It's been three long, chaotic, pandemic-interrupted years since the Australian music festival scene welcomed Festival X, which debuted back in 2019 with Calvin Harris leading the bill. We all know why the event hasn't been able to return since, but it's remedying that absence this November and December — with Harris as one of its headliners again. That's fantastic news if you're a fan of the Scottish DJ. If you're keen for a hot girl summer — or the days leading up to summer in some cities — Festival X's comeback has something for you, too. Also topping the lineup is Megan Thee Stallion, who'll be heading to Australia for the first time ever. Festival X has five stops in its sights between Saturday, November 26–Sunday, December 4, all huge outdoor gigs — playing Flemington Racecourse in Melbourne, Alabaster Sports Fields on the Gold Coast, Bonython Park in Adelaide, Sydney Showground and Perth's Burswood Park. Also hitting the stage: Don Toliver, Boys Noize, Green Velvet, John Summit, Luude and MaRLo — and, yes, the list goes on. Festival X hails from quite the list of industry big guns, with Onelove (Stereosonic), Live Nation (Splendour in the Grass, Falls Festival) and Hardware (Piknic Electronik, Babylon) behind the touring event. It's the latest massive fest to lock in plans for the end of 2022, following Grapevine Gathering, Falls Festival, Lost Paradise, Spilt Milk, Summer Camp, Beyond the Valley, Listen Out and Woodford Folk Festival. Festival-goers, it's going to be a busy summer. If you're keen, Festival X tickets go on sale from 12pm AEST on Thursday, June 2, with a LatitudePay presale from 12pm AEST on Monday, May 30 and a festival presale from 12pm AEST on Wednesday, June 1. FESTIVAL X 2022 LINEUP: Calvin Harris Megan Thee Stallion Don Toliver Boys Noize Green Velvet John Summit Luude MaRLo Nina Kraviz Sub Focus DJ Set & ID Tchami Wilkinson DJ Anna Lunoe Babyface Mal Badrapper Blastoyz Choomba Cosmic Gate Franky Rizardo Haliene Key4050 Feat John O'Callaghan & Bryan Kearney Laura King Nifra Nora En Pure Prospa Solardo Sunset Bros Taglo Tyson Obrien FESTIVAL X 2022 DATES: Saturday, November 26 — Flemington Racecourse, Melbourne Sunday, November 27 — Alabaster Sports Fields, Gold Coast Friday, December 2 — Bonython Park, Adelaide Saturday, December 3 — Sydney Showground, Sydney Sunday, December 4 — Burswood Park, Perth Festival X 2022 tours the country from Saturday, November 26–Sunday, December 4. For more information or to buy tickets — from 12pm AEST on Thursday, June 2, with a LatitudePay presale from 12pm AEST on Monday, May 30 and a festival presale from 12pm AEST on Wednesday, June 1 — head to the festival website.
One of the best films to hit cinemas in 2023 so far gets a song stuck in viewers' heads like it's been slung there with the stickiest of webs. Just try to watch a Spider-Man movie — any Spider-Man movie, but preferably the stunning Spider-Verse movies — and not get the cartoon theme song lodged in your brain. You can't. It's impossible. Tweak the earworm of a track's lyrics, though, and you have the perfect description of the first six months of this year at the pictures: the greatest features to flicker through projectors truly did whatever movies can. Among 2023's best films so far, one made the connection between a parent and child feel so aching new yet so deeply relatable that you might've convinced yourself that you lived this plot yourself. Another hung out with a Sardinian donkey to muse on the fragility of life, plus the way that all creatures great and small that aren't human are so often disregarded. Some rightly garnered awards for exploring close bonds and impassioned fights; others hopped all over Japan, or Korea, or wherever on the globe that John Wick has a battle to wage. One made the Australian outback look otherworldly — and another toyed with reality on multiple levels, and in a stunning fashion. They're some of the films that've shone brightly at picture palaces this year — some releasing last year elsewhere, but only debuting Down Under in 2023; some so shiny and brand-new that they've only just reached cinemas. More than 15 ace movies have graced the silver screen over the past six months, of course, but if you only have time to watch or rewatch the absolute best 15, we've picked them. Happy midyear viewing. AFTERSUN The simplest things in life can be the most revealing, whether it's a question asked of a father by a child, an exercise routine obeyed almost mindlessly or a man stopping to smoke someone else's old cigarette while wandering through a holiday town alone at night. The astonishing feature debut by Scottish writer/director Charlotte Wells, Aftersun is about the simple things. Following the about-to-turn-31 Calum (Paul Mescal, The Lost Daughter) and his daughter Sophie (debutant Frankie Corio) on vacation in Turkey in the late 90s, it includes all of the above simple things, plus more. It tracks, then, that this coming-of-age story on three levels — of an 11-year-old flirting with adolescence, a dad struggling with his place in the world, and an adult woman with her own wife and family grappling with a life-changing experience from her childhood — is always a movie of deep, devastating and revealing complexity. Earning the internet's Normal People-starring boyfriend a Best Actor Oscar nomination, and deservedly so, Aftersun is a