local artists involved haven't seen the show's new episodes yet, it's not going to feature every single one of season two's Ghostbusters references either. Instead, the one-night-only art show will light up the Milton bar with pieces inspired by Hawkins, #justiceforbarb, Steve's hair, Eleven's love of eggos and more. Brisbane Brewing Co will be whipping up some "Barb" rhubarb sour for the occasion, while the Hellmouth Diner are making — what else? — waffles. Throw on your best '80s threads, gather your gang and BMX your way there.
They say truth is stranger than fiction. The story told in The Eagle Huntress feels like a surreal cocktail of both. The impressive directorial debut by newcomer Otto Bell, the doco was the darling of last year's festival circuit. And while Bell may be green, he did manage to nab Star Wars star Daisy Ridley as both narrator and executive producer, so already his film has credentials. The documentary follows Aisholpan Nurgaiv, a very impressive 13-year-old Kazakh girl living in the severe Altai mountains in Mongolia. Her family are nomadic, travelling across the mountains and living on the land. As we're gradually introduced to her school, her friends and her responsibilities, we gain fascinating insight into the thoughts and experiences of a teenage girl in Mongolia. This alone would have made a unique documentary. But when Aisholpan gets home from school, she gears up and rides a horse out into the mountains with her father, where she trains golden eagles. With wingspans of up to 2.3 meters, the magnificent birds are used to hunt hares, foxes and even wolves. Aisholpan is in training to compete in the Golden Eagle Festival, an annual festival in the town of Olgii. There are seven generations of eagle hunters in her family, and her father is a two-time champion at the festival. She's the first woman to compete, and has every intention of being the first woman to win as well. The main tension in the film comes from the stinky old men who claim women can't be eagle hunters because of deeply entrenched, culturally reinforced sexism (and probably something about eagles smelling menstruation. Aisholpan faces an uphill battle with this one). The Eagle Huntress feels like both a documentary and a feature film, with one foot firmly in each camp. The stunning cinematography heightens the sense of drama, while candid interviews and Aisholpan's capriciousness keeps things feeling real. Bell's narrative approach can at times be a little jolting. We're conditioned to expect a certain amount of reminiscing and recapping, as most docos deal with the past and not the present. Still, all will be forgiven as you're swept up in the drama, the scenery and the determination of the plucky young girl at the film's centre. https://www.youtube.com/watch?v=Vfi5JS6HTH0
Before it introduced anxious teen sex counsellor Otis Milburn (Asa Butterfield, Flux Gourmet), his fellow-therapist mother Jean (Gillian Anderson, The Great), his ever-exuberant best friend Eric Effiong (Ncuti Gatwa, the next Doctor Who), and his whip-smart and rebellious crush Maeve Wiley (Emma Mackey, Emily), Sex Education's very-first episode started with trembling lights. With that debut back in January 2019, depictions of adolescent sexuality on-screen earned a welcome shake up as well. Horny high schoolers struggling with life, love and lust are such a pop culture staple that they inhabit their own genre, which this British series has always recognised. But when a show bursts onto streaming queues with a roll in the sheets that ends with a guy (Barbie's Connor Swindells as Adam Groff) faking an orgasm with his girlfriend (Living's Aimee-Lou Wood as Aimee Gibbs), it's clearly not interested in sticking with the usual tropes — and it wants its audience to know it. Candidly and enthusiastically subverting well-worn cliches about growing up and exploring all things carnal has always been Sex Education creator, lead writer and executive producer Laurie Nunn's focus in her first major project beyond the stage and shorts, as seen in that attention-grabbing premiere run, then 2020 and 2021's equally excellent second and third seasons, and now the show's big finish. Another key element right through to the series' fourth and final go-around, which hits Netflix from Thursday, September 21 to cap off its tale with as much charm, heart, humour and maturity as ever: knowing that it's far more relatable to be open, honest, warm, authentic, inclusive and diverse than to just spill out the same old coming-of-age story. Here's a third factor that's also long been crucial to Sex Education: understanding that life doesn't begin or end with surging hormones. When the series arrived with bulb-jostling sex, it pushed viewers into the thick of an existing relationship in a situation that couldn't be more intimate, and yet it didn't need to get neat or overly definitive to reach that point. That approach has thrived throughout the show, and not merely in fellow opening scenes in following episodes that've laid bare other residents of Sex Education's English village setting in various steamy states. It's there in its handling of romances, friendships and getting erotic, and in every subject that comes with each. And, when the beloved hit comes to its last-ever climax, it does so by recognising that an array of futures await Otis, his friends and his family members — even if the program they're in is saying goodbye. In other words, as it spends time with Moordale Secondary School's students, parents and teachers — and, in season four, the pastel-hued and progressive Cavendish College cohort instead — Sex Education embraces being in the moment while also appreciating that lone moments rarely define anyone forever. That's among the lessons that its characters keep learning in their own ways, all while listening to their hearts, yearning over crushes, uncovering their preferences, pondering priorities, making mistakes, amassing regrets, grappling with history and dreaming about possibilities. Also, in a series with a Degrassi-esque list of topics covered — a show that could've been called Relationship Education, except that it isn't as pithy — as Otis and company touch upon everything from pregnancy, pleasure, body image, masturbation, asexuality and addiction to assault, faith, gender identity, transitioning, mental health and prejudice. Although no longer a virgin scared of self-love who gets talked into giving his peers advice, which is how Sex Education began his tale, Otis is still as uncertain as ever when season four kicks off. With his old school shuttered and snapped up by developers, he's forced into a new start, as well as a new bid to become the on-campus sex therapist — competing with existing student O (Thaddea Graham, Wreck). While Eric doesn't want them to be dubbed outsiders from the get-go, he fits in easily when he sees "all the gays everywhere", in his excited words. The fact that Maeve is at university in the US just after they've just come to terms with their feelings for each other was always going to hold Otis back, of course. The pair are finally more than friends, but also on different continents. Sex Education's fourth season isn't short on chaos for everyone, with Maeve being overlooked by her professor (Schitt's Creek favourite Dan Levy) for a well-to-do classmate, then coping with heartbreaking loss; Eric tussling with what it means to be queer and Christian, and not wanting to hide either; Adam attempting to find a path beyond school; Jackson Marchetti (Kedar Williams-Stirling, Small Axe) confronting both his health and past; and Aimee getting closer to Isaac Goodwin (George Robinson, Perfect) as she discovers new ways to work through her trauma. Viv Odusanya (Chinenye Ezeudu, The School for Good and Evil) makes a connection that turns dark, Cal Bowman (singer Dua Saleh) is six months into taking testosterone and desperate for top surgery, and Ruby Matthews (Mimi Keene, Tolkien) is trying to carve out a new status quo now that she's no longer the resident queen bee. Also, newcomers Abbi (debutant Anthony Lexa) and Roman (fellow first-timer Felix Mufti) beam with positivity as Cavendish's golden couple but have intimacy issues, while Aisha (Alexandra James, Backstage), who is deaf, helps fight for better treatment of pupils with disability. Among the adults, Jean finds being a new single mum to an eight-week-old baby filled with challenges, especially when her sister Joanna (Lisa McGrillis, Last Night in Soho) visits with good intentions but plenty of drama. After separating, Adam's parents Michael (Alistair Petrie, Funny Woman) — also Moordale Secondary's ex-headmaster — and Maureen (Samantha Spiro, The Pentaverate) are still working on who they each want to be. With such a wealth of folks familiar and fresh filling its frames — even with adored faces such as Ola (Patricia Allison, His Dark Materials) and Jakob Nyman (Mikael Persbrandt, Foundation), Lily Iglehart (Tanya Reynolds, Emma), Olivia Hanan (Simone Ashley, The Little Mermaid) and Anwar Bakshi (Chaneil Kular, Atlanta) absent — Sex Education's swansong has much to juggle. Balancing its various players and their plights has never been this astute and engaging series' problem, though, and neither has fleshing out its characters, their emotions, and their ups and downs. In fact, Nunn and her writers, directors and exceptionally cast actors have always taken the opposite route. The more amusingly and affectionately rendered mess that has surrounded Otis, Eric, Maeve and the like, the more realistic, resonant, sincere and meaningful they've all proven. This crew will be deeply missed, but perhaps the biggest compliment that season four inspires springs from the show's legacy: its young stars are already popping up everywhere (not just Swindells but also Gatwa and Mackey were in Barbie), and the series that thrust them to fame won't ever be forgotten. Check out the full trailer for Sex Education season four below: Sex Education season four streams via Netflix from Thursday, September 21. Images: Samuel Taylor / Netflix.