reflective, ruminative portrait of heartbreak. It's a quest to find meaning in sorrow and pain, too, and in processing the past. Wells has crafted a chronicle of interrogating, contextualising, reframing and dwelling in memories; an examination of leaving and belonging; and an unpacking of the complicated truths that a kid can't see about a parent until they're old enough to be that parent. Breaking up Calum and Sophie's sun-dappled coastal holiday with the older Sophie (Celia Rowlson-Hall, Vox Lux) watching camcorder footage from the trip, sifting through her recollections and dancing it out under a nightclub's strobing lights in her imagination, this is also a stunning realisation that we'll always read everything we can into a loved one's actions with the benefit of hindsight, but all we ever truly have is the sensation that lingers in our hearts and heads. Read our full review. EO David Attenborough's nature documentaries are acclaimed and beloved viewing, including when they're recreating dinosaurs. Family-friendly fare adores cute critters, especially if they're talking as in The Lion King and Paddington movies. The horror genre also loves pushing animals to the front, with The Birds and Jaws among its unsettling masterpieces. Earth's creatures great and small are all around us on-screen, and also off — but in EO, a donkey drama by Polish filmmaker Jerzy Skolimowski (11 Minutes), humanity barely cares. The people in this Oscar-nominated mule musing might watch movies about pets and beasts. They may have actively shared parts of their own lives existence the animal kingdom; some, albeit only a rare few, do attempt exactly that with this flick's grey-haired, white-spotted, wide-eyed namesake. But one of the tragedies at the heart of this adventure is also just a plain fact of life on this pale blue dot while homo sapiens reign supreme: that animals are everywhere all the time but hardly anyone notices. EO notices. Making his first film in seven years, and co-writing with his wife and producer Ewa Piaskowska (Essential Killing), Skolimowski demands that his audience pays attention. This is both an episodic slice-of-life portrait of EO the donkey's days and a glimpse of the world from his perspective — sometimes, the glowing and gorgeous cinematography by Michal Dymek (Wolf) takes in the Sardinian creature in all his braying, trotting, carrot-eating glory; sometimes, it takes on 'donkey vision', which is just as mesmerising to look at. Skolimowski gets inspiration from Robert Bresson's 1966 feature Au Hasard Balthazar, too, a movie that also follows the life of a hoofed, long-eared mammal. Like that French great, EO sees hardship much too often for its titular creature; however, even at its most heartbreaking, it also spies an innate, immutable circle of life. Read our full review. CLOSE When Léo (debutant Eden Dambrine) and Rémi (fellow first-timer Gustav De Waele) dash the carefree dash of youth in Close's early moments, rushing from a dark bunker out into the sunshine — from rocks and forest to a bloom-filled field ablaze with colour, too — this immediately evocative Belgian drama runs joyously with them. Girl writer/director Lukas Dhont starts his sophomore feature with a tremendous moment, one that's arresting to look at and to experience. The petals pop; the camera tracks, rushes and flies; the two 13-year-olds are as exuberant and at ease as they're ever likely to be in their lives. They're sprinting because they're happy and playing, and because summer in their village — and on Léo's parents' flower farm — is theirs for the revelling in. They don't and can't realise it because no kid does, but they're also bolting from the bliss that is their visibly contented childhood to the tussles and emotions of being a teenager. Close's title does indeed apply to its two main figures; when it comes to adolescent friendships, they couldn't be tighter. As expressed in revelatory performances by Dambrine and De Waele, each of whom are genuine acting discoveries — Dhont spotted the former on a train from Antwerp to Ghent — these boys have an innocent intimate affinity closer than blood. They're euphoric with and in each other's company, and the feature plays like that's how it has always been between the two. They've also never queried or overthought what their connection means. Before high school commences, Close shows the slumber parties, and the shared hopes and dreams. It sits in on family dinners, demonstrating the ease with which each is a part of the other's broader lives amid both sets of mums and dads; Léo's are Nathalie (Léa Drucker, Custody) and Yves (Marc Weiss, Esprits de famille), Rémi's are Sophie (Émilie Dequenne, An Ordinary Man) and Peter (Kevin Janssens, Two Summers). The film adores their rapport like a summer day adores the breeze, and conveys it meticulously and movingly. Then, when girls in Léo and Rémi's grade ask if the two are a couple, it shows the heartache and heartbreak of a boyhood bond dissolving. Read our full review. ALL THE BEAUTY AND THE BLOODSHED With photographer Nan Goldin at its centre, the latest documentary by Citizenfour Oscar-winner Laura Poitras is a film about many things, to deeply stunning and moving effect. In this Oscar-nominated movie's compilation of Goldin's acclaimed snaps, archival footage, current interviews, and past and present activism, a