Feel like you've visited every market in Brisbane? You may have, or even come close — but there's always something new popping up in this busy city of ours. Take The Wellington's mini markets, for example. Unless you're an East Brisbane or Woolloongabba local, you mightn't have even realised that the Wellington Road building was even finished, let alone holding its own markets. Drop by from 7am on Saturday, July 7 to check out this compact addition to Brissie's market scene, featuring both onsite businesses and other stalls. Nab a coffee from Min & Co, a brownie from Dello Mano and something else sweet from King of Cakes, then browse for fashion and homewares, pick up some fruit and veg to take home with you, and listen to live tunes. Plus, if you're bringing little folks with you, there'll be a jumping castle and face painting too. Image: Min & Co.
No one loves long-haul flights. If you don't have the cash to upgrade your seat, no one loves trying to get some sleep when you're soaring through the air for nine, 13 or even 17-plus hours. But thanks to Air New Zealand's new economy skynest, getting some shuteye midair is about to get a whole lot easier — come 2024, when the airline's new Dreamliners will take to the skies. First announced back in 2020, and now confirmed to come into operation in just two more years, Air NZ's economy skynest is a first-of-its-kind option that'll feature six lie-flat pods. Yes, they look like bunk beds on a plane, and you'll be able to slumber in them while zooming to your destination. If it sounds like a game changer, that's because it is. Back in 2020, Air NZ announced the pods as part of filing patent and trademark applications, and noted that it'd make a final decision on whether they'd come into effect within a year. That go-ahead might've arrived a bit later — aka now, not in 2021 — but that doesn't make it any less exciting. "New Zealand's location puts us in a unique position to lead on the ultra-longhaul travel experience. We have zeroed in on sleep, comfort and wellness because we know how important it is for our customers to arrive well-rested. Whether they are heading straight into a meeting or to their first holiday hotspot — they want to hit the ground running," said Air New Zealand Chief Executive Officer Greg Foran. "It's a proud moment to finally unveil five years of hard mahi, in what truly is a cabin of possibility. One that will provide customers with options to get some shut eye wherever they're sitting." While the full details are yet to be revealed, when they were first announced, the pods were intended to include a full-size pillow, sheets, a blanket, ear plugs, privacy curtains and lighting designed for sleep. The airline also said it was exploring other features such as separate reading light, personal device USB outlet and ventilation outlet. Also on the way: new business premier luxe suites and business premier seats, if you are flush with cash. The former will include a door that closes, plus a space to dine; the latter will let you share your nest with a friend if you're in the middle row. The new Dreamliners will also feature premium economy seats, with more protected space to recline without annoying the person behind you; economy skycouch, so you can spread out, lie down and sleep; and economy stretch, with more leg room than a regular seat. And, those usual seats will get more storage space, a 50-percent bigger entertainment screen, and bluetooth audio and pairing. Also, the aircrafts will feature care stations in the premium economy and economy cabins, letting travellers stretch their legs, grab a bite to eat and get a drink whenever they wish. Design-wise, the planes' interiors will take cues from Aotearoa in a number of ways, too — such as carpet inspired by the forest, and nodding to the tūī in the seats. Air New Zealand's Economy Skynest will be available from 2024. For more information in the interim, visit the airline's website.
In the lead-up to new Hollywood-set satire The Studio premiering its first season on Apple TV+, the streaming platform kept doing something that's a well-established element of the entertainment industry: name-dropping. This is the latest project from long-time collaborators Seth Rogen and Evan Goldberg after Superbad, Pineapple Express, This Is the End, Bad Neighbours and its sequel, The Interview, The Night Before and plenty more, with the pair co-creating, co-writing, co-directing and executive producing the series. Rogen (Mufasa: The Lion King) stars, with Catherine O'Hara (The Wild Robot), Ike Barinholtz (Curb Your Enthusiasm), Kathryn Hahn (Agatha All Along) and Chase Sui Wonders (City on Fire) rounding out the main cast. That's a starry group already. Across two trailers, however, a heap of guest parts and cameos were revealed — including for Bryan Cranston (Argylle), Zoë Kravitz (Blink Twice), Paul Dano (Fantasmas), Olivia Wilde (Don't Worry Darling), Charlize Theron (Fast X), Anthony Mackie (Captain America: Brave New World), Zac Efron (A Family Affair), Sarah Polley (Women Talking) Greta Lee (Past Lives), Ice Cube (Teenage Mutant Ninja Turtles: Mutant Mayhem), Rebecca Hall (Godzilla x Kong: The New Empire), Adam Scott (Severance), Ron Howard (Jim Henson Idea Man) and Martin Scorsese (Killers of the Flower Moon). A few days before the show's Wednesday, March 26, 2025 debut Down Under, the full list of well-known talents appearing on-screen arrived. Dave Franco (Love Lies Bleeding), Jean Smart (Hacks), Johnny Knoxville (The Luckiest Man in America), Josh Hutcherson (The Beekeeper), Quinta Brunson (Abbott Elementary), Ramy Youssef (Poor Things), Steve Buscemi (Transformers One), Zack Snyder (Rebel Moon), Aaron Sorkin (Being the Ricardos) and Parker Finn (Smile and Smile 2) are among them, too. It's clear through the roster of names, in The Studio's ten-part initial season itself, and from talking with a number of the show's cast and guiding forces: this is a series with the utmost of love for the art of making pictures, even as it savvily pokes fun at the whole business around movies. The task that Rogen and Goldberg have set themselves, and achieve winningly, is anchoring the act of parodying Tinseltown with details drawn from real-life experiences, assistance from that enviable lineup of Hollywood folks joining in and a celebratory insider spirit. Rogen plays Matt Remick, a film executive who has only ever wanted one job: to run the fictional Continental Studios. It doesn't take long for that dream to come true, or for the character to realise what being a studio head truly means. "I got into this because I love movies. But now I have this fear that my job is to ruin them," he tells his mentor and predecessor Patty Leigh (O'Hara). That line is indicative of The Studio's knack for turning reality into astute, acerbic but affectionate viewing — Rogen and Goldberg once heard it themselves, uttered by an IRL executive. "They're all really close to our experience in some way, shape or form," James Weaver — who co-runs Point Grey Pictures, the production company behind The Studio, with Rogen and Goldberg — tells Concrete Playground about the link between the series' characters and scenarios and actuality. That said, the team's own interactions across their careers were just the beginning. "We met with a lot of people in the industry who are friends of ours, who had run studios, et cetera, and tried to mine their experience for when we're not around. What do they say behind closed doors? And so I think we tried to have an understanding of what those conversations were like." Personal inspiration remains key across the show, though. "Giving a note to a filmmaker that you really respect, and a note that you know is not going to be popular, is something we've definitely had to do," Weaver continues. That 'been there, felt that' vibe is also crucial to the search for validation at the heart of The Studio. Everyone wants it, executives and megastars alike, whether by getting a gig, having their ideas heard, making a hit, leaving a legacy, winning awards, being thanked in public or being seen to have a worthy job. "Wanting to be thanked at an award show because that's the only evidence that you did anything on it is something that we've seen as well," Weaver advises. "I think we're hoping that that's coming through, that the authenticity of our experience is in the show, and that's partially, I think, what people seem to be liking." In Matt's Continental team, three fellow studio employees are rarely far from his side: Barinholtz's Sal Seperstein, another seasoned executive; Hahn's Maya Mason, the company's marketing head; and Wonders' Quinn Hackett, an up-and-comer. From their respective time in the business, each is familiar with the types of characters that they're portraying — and that knowledge played a part in