world of stories flicker — all linked to Goldin, but all also linking universally. The artist's bold work, especially chronicling LGBTQIA+ subcultures and the 80s HIV/AIDS crisis, frequently and naturally gets the spotlight. Her complicated family history, which spans heartbreaking loss, haunts the doco as it haunts its subject. The rollercoaster ride that Goldin's life has taken, including in forging her career, supporting her photos, understanding who she is and navigating an array of personal relationships, cascades through, too. And, so do her efforts to counter the opioid epidemic by bringing one of the forces behind it to public justice. Revealing state secrets doesn't sit at the core of the tale here, unlike Citizenfour and Poitras' 2016 film Risk — one about Edward Snowden, the other Julian Assange — but everything leads to the documentary's titular six words: All the Beauty and the Bloodshed. They gain meaning in a report spied late about the mental health of Goldin's older sister Barbara, who committed suicide at the age of 18 when Goldin was 11, and who Goldin contends was just an "angry and sexual" young woman in the 60s with repressed parents. A psychiatrist uses the eponymous phrase to describe what Barbara sees and, tellingly, it could be used to do the same with anyone. All the Beauty and the Bloodshed is, in part, a rebuke of the idea that a teenager with desires and emotions is a problem, and also a statement that that's who we all are, just to varying levels of societal acceptance. The film is also a testament that, for better and for worse, all the beauty and the bloodshed we all witness and endure is what shapes us. Read our full review. SAINT OMER In 2016, a French documentarian with Senegalese heritage attended the trial of a Senegalese French PhD student who confessed to killing her 15-month-old daughter, who was fathered by a white partner, by leaving her on the beach to the mercy of the waves at Berck-sur-Mer. The filmmaker was fixated. She describes it as an "unspeakable obsession". She was haunted by questions about motherhood, too — her mum's and her own, given that she was a young mother herself as she sat in the courtroom. That story is the story of how Saint Omer came to be, and also almost exactly the tale that the piercing drama tells. In her first narrative film after docos We and La Permanence, writer/director Alice Diop focuses on a French author and literature professor with a Senegalese background who bears witness to a trial with the same details, also of a Senegalese French woman, for the same crime. Saint Omer's protagonist shares other traits with Diop as she observes, too, and watches and listens to research a book. A director riffing on their own experience isn't novel, but Saint Omer is strikingly intimate and authentic because it's the embodiment of empathy in an innately difficult situation. It shows what it means to feel for someone else, including someone who has admitted to a shocking crime, and has been made because Diop went through that far-from-straightforward process and was galvanised to keep grappling with it. What a deeply emotional movie this 2022 Venice International Film Festival Grand Jury Prize-winning feature is, understandably and unsurprisingly. What a heartbreaking and harrowing work it proves as well. Saint Omer is also an astoundingly multilayered excavation of being in a country but never being seen as truly part it, and what that does to someone's sense of self, all through Fabienne Kabou's complicated reality and Laurence Coly's (Guslagie Malanda, My Friend Victoria) fictionalised scenario. Read our full review. WOMEN TALKING Get Rooney Mara, Claire Foy, Jessie Buckley, Frances McDormand and more exceptional women in a room, point a camera their way, let the talk flow: Sarah Polley's Women Talking does just that, and this year's Best Adapted Screenplay Oscar-winner is phenomenal. The actor-turned-filmmaker's fourth effort behind the lens after 2006's Away From Her, 2011's Take This Waltz and 2012's Stories We Tell does plenty more, but its basic setup is as straightforward as its title states. Adapted from Miriam Toews' 2018 novel of the same name, this isn't a simple or easy film, however. That book and this feature draw on events in a Bolivian Mennonite colony from 2005–9, where a spate of mass druggings and rapes of women and girls were reported at the hands of some of the group's men. In a patriarchal faith and society, women talking about their experiences is a rebellious, revolutionary act anyway — and talking about what comes next is just as charged. "The elders told us that it was the work of ghosts, or Satan, or that we were lying to get attention, or that it was an act of wild female imagination." That's teenage narrator Autje's (debutant Kate Hallett) explanation for how such assaults could occur and continue, as offered in Women Talking's sombre opening voiceover. Writing and helming, Polley declares her feature "an act of female imagination" as well, as Toews did on the page, but the truth in the movie's words is both lingering and haunting. While the film anchors its dramas in a specific year, 2010, it's purposefully vague on any details that could ground it in one place. Set within a community where modern technology is banned and horse-drawn buggies are the only form of transport, it's a work of fiction