their performances, sometimes directly and sometimes in a more general sense. "A lot of studio executives I've worked with over the years, some great, some not so great, but I pulled little moments from a lot of them and put them into Sal," Barinholtz notes. "I have not one specific person. What they wrote was what I basically followed. But as I was putting the costumes on, there's definitely some humans, one could say," Hahn says. For Wonders, "my best friend is an assistant to a director, and she is someone who's very precocious, very ready to take over the world, but definitely has to earn her stripes and bide her time, and I think lots of young, ambitious people can relate to that. So that's one person I had in mind." As Continental's execs weather everything from endeavouring to capitalise upon the intellectual property-driven movie trend by making a Kool-Aid flick to attempting to capture an expensive golden-hour one-take shot — plus missing footage, casting conundrums, trailer scandals, the Golden Globes and annual US movie theatre-owner convention CinemaCon — chaos is their baseline. Still, Wonders also sees the series as having "a big sense that if you love what you do and you do it with integrity, as sappy as that is, there is going to be something in it for you, some sort of goodwill that comes your way. I feel like these characters find they have sad lives where they just are so dedicated to this one thing, and at the end of the day they kind of find their family. So that's a nice universal message". [caption id="attachment_997078" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] And that oner? It isn't just a focus of a storyline within the show; long takes are also part of its own style. "It felt like every scene was a play, like you're doing a different play every scene — and just once you got dialled in, once we rehearsed and you knew what you were doing, it was really exhilarating to be in that zone," Barinholtz shares. "It's definitely more challenging, but then it's amazing how much you can accomplish," adds Hahn. "There's something heightened about doing it as a oner that I really, really love." We also chatted with Goldberg, Weaver, Barinholtz, Hahn and Wonders about the love that's baked into The Studio, that search for recognition that drives its characters, ensuring that the series is relatable far beyond Hollywood insiders, its visual approach, those cameos and more — including how Barinholtz and Hahn's past TV comedy roles on recent greats such as The Mindy Project, Parks and Recreation and The Afterparty came in handy. On How Everything in the Series, Jokes and Cameos Included, Filters Through the Show's Love for the Film Industry James: "At the beginning of the show, we really knew that this was going to be about having a show about how we love making movies. So I think it comes through the lens of that, everything that happens. So in terms of making jokes about A24 or some of the other companies that are in there, we've made movies with A24. They're great people. They do incredible work. And so I think the entire show is about our experience in Hollywood for the last 15 years, and I think we're trying to bring some truth and some sense of 'this is how it is', but also all through the lens of humour and fun. As far as the cameos, each of them came about in different ways. Some of them are people we've worked with in the past. Some people like Martin Scorsese or Zoë Kravitz, we met for the first time — and either through the script that Seth and Evan had written or through meetings, we talked to them about how we wanted to portray them in the show. And they were really excited and game. There is a history, whether it be The Player or The Larry Sanders Show, of Hollywood satirising itself. And so that was something that people understood, what we were going for, and people were really trusting and excited to be there. I think that we're not necessarily worried that people are going to see the show as some sort of takedown of Hollywood, because we love Hollywood and we love the fact that we get to make movies. It really is more of a presentation of our experience through the comedic lens than it is any takedown of the industry." On Barinholtz, Hahn and Wonders' First Impressions When The Studio Came Their Way Kathryn: "I mean, just to hear that these humans were involved. And I've never really worked with Seth and Evan together. And just the writing of it was just hilarious. And to think of these humans in those parts was really exciting. I couldn't wait to jump in." Chase: "They're telling very risky jokes, and I remember reading them on the page and thinking 'this is something I've heard behind closed doors, but never on television for all eternity'. So it's always good when you feel like you're doing something that's pushing boundaries." Ike: "I remember Seth called me and said 'hey, we're writing ...'. And I said 'I'm in'. And he said 'it's a show about Hollywood'. I said 'I'm in'. And he said 'Catherine O'Hara is going to be in it'. I said 'I'm in. I'm already in.'. It was the world's easiest 'yes'. It was just literally the world and the writing, and having them and Catherine — and Bryan Cranston, who is in really good physical shape. Beautiful body. It was the world's fastest and easiest 'yes'." On the Search for Validation That's at the Heart of the Show Evan: "I would say the nice thing about that element of the series is we set out not to make an aspirational version of Hollywood, but to make a real version of Hollywood. And that is the real version of Hollywood. People are very cynical and all that in the world today, but Hollywood is mostly people who are wildly passionate, care deeply and would rather do this than anything else in the world — no matter how high or low they are on the totem pole of success. People just are passionate in a way that most industries aren't. And so we get to tap into those hopes and dreams in making the show, merely by trying to replicate the real experiences we've had. And, of course, it doesn't always work out for people, and sometimes it does and sometimes it doesn't, but the passion is the thing that bleeds through it all." On the Importance of Balancing Satire and Affection for the Cast — and the Fact That The Studio Takes the Art of Filmmaking Very Seriously Chase: "I think it's important. And one thing Seth and Evan really tried to hit is the realism of the comedy, and comedy born of situations where people are just trying their hardest and it's just these doofuses who can't quite get it right. It also helps when our production design is impeccable, the way we filmed it is so high-level and it just naturally lends itself to a more elevated, smart type of comedy than just a slapstick sort of thing." Kathryn: "Because everything is so elevated, you really feel a certain responsibility to uphold the world around you and the filmmaking around you. And there is less opportunity for hamming around. So everything feels very focused in a way that keeps the energy legit and high and focused." Ike: "Could not say it better than they just did, so I won't." [caption id="attachment_997090" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] On How Barinholtz and Hahn's Past Work on Fellow TV Comedies Such as The Mindy Project, Parks and Recreation and The Afterparty Helped Them on the Path to The Studio Kathryn: "All good ensembles." Ike: "Yes, yes." Kathryn: "Great ensembles." Ike: "Great showrunners." Kathryn: "Yes." Ike: "Great writing." Kathryn: "Great writing." Ike: "We're lucky to have been through a lot of those and seen how they all work. And this was different than all those, just because they went about it a different way. But I think you learn every time you do a show, every time you do an episode of a show or whatever, you learn something, you learn a new trick. So it definitely makes it easier." On the Elements of the Series That Most Felt Real for the Cast and Crew James: "It all feels real to us. I mean, I think we day to day are in these conversations about what kind thing to get behind in terms of a movie or TV show — or who's a filmmaker or a performer that we really believe in. Then we have to have those conversations about 'how is this thing going to make people money?'. It's really this idea of art versus commerce that I think is at the centre of what the show is. But as Evan was just saying, I think then you put overlay that with characters who care deeply about doing something artistic, but also care deeply about not getting fired. And so I think those two ideas are butting up against each other at all times. And that feels very real. The executives that we've been working with for 15 years are friends of ours. We've watched them get married to each other and there's a lot of like, a lot of community, in terms of the people that this show is portraying. And so it all feels very real to us when it goes through that lens. Seth and Evan are also just very, very funny people. So when it comes to making the jokes and the scenarios out of the real thing, they're just very talented at making that funny and entertaining. But it comes from a real place, and I think that's why hopefully people like respond to the show." Ike: "I'm friends with a lot of people who are studio executives, and I think they like to drink a lot. And so I stole that, and I drink a lot in the show. In real life, moderation — but in the show, I have a problem." Kathryn: "Always moderation." Ike: "Always moderation. That's the takeaway." Chase: "I think also studio execs are people who wield a lot of power, but when they're put in front of actors, who are these big personalities, they can be very shy and kind of cower away. And that's something that's both really fun to play the comedy of and also show the humanity of these characters." Ike: "That's a good answer." Kathryn: "I definitely have been in things in which I've seen the mockups for the posters or the possible trailers, and clearly no one has seen the show or the movie. They're so wildly not what the movie's about." Ike: "Yes, yes, yes." On Making the Series Relatable Outside of Hollywood Ike: "I think that the guys, Seth and Evan, did a very good job — even though the show is undeniably set in this world of movies and studios and executives, I think a lot of the situations in each of these episodes are things that everyone has dealt with. We've all had a boss who's gotten too drunk. We've all wanted credit for something and we are afraid we're not going to get credit for it. We've all been jealous of a coworker at some point. So I think a lot of the themes that they deal with in the episodes are universal, and whether you are someone who works in entertainment or around entertainment, or you have nothing to do with entertainment, you'll recognise a lot of those themes and scenarios, and hopefully they'll make you laugh." Kathryn: "Chances are people watch entertainment, so they'll get an idea of what the situations are. But also it's made with love, and so I think that's a different thing, too. There's such care for these characters and there's such love for this business of making movies, and nobody's really tearing down anybody. And I think that that also feels fun for an audience, too." On the Visual Approach When You're Making a TV Series About Filmmaking Evan: "For our show, the method we filmed it came from two different sources. One was, directorially Seth and I have done a lot of improv comedy feature films where we do a wide shot, medium and we get cross coverage of closeups, and then in editing we mess with all the improv we did. And we just wanted to do something very different, so we thought long extended takes would be a great way to do that and to make it more directorial as opposed to written and edited. Then through that conversation, we talked about how it could impact the actual storytelling — and the thing we wanted to embrace was the panic that a lot of these people experience in these jobs. These studio heads, even though they're very powerful and very passionate and very intelligent, they're often panicking because they can just lose their job for one big disaster. One flop and their whole job, maybe even their career, could be done or messed up for a long time. So we thought it would good to anchor people in that mania, and in that intensity, and let them feel the panic — and the best way to do that is make it feel like you are a person, like you are the cameraman, like there's an individual there. So we used one lens with long takes, and it whips back and forth just like your own head would if you were in that room experiencing the scenario that our characters are." On Working with Seth Rogen in His Many Roles on the Series: Star, Co-Creator, Co-Director, Co-Writer and Executive Producer Ike: "Oh man, I'd worked with him a couple times but never as a director. And he's really incredible, I think, at acting and being present in the scene — but he's watching everything. So if there's a slight little problem in a take, if the camera operator accidentally bumps into someone and the camera shakes for half a second, Seth has seen it. And he will just start laughing and go 'let's go again'. But he's just very tuned in. I'm very impressed at how much. You would think, that for who he is and what he ingests, he would be just not — but he is so freaking tuned in. And he's also just an incredibly good-natured guy. I think a lot of times, if something goes wrong, I've seen directors or producers blow their stack and get mad — and I don't know, it's just they're nice Canadian boys who just don't get that upset." [caption id="attachment_997093" align="alignnone" width="1920"] Photo by Eric Charbonneau/Apple TV+ via Getty Images.[/caption] Chase: "Doesn't yell, doesn't get mad." Ike: "They don't yell." Kathryn: "You could see sometimes when you screwed up and you're trying to find a word, and then you see him, you see him basically shake his head and look at you." Chase: "Yeah, yeah, yeah." Kathryn: "And you're like 'well, save me'." On the Securing The Studio's Many, Many Cameos James: "Martin Scorsese was someone that we all admire and never thought we would have a chance to meet. Seth and Evan wrote a script with him as that character, and we sent it to him and he read it, and he was like 'yeah, I'd love to do it'. And then all of our heads exploded, basically. But then people like Charlize Theron or Zac Efron, they're all people that we have worked with in the past, so they were people that we could talk to directly and say 'hey, we have this idea for a character for you in our show'. And then there were some new people we got to meet, like Zoë Kravitz or Olivia Wilde. They were characters that we wrote for the show, and we just had to meet with them and get their ideas on that character. Seth and Evan were on a lot of zooms with each of them before they signed on. But it was nice, because I think once Martin Scorsese said yes, there were several phone calls that I started with 'so Martin Scorsese's doing the show — so can you do the show?'. And that was really nice, because people would generally say 'yeah, sure'." The Studio streams via Apple TV+.
The weekend blues don't exist — but if they did, this Saturday afternoon snack and a spirit-heavy session would banish them. Like dumplings? Like martinis? So does Chu the Phat, which is pairing them from 3–5pm weekly. Dumplings and martinis: that's the menu for the arvo, and for just $25. The deal nabs you one drink as well as a selection of those delicious parcels that no one can ever get enough of. And, if you have a big night planned, it won't put much of a dent in your budget. The regular menu will be on offer as always, so you can always stop by the South Brisbane joint for a bite and a beverage, see whether your hunger (and thirst) grows, and then settle in for the longer haul. When it comes to dumplings, Chu the Phat serves up wagyu with XO and lime, as well as sweetcorn with coriander.
When Darth Vader told Luke Skywalker that they're more than just mortal enemies, it became one of the most famous lines of dialogue in movie history (and one of the most mis-quoted). If you've seen Star Wars: Episode V — The Empire Strikes Back, you'll know that it's a powerful, memorable moment that changes the shape of the entire space saga. Even if you haven't, you know what we're talking about. Now, imagine just how epic it'll feel when you're watching the flick on a big screen and listening to John Williams' iconic score played by a live orchestra. Yes, The Force is strong in Brisbane once more, with Queensland Symphony Orchestra staging the next in their Star Wars screening and performance series on December 1 at the Brisbane Convention and Exhibition Centre. Jedis, wookiees and droids alike can expect two sessions of tussles between the Rebels and the Empire, Luke learning his true parentage, Han flirting with Leia and getting frozen in carbon, Chewbacca being awesome, R2-D2 being adorable and C-3PO being annoying (well, he is). Plus, it's the flick that marks the first appearance of Lando Calrissian and the first time 'The Imperial March' is heard. If you're thinking that it's a great time to be a Brisbane fan of the George Lucas-created franchise, then you're right. The Last Jedi and Solo: A Star Wars Story are still fresh in everyone's memories, and these types of special events keep on coming — we've got a good feeling that Return of the Jedi will eventually get the same treatment as well. Star Wars: Episode V — The Empire Strikes Back will screen at the Brisbane Convention and Exhibition Centre on December 1, 2018. Grab tickets online.