inspired by reality, rather than a recreation. Whether you're aware of the true tale behind the book going in or not, this deeply powerful and affecting picture speaks to how women have long been treated in a male-dominated world at large — and what's so often left unsaid, too. Read our full review. TÁR The least surprising aspect of Tár is also its most essential: Cate Blanchett being as phenomenal as she's ever been, plus more. The Australian Nightmare Alley, Thor: Ragnarok, Carol and The New Boy actor — "our Cate", of course — unsurprisingly scored an Oscar nomination as a result. Accolades have been showered her way since this drama about a cancelled conductor premiered at the 2022 Venice International Film Festival (the prestigious event's Best Actress gong was the first of them), deservedly so. Blanchett is that stunning in Tár, that much of a powerhouse, that adept at breathing life and complexity into a thorny figure, and that magnetic and mesmerising. Even when she hasn't been at her utmost on rare past occasions or something she's in hasn't been up to her standards — see: Don't Look Up for both — she's a force that a feature gravitates around. Tár is astonishing itself, too, but Blanchett at her finest is the movie's rock, core and reason for being. Blanchett is spectacular in Tár, and she also has to be spectacular in Tár — because Lydia Tár, the maestro she's playing, earns that term to start with in the film's on-screen world. At the feature's kickoff, the passionate and ferocious character is feted by a New Yorker Festival session led by staff writer Adam Gopnik as himself, with her achievements rattled off commandingly to an excited crowd; what a list it is. Inhabiting this part requires nothing less than utter perfection, then, aka what Tár demands herself, her latest assistant Francesca (Noémie Merlant, Jumbo), her wife Sharon (Nina Hoss, Shadowplay) and everyone else in her orbit constantly. Strong, seductive, severe, electrifying and downright exceptional, Blanchett nails it. That Lydia can't always do the same, no matter how hard, painstakingly and calculatingly she's worked to ensure that it appears otherwise, is one of the movie's main concerns. Read our full review. SPIDER-MAN: ACROSS THE SPIDER-VERSE All the money in the world can't make people in tights standing against green screens as visually spectacular and emotionally expressive as the Spider-Verse films. If it could, Spider-Man: Into the Spider-Verse and now Spider-Man: Across the Spider-Verse wouldn't be so exhilarating, look so stunning and feel so authentic. Spider-Man's eight stints in theatres with either Tobey Maguire, Andrew Garfield or Tom Holland behind the mask — and all of the latter's pop-ups in other Marvel Cinematic Universe entries, too — have splattered around plenty of charm, but they'll now always swing far below their animated counterparts. Indeed, when Spider-Man: No Way Home tried to emulate the Spider-Verse by pointing its fingers into the multiverse, as Marvel's live-action world is now fixated upon, it paled in comparison. And, that isn't just because there was no Nicolas Cage-voiced 30s-era spider-vigilante Spider-Man Noir, or a spider-robot, spider-pig, spider-car or spider-saur; rather, it's because the Spider-Verse movies are that imaginative and agile. In Across the Spider-Verse, which will be followed by 2024's Spider-Man: Beyond the Spider-Verse plus a Spider-Women spinoff after that, being an inventive spider-flick initially entails hanging with Spider-Gwen (Hailee Steinfeld, Hawkeye). In most Spidey stories, Gwen Stacy is a love interest for Peter Parker, but the Spider-Verse Gwen from Earth 65 was bitten by a radioactive spider instead. Gwen also narrates backstory details, filling in what's occurred since the first feature while playfully parodying that overused approach. Then, when the movie slides into Miles Morales' (Shameik Moore, Wu-Tang: An American Saga) life, he takes her lead, but gives it his own spin. The first Black Latin American Spider-Man is now 15, and more confident in his spider-skills and -duties. In-between being Brooklyn's friendly neighbourhood Spidey and attending a private school that'll ideally help him chase his physics dreams, he's even guest-hosted Jeopardy!. But not telling his mum Rio (Luna Lauren Velez, Power Book II: Ghost) and police-officer dad Jefferson (Brian Tyree Henry, Causeway) about his extracurricular activities is weighing upon Miles, and he's still yearning for mentorship and friendship, especially knowing that Gwen, Peter B Parker (Jake Johnson, Minx) and an infinite number of other web-slingers are all out there catching thieves just like flies. Read our full review. SUZUME When the Godzilla franchise first started rampaging through Japanese cinemas almost 70 years ago, it was in response to World War II and the horrific display of nuclear might that it unleashed. That saga and its prehistoric reptilian monster have notched up 38 movies now, and long may it continue stomping out of its homeland (the American flicks, which are set to return in 2024, have been hit-and-miss). In such creature-feature company, the films of Makoto Shinkai may not seem like they belong. So far, the writer/director behind global hits Your Name and Weathering with You, plus The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words before that, sadly