Game, set, match, music: when the Australian Open returns in January 2024 with two jam-packed weeks of Grand Slam tennis action, it'll also be serving up a few aces for fans of live tunes. In 2023, the annual Melbourne sports event launched the AO Finals Festival, which gets a heap of talents taking to the stage. Unsurprisingly proving a hit, the fest is returning next year. Attendees will be treated to a program of live acts on three of the event's final four days, all in John Cain Arena. 2024's AO Finals Fest will start on Thursday, January 25, on AO Pride Day. Then, it's back for both the women's final on Saturday, January 27 and the men's equivalent on Sunday, January 28. A stellar lineup awaits, including Tash Sultana, Peach PRC and Yaeji on the Thursday; DMA's, Ruel and The Jungle Giants on the Saturday; and Groove Armada, Rudimental and Sunshine & Disco Faith Choir on the Sunday. Just like in 2023, the stacked bill doesn't come as too much of a surprise, given that it has again been curated with help from the respected music heads at Untitled Group — the brains behind Pitch Music & Arts, For The Love, Grapevine Gathering and more. "The Australian Open is one of the most loved events on Melbourne's calendar, so there is no better time to bring together tennis and some of the best global music to the stage, right in the heart of summer's favourite tennis tournament. Untitled Group are proud to return to the Australian Open in 2024, giving tennis and music fans alike an amazing day out, full of forefront artists across three jam-packed days of music festival entertainment," said Pia Del Mastro, Untitled Group's music programmer. "Can't wait to return to the iconic Australia Open. See you on the court!" added DMA's. Expect plenty of company, with the 2023 event selling out. Accordingly, 2024's AO Finals Festival has moved venues, shifting to John Cain Arena to take advantage of its 10,000-person capacity. Tickets can be bought individually per day, or matchgoers can upgrade their tennis tickets to head to the festival. As always, there'll be scores of food and drink pop-ups scattered throughout Melbourne Park, as well as big screens showing all the on-court action. AO FINALS FESTIVAL 2024 LINEUP: Thursday, January 25: AO Pride Day Tash Sultana Peach PRC Yaeji Anesu Djanaba DJ Luv You Saturday, January 27: Women's final DMA's Ruel The Jungle Giants Tia Gostelow Mell Hall Sunday, January 28: Men's final Groove Armada Rudimental Sunshine & Disco Faith Choir Latifa Tee Cooper Smith The 2024 AO Finals Festival hits John Cain Arena, Olympic Boulevard, Melbourne, from Thursday, January 25–Sunday, January 28. For tickets from Wednesday, December 13 and more information, head to the festival website. Images: Ash Caygill.
It's been a long time between Australian visits for UK disco-pop queen Jessie Ware. The last time she graced our shores was for Laneway Festival all the way back in 2013. In the time since, she's released four albums, including the immensely critically acclaimed What's You Pleasure in 2020 and its equally vibrant recent follow-up That! Feels Good!. But, it looks like the drought may be coming to an end, with Ware letting it slip that she's got plans to perform at Australian music festival Summer Camp later in 2023. On the most recent episode of her podcast Table Manners with Jessie and Lennie Ware, the singer and her mother Lennie were joined by a fellow pop icon: Australia's very-own Dannii Minogue. While the episode traverses the dynamics of the Minogue family and the delights of panna cotta, one eagle-eared Twitter user noticed that Ware dropped the unannounced goss that she'd be heading Down Under soon. "I'm actually going to Australia in November for this festival called Summer Camp," Ware said while discussing travel plans, and the possibility of doing a Table Manners series here in Oz. View this post on Instagram A post shared by Summer Camp Festival (@summercampfestivalau) Summer Camp hosted its inaugural festivals in Sydney and Melbourne in 2022, combining top-notch tunes and LGBTQIA+ pride through a stacked lineup featuring Years & Years, Sophie Ellis-Bextor, Big Freedia, Cub Sport and The Veronicas. The festival was also set to arrive in Darwin and Perth; however, after it was postponed from February to November, it was forced to reduce its scale to a two-date run. The festival hasn't announced its 2023 plans as yet, but its website does state "2023 dates coming soon". If Jessie Ware is to be believed, it looks set for a November comeback. We'll be sure to keep you updated whenever some concrete news comes through on a Jessie Ware tour of Australia, or a return for Summer Camp. If you want to hear the specific section of the podcast, it kicks off just after the eight-minute mark. Table Manners with Jessie and Lennie Ware is available wherever you find your podcasts, including Spotify and Apple Podcasts. You can keep up to date with the latest Summer Camp announcements at the festival's Instagram account. Top image: Raph_PH via Wikimedia Commons.
Trying new wines can be a stressful pursuit. There are just so many vinos to choose from, hailing from such a wide array of wineries, that it's hard to know where to start. Fresh Blood simplifies that process for you — by doing the choosing for you. That means that you can sit back, take whichever glass comes your way and get sipping. It's no wonder that the concept was a hit in London, or that it is now making its Australian debut. Kicking off in Brisbane on Saturday, January 16 and Sunday, January 17, Fresh Blood's first Aussie event will focus on 16 emerging local winemakers — with Saturday's session dedicated to eight South Australian producers and Sunday's showing the love to eight of their Victorian counterparts. Wondering what you'll be knocking back? From SA, Ada, Geyer, Moorak and VHS rank among the labels. From Victoria, Analog, Cre, Little Brunswick and Livewire are on the bill. As a bonus, whichever day you choose to head along, you'll also taste a few drops from two imported producers — with more than 60 wines on offer across the two days. With the event taking place at Siffredi's and Zero Fox, you'll snack on bites to eat from the two restaurants as well. You've gotta line that stomach, after all, including with spaghetti and Campari soft serve. Tickets cost $69 per day, which covers entry at 12pm, a take-home tasting glass, 30-plus wines to sip and snacks. It all runs until 4pm, and only 100 tickets are available each day — so getting in quickly is recommended.
First, Airbnb wanted everyone to stay in other people's everyday homes. It still does. Then, it started adding once-in-a-lifetime spots, usually themed around a pop-culture favourite (think: Hobbiton and Barbie's Malibu DreamHouse). Lately, the accommodation booking platform has been going big on celebrity abodes as well, so that you can enjoy a starry getaway. The newest on its books: Ashton Kutcher and Mila Kunis' oceanside guesthouse in Santa Barbara County. Didn't score a night at Gwyneth Paltrow's Montecito spot? This is your next chance to live the life of a Hollywood actor, albeit just temporarily. There's one big difference this time around, however: the reservation is for this weekend, on Saturday, August 19, with bookings opening tomorrow, at 3am AEST / 5am NZST on Thursday, August 17. Accordingly, you and up to three friends will probably need to already be in the US right now, or by this weekend. With such tight timing, this isn't quite the kind of Airbnb once-off that you can plan a whole vacation around. But, if all of the above suits you and you manage to nab the reservation, you'll be slumbering in the Kutcher-Kunis guesthouse for free. The That '70s Show and That '90s Show stars will be there to greet you upon arrival, and get you joining in on some of their top activities. So, get ready to hit the shore, go for a hike, soak in the coast views, and head down to the nearby shops and restaurants. And, once evening hits, board games and charades are on the agenda. The beachhouse also features Santa Ynez mountains vistas — and your booking will include meals and snacks as well. As always, the usual caveat applies: if you do get the reservation, the cost of travelling to Santa Barbara and back again, including from Australia or New Zealand, is all on you. Airbnb adds this extremely short-term listing to its roster after also offering up the Ted Lasso pub, Japan's World Heritage-listed Suganuma Village, the Paris theatre that inspired The Phantom of the Opera, the Bluey house, the Moulin Rouge! windmill, the Scooby-Doo Mystery Machine, The Godfather mansion, the South Korean estate where BTS filmed In the Soop and the Sanderson sisters' Hocus Pocus cottage in recent years. For more information about Ashton Kutcher and Mila Kunis' Oceanfront Oasis on Airbnb, or to book at 3am AEST on Thursday, August 17 for a stay on Saturday, August 19, head to the Airbnb website. Images: Katya Grozovskaya. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
Tasers, telephoto lenses and a new spate of crimes terrifying the beachside town of Neptune: yes, Veronica Mars is back. Everyone's favourite pint-sized TV private eye is finally returning to our screens, all thanks to the show's long-awaited, eagerly anticipated fourth season. As played with the usual pluck and determination by Kristen Bell, she's ready to sleuth her way through a whole new mystery. Of course she is. Due to release in the US in July, via streaming platform Hulu, Veronica Mars' revival follows its titular heroine as she endeavours to get to the bottom of a wave of bombings that've been blasting their way through her home town. The fictional seaside spot is quite the tourist spot — especially come spring break — and Ms Mars thinks that someone wants to blight its reputation. After dropping a very brief teaser in April, then a short initial trailer in May, Hulu has released a full trailer for the series — and, as well as showing the no-nonsense Veronica doing what she does best, it once again features a heap of familiar faces. Her dad Keith Mars (Enrico Colantoni) and on-again, off-again love interest Logan Echolls (Jason Dohring) also pop up, as do her ex-classmates Weevil (Francis Capra) and Dick Casablancas (Ryan Hansen). Also set to make an appearance: returning cast members Percy Daggs III and Max Greenfield, plus new inclusions such as Patton Oswalt, Clifton Collins Jr and Bell's The Good Place co-star Kirby Howell-Baptiste. Oh and JK Simmons, too, as an ex-con who appears to be the new season's bad guy. Check out the new full trailer below: https://www.youtube.com/watch?v=pt0QuaQ0huk If you've been following Veronica's story for the past 15 years, you'll know that the TV series originally debuted in 2004, ran for three seasons until 2007, and then set a crowdfunding record to get a film off the ground in 2014. Next came two novels and a web series spin-off — and now, as first confirmed in September last year, this eight-episode revival. Break out the marshmallows, obviously. The fourth season of Veronica Mars hits Hulu on July 26. Details of the show's Australian and New Zealand release are yet to be confirmed — we'll keep you posted.
Near, far, no matter how much of a Titanic and/or Celine Dion fan you are, there's no denying how apt the lyrics to 'My Heart Will Go On' have proven. The film's fame went on, and continues to do so nearing three decades since the movie became the king of the boat-set blockbuster world. Dion's Oscar-winning theme tune goes on, including as an earworm that's hard to get out of your head. Ways to nod to both the picture and its central track keep going on as well — and Titanique, the stage production that riffs on Titanic and adores Dion, is doing exactly that in Sydney by extending its Australian-exclusive (and -debut) season. What if you were at a Titanic museum and Dion was there? What if she was not only your narrator, but her songs accompanied the tale that she was telling? What if Titanic got an off-Broadway musical-comedy parody that went heavy on Dion, then? That's Titanique, as Aussie audiences have been enjoying in the Harbour City since September 2024, and now can continue to see until the beginning of winter 2025. The production's Australian run will now play until Sunday, June 1, adding an extra nine weeks to a season that's already been lengthy. Yes, you could call the show's Aussie stay at The Grand Electric in Surry Hills titanic if you want to. The amusing ode to James Cameron's (Avatar: The Way of Water) movie dives back into the story of Jack and Rose, with Drew Weston and Georgina Hopson stepping into Leonardo DiCaprio (Killers of the Flower Moon) and Kate Winslet's (The Regime) shoes as Jack and Rose — and Marney McQueen playing Dion. It was back in 2017 that the show premiered in Los Angeles, and in 2022 that it set a course for off-Broadway. It has also sailed into both Canada and the UK — but Australia was its first international stop. So far, the production has three Lucille Lortel Awards to its name, plus two Dorian Awards and the Off-Broadway Alliance Award for Best New Musical, among other gongs. And as for the songs, co-writers Blue, Marla Mindelle (Sister Act) and Constantine Rousouli (Cruel Intentions) — with the latter two originally starring as Céline and Jack — have worked in everything from Dion's 'My Heart Will Go On', of course, to 'Where Does My Heart Beat Now' and 'A New Day Has Come'. If you haven't caught Titanique in Australia yet and you're keen to step onboard (well, into the theatre) with the gang, it's also doing party packages. Titanique plays The Grand Electric, 199 Cleveland Street, Surry Hills, Sydney until Sunday, June 1, 2025, with the next batch of tickets available from 10am on Thursday, February 13, 2025 — head to the show's website for purchases and further information. Images: Daniel Boud.
As if the hit Chinese dating show If You Are the One hasn't already brought enough glee into our dreary little lives, it's about to bring even more. And noodles. In almost inexplicable news, cheeky host Meng Fei is opening his own Chinese noodle restaurant in Melbourne, aptly named Mr Meng. Although we know Grandpa Meng as a television host who asks tough questions ("The question is, whether the girls can tolerate your shortcomings?"), he's actually a Kim K level celeb in China thanks to his shenanigans on the cult dating show, which has been airing in Australia on SBS 2 (now SBS VICELAND) since 2013. He's teamed up with Guo Degang, a popular Chinese comedian and actor, to open the noodle restaurant, quite out of nowhere. Why? Literally dunno. His team were tight lipped on motivations — but stay tuned for a report on the opening. In the meantime, get excited for some no-nonsense Chinese food and Chongqing-style noodle dishes. Mr Meng's is opening soon on Elizabeth Street and serving up 'delicious noodles for lunch and dinner, loved by everyone'. We only hope Meng's noodles are as spicy as his insults. In other relevant and exciting news, after eight seasons of humiliating Chinese men on air, the show is undergoing a seismic shift and reboot. A brand new 'boys special' will air on SBS VICELAND on July 2, which will be a taste of things to come before the new series relaunches in December. Mr Meng will open on Monday, May 22 at 382-384 Elizabeth Street. We'll report back on the opening.
From the screen to the page, tales of the future have promised us many, many things over the years. Some of them were good, like Back to the Future: Part II's hoverboards. Some of them weren't, such as 1984's vision of governmental control. Some of them just keep finding new ways to turn technological advances into a horror story, which is why Black Mirror keeps us all hooked. Now, imagine this kind of thinking, but in a sketch comedy show. The end result: Slack Mirror. Hitting Brisbane Powerhouse from Thursday, November 28–Sunday, December 1 as part of this year's Wonderland festival, it packages bleak dystopian visions with a sense of humour. Amy Currie (Love/Hate Actually) and Drew Lochrie (Titanic: the Movie, the Play) will be your guides into the future — and expect their take on things to come to take a "well we may as well laugh about it" approach.