hasn't applied his talents to good ol' Zilly, either. But Japan's animators have been musing on and reflecting upon destruction and devastation for decades, too — stunningly and heartbreakingly so, including in Shinkai's latest beautiful and heartfelt effort Suzume. This about a teenage girl, matters of the heart and the earth, supernatural forces and endeavouring to cancel the apocalypse firmly has its soul in the part of Honshu that forever changed in March 2011 due to the Great East Japan Earthquake and the resulting Fukushima nuclear disaster. Suzume meets its namesake (Nanoka Hara, Guilty Flag) on Kyushu, Japan's third-largest island, where she has lived with her aunt Tamaki (Eri Fukatsu, Survival Family) for 12 years. More than that, it meets its titular high schooler as she meets Souta (SixTONES singer Hokuto Matsumura), who catches her eye against the gleaming sea and sky as she's cycling to class. He's searching for ruins, and she knows just the local place — an abandoned onsen, which she beats him to. There, Suzume discovers a door standing mysteriously within a pool of water, then opens said entryway to see a shimmering sight on the other side. That's an ordinary act with extraordinary consequences, because Shinkai adores exactly that blend and clash. To him, that's where magic springs, although never while spiriting away life's troubles and sorrows. Every single door everywhere is a portal, of course, but this pivotal one takes the definition literally. Read our full review. JOHN WICK: CHAPTER 4 Almost a quarter-century has passed since Keanu Reeves uttered four iconic words: "I know kung fu". The Matrix's famous phrase was also the entire movie-going world's gain, because watching Reeves unleash martial-arts mayhem is one of cinema's purest pleasures. Notching up their fourth instalment with the obviously titled John Wick: Chapter 4, the John Wick flicks understand this. They couldn't do so better, harder, or in a bloodier fashion, in fact. Directed by Keanu's former stunt double Chad Stahelski, who helped him look like he did indeed know wushu back in the 90s, this assassin saga is built around the thrill of its star doing his violent but stylish best. Of course, The Matrix's Neo didn't just know kung fu, but gun fu — and Jonathan, as The Continental proprietor Winston (Ian McShane, Deadwood: The Movie) still likes to call him, helps turn bullet ballet into one helluva delight again and again (and again and again). Picking up where 2019's John Wick: Chapter 3 — Parabellum left off, and once again so expertly and inventively executed that it's mesmerising, John Wick: Chapter 4 saddles its namesake with a new adversary: the Marquis (Bill Skarsgård, Barbarian), emissary of the death-for-hire business' powers-that-be, aka the High Table. After Wick puts the assassin realm's head honchos on notice during an early trip to the Middle East, the series' newest nefarious figure wants rid of him forever, wasting no time laying waste to the few things left that John loves. The Marquis has company, too — seeking a big payday in the case of the mercenary known as Tracker (Shamier Anderson, Son of the South), who has his own devoted dog; and due to a familiar deal with Caine (Donnie Yen, Mulan), a martial-arts whiz who is blind, and an old friend of John. That said, Wick has pals in this clash between the hitman establishment and its workers, which doubles as an eat-the-rich skirmish, including Winston, the Bowery King (Laurence Fishburne, All the Old Knives), and the Osaka Continental's Shimazu (Hiroyuki Sanada, Bullet Train) and Akira (Rina Sawayama, Turn Up Charlie). Read our full review. INFINITY POOL Making not just another body-horror spectacle but an eat-the-rich sci-fi satire as well, Brandon Cronenberg couldn't have given Infinity Pool a better title. Teardowns of the wealthy and entitled now seem to flow on forever, glistening endlessly against the film and television horizon; however, the characters in this particularly savage addition to the genre might wish they were in The White Lotus or Succession instead. In those two hits, having more money than sense doesn't mean witnessing your own bloody execution but still living to tell the tale. It doesn't see anyone caught up in cloning at its most vicious and macabre, either. And, it doesn't involve dipping into a purgatory that sports the Antiviral and Possessor filmmaker's penchant for futuristic corporeal terrors, as clearly influenced by his father David Cronenberg (see: Crimes of the Future, Videodrome and The Fly), while also creating a surreal hellscape that'd do Twin Peaks great David Lynch, Climax's Gaspar Noe and The Neon Demon's Nicolas Winding Refn proud. Succession veteran Alexander Skarsgård plunges into Infinity Pool's torments playing another member of the one percent, this time solely by marriage. "Where are we?", author James Foster asks his wife Em (Cleopatra Coleman, Dopesick) while surveying the gleaming surfaces, palatial villas and scenic beaches on the fictional island nation of Li Tolqa — a question that keeps silently pulsating throughout the movie, and also comes tinged with the reality that James once knew a life far more routine than this cashed-up extravagance. Cronenberg lets his query linger from the get-go, with help from returning Possessor cinematographer Karim Hussain, who visually inverts its