When the Scream franchise posed the question it'll forever be known for, it skipped over a key word. Ghostface is clearly asking "do you like watching scary movies?", given the entire point of frightening flicks is seeing their thrills and chills, and being creeped out, entertained or both. We all know that's what the mask-wearing killer means, of course, but the act of viewing is such a crucial part of the horror-film equation that it's always worth overtly mentioning. Enter new slasher standout X, which splashes its buckets of viscera and gore across the screen with as much nodding and winking as the Scream pictures — without ever uttering that iconic phrase, though, and thankfully in a far less smug fashion than 2022's fifth instalment in that series — and firmly thrusts cinema's voyeuristic tendencies to the fore. That name, X, doesn't simply mark a spot; it isn't by accident that the film takes its moniker from the classification given to the most violent and pornographic movies made. This is a horror flick set amid a porn shoot, after all, and it heartily embraces the fact that people like to watch from the get-go. Swaggering producer Wayne (Martin Henderson, The Gloaming), aspiring starlet Maxine Minx (Mia Goth, Emma), old-pro fellow actors Bobby-Lynne (Brittany Snow, Pitch Perfect 3) and Jackson Hole (Scott Mescudi, Don't Look Up), and arty director RJ (Owen Campbell, The Miseducation of Cameron Post) and his girlfriend/sound recorder Lorraine (Jenna Ortega, doing triple horror duty in 2022 so far in Scream, Studio 666 and now this) are counting on that truth to catapult themselves to fame. Hailing from Houston and aroused at the idea of repeating Debbie Does Dallas' success, they're heading out on the road to quieter climes to make the skin flick they're staking their futures on, and they desperately hope there's an audience. X is set in the 70s, as both the home-entertainment pornography market and big-screen slashers were beginning to blossom. As a result, it's similarly well aware that sex and death are cinema's traditional taboos, and that they'll always be linked. That's art imitating life, because sex begets life and life begets death, but rare is the recent horror movie that stresses the connection so explicitly yet playfully. Making those links is Ti West, the writer/director responsible for several indie horror gems over the past decade or so — see: cult favourites The House of the Devil and The Innkeepers — and thrusting a smart, savage and salacious delight towards his viewers here. Yes, he could've gone with The Texas Porn-Shoot Massacre for the feature's title, but he isn't remaking the obvious seminal piece of genre inspiration. In this blood-splattered throwback, which looks like it could've been unearthed from its chosen decade in every frame (and was actually filmed in New Zealand rather than Texas), West pays homage to a time when flicks like this did pop up with frequency — while slyly commenting on what's changed to shift that scenario. He also explores the process of filmmaking, of putting both sex and death on-screen, and the conversation around both, all while his characters decamp to a quiet guesthouse on a remote property where they start making the film-within-the-film that is The Farmer's Daughter. Upon arrival, gun-toting, televangelist-watching, pitchfork-wielding owner Howard (Stephen Ure, Mortal Engines) is instantly unfriendly. Wayne hasn't told him why they're really there, but he's soon snooping around to see for himself. Also keen on watching the bumping 'n' grinding is Howard's ailing wife Pearl, who he warns his guests to stay away from, but is drawn to the flesh on show. There's a genius stroke of casting in X that deserves discovering while watching, and speaks to one of the movie's other thematic obsessions. As West ponders the heyday of the type of flick he's making — and the picture within it as well — he contemplates what kinds of bodies we fetishise and find horrific. Desire and shame are flipsides of the same coin, and Pearl's lust towards her young and virile visitors contrasts with Maxine's insecurity, too, although the latter remains determined to use nature's gifts to shoot her shot. X doesn't always cut especially deep, but its musings on commodifying and worshipping youth and beauty still pierce, particularly when aided by such a committed and compelling turn by Goth, charismatic work from Henderson, Mescudi and Snow, and a crucial spurt of slipperiness from Ortega. That said, nothing carves as forcefully and gleefully as the film's many expertly staged death scenes. Knocking its pretty young things (and in Wayne's case, a tad older) off one by one, X revels in and relishes the art of depicting movie's kills. In fact, that depictions of erotica and mortality can be art is another of the film's fascinations. Viewers watch the two out of curiosity, titillation, and a mix of shock and allure, but find far more in porn and horror when they're executed with exacting eyes. Accordingly, as shot by West's frequent cinematographer Eliot Rockett — an alum of The House of the Devil and The Innkeepers as well — X's atmospheric and textured imagery makes this point inherently in all of its retro-styled glory. Every element in the movie is meticulous about its timeframe, right down to Maxine's Linda Lovelace-esque appearance, and never in the service of mere nostalgia. West's love of slow-burn horror setups also plays an influential part, teasing things out before the army of money shots. So too does his knowledge that whatever his audience imagines in their head will always be more shocking than what he commits to celluloid — yes, even with ample amounts of guts still strewn all over the place in the second half, and often. A pivotal moment about a third of the way through, and perhaps X's best, says plenty: in a lake by their cabin (because West eagerly nods to Friday the 13th also), Maxine swims while a snapping alligator closes in behind her. The film peers down on this scene patiently from above, basking in stillness as the mood turns tense, unsettling and terrifying — and serving up one helluva sight. In other words, West makes X a flick that viewers don't just want to peer at the sleaze and the nasty body count, or to see people get screwed in multiple ways, but because it's so smart, savvy and spectacularly staged while straddling and embracing that fine line between pleasure and pain. "We turn people on and that scares 'em," Bobby-Lynne says early, and it's a fitting mantra for the movie overall. And when it climaxes, it firmly leaves audiences wanting to watch more. In great post-viewing news, West has already shot a prequel called Pearl as part of a planned trilogy.
When bushfires raged across Australia over the spring of 2019 and the summer of 2019–20, the Hunter Valley's wine community was among the areas affected. Due to smoke from the blazes, huge hordes of grapes can no longer be used for their original winemaking purpose — so distillery Archie Rose is getting experimental and salvaging more than 50 tonnes as part of a new spirit range. The first of the series' three products is eau de vie Hunter Valley Shiraz Spirit, which is made from smoke-tainted Hunter Valley 2020 shiraz and cabernet sauvignon grapes. Clear, colourless and fruity, it's described by the company as having "notes of shortbread, icing sugar and vine leaves" — as well as hints of pineapple, guava and honeydew. Expect to taste mango, raspberry jam, crème fraîche and wafers, too, plus a slight suggestion of campfire. When you're sipping a glass, you'll be aiding Archie Rose's efforts to help Hunter Valley producers and growers, especially those with team members and and families affected by crop and income write-offs due to the fires. As well as receiving support themselves, Tulloch Wines and First Creek Wines worked with the folks at Archie Rose to identify eight smaller growers in need of assistance — particularly in the Pokolbin, Broke Fordwich and Upper Hunter sub-regions. On sale from Monday, May 25 from the Archie Rose Bar in Rosebery, Sydney, bottle shops and the company's website, 1000 bottles of the Hunter Valley Shiraz Spirit are available — in 700-millilitre sizes, for $99. Archie Rose has also suggested a range of cocktail recipes using the Hunter Valley Shiraz Spirit, so prepare to pair it with oat milk in the 'Milk & Honey' and with grapefruit in 'The Pokolbin'. Also in the works is a Hunter Valley Shiraz Brandy, using the salvaged smoke-tainted grapes — however, given that the spirit will need to be aged, it'll be available in future years. Archie Rose's Hunter Valley Shiraz Spirit goes on sale on Monday, May 25 from the Archie Rose Bar in Rosebery, Sydney, bottle shops and the company's website, with pre-orders currently available online.
First published 172 years ago, Charlotte Brontë's Jane Eyre just keeps haunting readers — and audiences and creatives. As well as inspiring many a night thumbing through the novel's pages, the gothic classic has sparked many an inventive stage and screen adaptation. They include all the obvious, faithful interpretations, plus 1940s horror films and even the book behind one of Alfred Hitchcock's psychological thrillers. At QPAC until Saturday, November 9, the latest version of Jane Eyre is playing out in the Cremorne Theatre under the guidance of Shake & Stir. If you liked the theatre company's take on Dracula, then you'll want to see them take on another beloved story in their own way — complete with original music not only written by The Superjesus' Sarah McLeod, but performed live on stage during the play. Starring Shake & Stir's co-artistic director Nelle Lee as Jane, the production delves into a moody coming-of-age tale as the orphaned titular character tries to fight against the social constraints of the time and find her way in the world. Securing a job at Thornfield Hall, she's drawn to its resident, Edward Rochester — a bond that causes plenty of secrets to spill out into the open.