stroll through its lavish setting within minutes. No one in this film's frames is in Kansas anymore, especially when fellow guest Gabi (Mia Goth, Pearl) and her husband Alban (Jalil Lespert, Beasts) invite the pair for an illicit drive and picnic beyond the gates the following day, which sparks a tragic accident, arrest, death sentence and wild get-out-of-jail-free situation. Read our full review. BROKER No matter how Hirokazu Kore-eda's on-screen families come to be, if there's any actual blood between them, whether they're grifting in some way or where in the world they're located, the Japanese writer/director and Shoplifters Palme d'Or winner's work has become so beloved — so magnificent, too — due to his care and sincerity. A Kore-eda film is a film of immense empathy and, like Like Father, Like Son, Our Little Sister, After the Storm and The Third Murder also in the prolific talent's past decade, Broker is no different. The setup here is one of the filmmaker's murkiest, with the feature's name referring to the baby trade. But showing compassion and humanity isn't up for debate in Kore-eda's approach. He judges the reality of modern-day life that leads his characters to their actions, but doesn't judge his central figures. In the process, he makes poignant melodramas that are also deep and thoughtful character studies, and that get to the heart of the globe's ills like the most cutting slices of social realism. It isn't just to make a buck that debt-ridden laundromat owner Sang-hyun (Song Kang-ho, Parasite) and orphanage-raised Dong-soo (Gang Dong-won, Peninsula) take infants abandoned to the Busan Family Church's 'baby box' — a chute that's exactly what it sounds like, available to mothers who know they can't embrace that part for whatever reason — then find good families to sell them to. There's a cash component, of course, but they're convinced that their gambit is better than letting children languish in the state system. In Kore-eda's usual kindhearted manner, Broker sees them with sensitivity. Even if blue hues didn't wash through the film's frames, nothing is ever black and white in the director's movies. The same understanding and tenderness flows towards mothers like So-young (Lee Ji-eun, Hotel Del Luna, aka K-Pop star IU), whose decision to leave Woo-sung (debutant Park Ji-yong) isn't easily made but puts Broker on its course. Read our full review. BEAU IS AFRAID Beau is afraid. Beau is anxious. Beau is alone. Beau is alive. Any of these three-word sentences would make a fitting name for Ari Aster's third feature, which sees its titular middle-aged figure not just worry about anything and everything, but watch his fears come true, concerns amplify and alienation grow — and then some. And, in the Hereditary and Midsommar filmmaker's reliably dread-inducing hands, no matter whether Beau (Joaquin Phoenix, C'mon C'mon) is wallowing in his apartment solo, being welcomed into someone else's family or stumbling upon a travelling theatre troupe in the woods, he knows that he's truly on his own in this strange, sad, surreal and savage world, too. More than that, he's well-aware that this is what life is inescapably like for all of us, regardless of how routine, chaotic or grand our individual journeys from emerging out of our mother's womb to sinking into death's eternal waters happen to prove. Aster has opted for Beau Is Afraid as a moniker, with this horror-meets-tragicomedy mind-bender a filmic ode to existential alarm — and, more than that, a picture that turns catastrophising into a feature. Psychiatrists will have a field day; however, experiencing the latest in the writer/director's growing line of guilt-dripping celluloid nightmares, so should viewers in general. Even with Chilean The Wolf House helmers Cristóbal León and Joaquin Cosiña lending their help to the three-hour movie's midsection, where animation adds another dreamlike dimension to a picture book-style play within an already fantastical-leaning flick frequently running on dream logic, Aster embraces his favourite deranged terrain again. He makes bold choices, doesn't think twice about challenging himself and his audience, elicits a stunning lead performance and dances with retina-searing imagery, all while pondering inherited trauma, the emotional ties that bind and the malevolence that comes with dependence. Read our full review. LIMBO When Ivan Sen sent a police detective chasing a murdered girl and a missing woman in the Australian outback in 2013's Mystery Road and its 2016 sequel Goldstone, he saw the country's dusty, rust-hued expanse in sun-bleached and eye-scorching colour. In the process, the writer, director, co-producer, cinematographer, editor and composer used his first two Aussie noir films and their immaculately shot sights to call attention to how the nation treats people of colour — historically since its colonial days and still now well over two centuries later. Seven years after the last Jay Swan movie, following a period that's seen that character make the leap to the small screen in three television seasons, Sen is back with a disappearance, a cop, all that inimitable terrain and the crimes against its Indigenous inhabitants that nothing can hide. Amid evident similarities, there's a plethora of differences between the Mystery Road franchise and Limbo; however, one of its simplest is also one of its most glaring and powerful: shooting Australia's ochre-toned landscape in black and white. Limbo's setting: Coober Pedy, the globally famous "opal capital of the world" that's known for its underground dwellings beneath the blazing South Australian earth, but reimagined as the fictional locale that shares the film's name — a place unmistakably sporting an otherworldly topography dotted by dugouts to avoid the baking heat, and that hasn't been able to overcome the murder of a local Indigenous girl two decades earlier. The title is symbolic several times over, including to the visiting Travis Hurley (Simon Baker, Blaze), whose first task upon arrival is checking into his subterranean hotel, rolling up his sleeves and indulging his heroin addiction. Later, he'll be told that he looks more like a drug dealer than a police officer — but, long before then, it's obvious that his line of work and the sorrows he surveys along the way have kept him hovering in a void. While he'll also unburden a few biographical details about mistakes made and regrets held before the film comes to an end, such as while talking to the missing Charlotte Hayes' brother Charlie (Rob Collins, The Drover's Wife The Legend of Molly Johnson) and sister Emma (Natasha Wanganeen, The Survival of Kindness), this tattooed cop with wings inked onto his back is already in limbo before he's literally in Limbo talking. Read our full review. REALITY Sydney Sweeney is ready for her closeup. Playwright-turned-filmmaker Tina Satter obliges. A household name of late due to her exceptional work in both Euphoria and The White Lotus, Sweeney has earned the camera's attention for over a decade; however, she's never been peered at with the unflinching intensity of Satter's debut feature Reality. For much of this short, sharp and stunning docudrama, the film's star lingers within the frame. Plenty of the movie's 83-minute running time devotes its focus to her face, staring intimately and scrutinising what it sees. Within Reality's stranger-than-fiction narrative, that imagery spies a US Air Force veteran and National Security Agency translator in her mid-twenties, on what she thought was an ordinary Saturday. It's June 3, 2017, with the picture's protagonist returning from buying groceries to find FBI agents awaiting at her rented Augusta, Georgia home, then accusing her of "the possible mishandling of classified information". Reality spots a woman facing grave charges, a suspect under interrogation and a whistleblower whose fate is already known to the world. It provides a thriller of a procedural with agents, questions, allegations and arrests; an informer saga that cuts to the heart of 21st-century American politics, and its specific chaos since 2016; and an impossible-to-shake tragedy about how authority savagely responds to being held to account. Bringing her stage production Is This a Room: Reality Winner Verbatim Transcription to the screen after it wowed off-Broadway and then Broadway, Satter dedicates Reality's bulk to that one day and those anxious minutes, unfurling in close to real time — but, pivotally, it kicks off three weeks earlier with its namesake at work while Fox News plays around her office. Why would someone leak to the media a restricted NSA report about Russian interference in getting Donald Trump elected? Before it recreates the words genuinely spoken between its eponymous figure and law enforcement, Reality sees the answer as well. Read our full review.
We love it when art takes over the city, and the Biennale of Sydney does it better than anyone else. Perhaps Australia's best-known contemporary art event, the Sydney Biennale will take place for the 21st time in 2018 with 70 leading local and international artists presenting work across seven of Sydney's top-notch galleries, museums and unconventional spaces. A free exhibition, the Biennale of Sydney is held from Friday, March 16 until Monday, June 11. As per the first announcement, provocative Chinese artist Ai Weiwei is the headline act, which comes off the back of his 2016 double-bill exhibition alongside the works of Andy Warhol at the National Gallery of Victoria — the highest selling event in the gallery's history. At the Sydney Opera House, Weiwei will screen his new feature-length cinematic documentary Human Flow, which explores the global refugee crisis across 23 countries in a single year. He'll also install a 60-metre-long inflatable boat on Cockatoo Island, which will be made from the same materials as the boats used by asylum seekers crossing the Aegean Sea. Meanwhile, there's French multimedia artist Laurent Grasso, whose art considers science and the supernatural; the sculptural works of South Korean artist Haegue Yang who transforms space with found and forged objects; British artist Oliver Beer uses the human voice to take over the Opera House for his acclaimed Resonance Project; and Sydney's own Yasmin Smith takes to Cockatoo Island to create a ceramics studio, an open-air kiln and a new installation that's finished in a hand-made wood ash glaze. The first biennale under the leadership of recently appointed artistic director Mami Kataoka, 2018's event is based around the idea of 'superposition', a quantum mechanics term that refers to often-paradoxical and overlapping events. While it's a tad hard to explain, Kataoka says the 2018 biennale's artists have been chosen for their work's power to "offer a panoramic view of how opposing interpretations can come together in a state of equilibrium". With three months to check out the work of so many great artists, there's no reason why you can't spend autumn cramming in as much art as you can handle. And if you're not a Sydneysider, the event is a good catalyst for a Sydney trip. The Biennale is free to attend. The 21st Biennale of Sydney will run from March 16 till June 11, 2018. For more information, visit biennaleofsydney.com.au.