To explore Lady Musgrave Island and spend a day snorkelling with turtles, manta rays, tropical fish and other sea life, book a day trip with Lady Musgrave Experience. Your day tour on the 35-metre luxury catamaran, the Reef Empress, takes you on a two-hour journey to an island lagoon while you enjoy morning tea. Upon arrival, you'll be given a 45-minute guided tour around the island and a ride on a glass bottom boat, before jumping in the pristine waters to swim with green turtles and hawksbill turtle — and you may spy a loggerhead turtle or two as well. You have the option to scuba dive, too. [caption id="attachment_749818" align="alignnone" width="1920"] Lady Musgrave Island by Melissa Findley/Bundaberg Tourism[/caption]
Lin-Manuel Miranda isn't the first lyricist to pen tunes so catchy that they get stuck in your head for years (yes, years), but his rhythmic tracks and thoughtful lines always stand out. Miranda's songs are melodic and snappy, as anyone who has seen Hamilton onstage or via streaming definitely knows. The multi-talented songwriter's lyrics also pinball around your brain because they resonate with such feeling — and because they're usually about something substantial. The musical that made his name before his date with US history, In the Heights echoes with affection for its eponymous Latinx New York neighbourhood. Now that it's reverberating through cinemas, its sentiments about community, culture, facing change and fighting prejudice all seem stronger, too. To watch the film's characters sing about their daily lives and deepest dreams in Washington Heights is to understand what it's like to feel as if you truly belong in your patch of the city, to navigate your everyday routine with high hopes shining in your heart, and to weather every blow that tries to take that turf and those wishes away. That's what great show tunes do, whisking the audience off on both a narrative and an emotional journey. Miranda sets his words to hip hop beats, but make no mistake: he writes barnstorming songs that are just as rousing and moving, and that've earned their place among the very best stage and screen ditties as a result. Watching In the Heights, it's hard not to think about all those stirring tracks that've graced previous musicals. That isn't a sign of derivation here, though. Directing with dazzling flair and a joyous mood, Crazy Rich Asians filmmaker Jon M Chu nods to cinema's lengthy love affair with musicals in all the right ways. His song-and-dance numbers are clearly influenced by fellow filmic fare, and yet they recall their predecessors only because they slide in so seamlessly alongside them. Take his staging of '96000', for instance. It's about winning the lottery, after word filters around that bodega owner Usnavi (Anthony Ramos, a Hamilton alum) has sold a lucky ticket. Due to the sweltering summer heat, the whole neighbourhood is at the public pool, which is where Chu captures a colourful sea of performers expressing their feelings through exuberantly shot, staged and choreographed music and movement — and it's as touching and glorious as anything that's ever graced celluloid. $96,000 won't set anyone up for life, but it'd make an enormous difference to Usnavi, In the Heights' protagonist and narrator. It'd also help absolutely everyone he loves. As he explains long before anyone even hears about the winning ticket, or buys it, every Heights local has their own sueñitos — little dreams they're chasing, such as his determination to relocate to the Dominican Republic. That's where his late father hailed from, and where he's set his sights on finding happiness. As Usnavi tells the movie's tale, he does so looking back while talking to kids on a beach, so his commitment to pursuing his chosen future can't be doubted. But this isn't just the story of how and if his sueñito eventuates. It's also about his fondness for hairdresser Vanessa (Melissa Barrera, Vida), who he can't muster up the courage to ask out. It's about her quest to pursue a fashion career in Manhattan, too, and about the yearnings stirring inside fellow locals Nina (film debutant Leslie Grace) and Benny (Corey Hawkins, BlacKkKlansman). The former is back from Stanford to tell her dad (Jimmy Smits, The Tax Collector) she doesn't want to return — and the latter, who works for her father, dreams of business school. Usnavi's young cousin Sonny (Gregory Diaz IV, Vampires vs The Bronx) also pines for a different path, as does salon owner and local mainstay Daniela (Daphne Rubin-Vega, Katy Keen). Some of In the Heights' sueñitos are big and bold, while others value beauty in the everyday — such as the resolve to seek dignity in minutiae that drives neighbourhood Abuela Claudia (Olga Merediz, reprising her role from the stage). One of the things that's so entrancing about the film's narrative, which Pulitzer Prize-winning playwright Quiara Alegría Hudes adapts from her own stage efforts with Miranda, is the textured snapshot it builds by flitting between different Heights residents. Not just through its lively and heartfelt songs, but also via its energetic and loving lensing, it scratches away at their hopes and desires, chronicling how they're toiling, trying and persisting day in, day out. Miranda and Hudes don't shy away from the struggles faced by Usnavi and his friends, of course, or from the ups and downs in life that come for us all. But character by character, they build a vision of heart and hope in one very specific place, as aided by Chu putting his past experience directing Step Up: 2 the Streets and Step Up 3D to exceptional use. In the Heights isn't just about dreams — it's also dreamy. Some of its musical numbers literally climb the walls with jubilation, or evocatively peer back in time, and it's just like stepping into Usnavi, Claudia and company's fantasies, emotions and memories with them. The grounding factor, other than the passion in every word, and the issues such as gentrification, economic inequality, racism and oppressive immigration policy that get pushed to the fore: Chu's phenomenal cast. Taking over the role that Miranda earned a Tony nomination for, Ramos is a dream, fittingly. His performance is so warm and engaging that hanging on his every rapped syllable is just part of the experience. He's surrounded by just-as-impressive co-stars, spanning the spectrum from Grace's simmering resolve and Barrera's pluck to Stephanie Beatriz's (Brooklyn Nine-Nine) scene-stealing supporting turn as a salon co-owner— and a singing and dancing Smits, too, as well as Miranda as a piragua cart vendor. The cinematic reverie they're all in isn't quite perfect, as its pacing often signals, but neither is any genuine dream. The best fantasies are always intoxicating, invigorating, impassioned and infectious, however, and truly mean something. In the Heights ticks all those boxes, and also finds time for a delightful Hamilton reference.
Artists might be born rather than made, and great art might be the product of all of life's experiences, but that doesn't mean the creatively inclined have to be in a hurry to put brush to canvas. Don't believe us? Well, late Bentinck Island artist and senior Kaiadilt woman Mirdidingkingathi Juwarnda Sally Gabori certainly wasn't. Gabori might be the subject of the Queensland Art Gallery's latest retrospective; however she only started painting in 2005 at the age of 81. Of course, every year of her existence infuses her bold, bright pieces — from large-scale collaborative works produced alongside other senior Kaiadilt women, to pieces on paper created toward the end of her life. Dulka Warngiid – Land of All showcases more than 50 of Gabori's efforts, as well as shining a light on the place — an island in the southern Gulf of Carpentaria, off north-western Queensland, in northern Australia — she was linked to. For those keen to know more, a schedule of tours and talks dives deeper into the exhibition, and into a fascinating, late-in-life art career. Image: All the fish, 2005, Synthetic polymer paint on canvas. Gift of Jim Cousins, AO and Libby Cousins through the Australian Government's Cultural Gifts Program, 2013. Collection: National Gallery of Victoria, Melbourne. © Mirdidingkingathi Juwarnda Sally Gabori. Licensed by Viscopy.