At the 2021 Emmys, The Crown won every acting award it could, with the regal series collecting shiny trophies for Olivia Colman's performance as the Queen, Josh O'Connor's portrayal of Prince Charles, Tobias Menzies' work as Prince Philip and Gillian Anderson's efforts as Margaret Thatcher. One star who didn't get a gong: Emma Corrin for playing Princess Diana. But her version of the people's princess is just one of several hitting screens — and not simply because Tenet's Elizabeth Debicki will take over the role when season five of The Crown arrives. When that new season of the show premieres in 2022, it'll continue to explore a part of royal history that's been talked about for decades, aka the difficult marriage between Princess Diana and Prince Charles. But on the big screen, the Kristen Stewart-starring Spencer will get there first. This isn't quite a twin films situation — where two movies about the same or similar topics appear around the same time, like Armageddon and Deep Impact in the 90s, Finding Nemo and Shark Tale in the animation space, and the two Fyre Festival documentaries in 2019 — but only because The Crown is a TV show and Spencer is a feature. Otherwise, there will indeed be two different takes on the tale hitting screens small and large in short succession. In Spencer's case, it hails from Pablo Larraín, the Chilean filmmaker who has never made a bad film — see: his recent masterpiece Ema — and also directed Natalie Portman to an Oscar nomination in Jackie. In both of these movies, he's honed in on complex women in difficult situations, one fictional and one factual, and shown a stunning eye for emotion and detail. And, based on the the initial sneak peek and the just-dropped full trailer for Spencer, that isn't going away in his next feature. After last appearing in films as varied as Underwater, Charlie's Angels, Seberg and Happiest Season, Stewart plays Diana in 1991, at a time where her relationship with Prince Charles (Jack Farthing, Official Secrets) is struggling, but the royal family has gathered together for Christmas. Spencer focuses on a few specific days, as rumours swirl about affairs and divorce, and Diana attempts to navigate the obviously complicated situation. She isn't handling it well, and she certainly isn't willing to just plaster on a smile and carry on because she's married into royalty — as this new trailer delves into. Timothy Spall (The Party), Sally Hawkins (The Shape of Water) and Sean Harris (Mission: Impossible — Fallout) also feature, but Stewart is obviously the star of the show — and looks to be settling into Princess Di's wardrobe, bobbed hairstyle and simmering yearning with aplomb. Spencer premiered at the Venice Film Festival earlier in September, ahead of its US release in November and Australian debut on January 26, 2022. Check out the full Spencer trailer below: Spencer releases in Australian cinemas on January 26, 2022.
It's hard to get a true snapshot of a place you're holidaying in when you don't know a resident who can show you around. It can take years to truly get to know a place, and while tourist spots are the obvious starting point, they can also leave you wanting to dig deeper. We've teamed up with Pullman Hotels and Resorts to bring you a guide to Melbourne's less obvious but obviously fabulous experiences. It's not exactly a local's guide, because visitors are not exactly locals and we all want to treat ourselves while on vacay. But it is a round-up of the best of the best art, food and fun found in Melbourne. And as Melbourne has a lot to offer in the way of premium coffee, tasty treats and good times, this was no easy feat. Putting our heads together with Pullman Melbourne Albert Park's chief concierge, Rhett Constantine (a man who's been giving out recommendations for two decades), we've curated a list of must-dos that will leave you wanting more of Melbourne. Whether you're into cuisine, culture or cocktails, you'll find your perfect day out right here. Check out the rest of our Explore More content series to hone your itinerary for some of Australia's best holiday destinations. FOOD & DRINK MARKET LANE COFFEE AND QUEEN VICTORIA MARKETS Melbourne is a city that runs on coffee. It is a pillar of the economy as both a primary export and a productivity booster, and as a result, we've perfected it. And among some of the world's best coffee establishments is the king: Market Lane. The cute and efficient little operation has a few cafes in the city and inner-northern suburbs, but we recommend heading to their stall at the Queen Vic market. Pair your impeccable brew with something from their endless supply of varied baked goods. Don't miss: On Saturdays, have your coffee with a handful of doughnuts from the American Doughnut van. Some clichés make sense and coffee and doughnuts is one of 'em. CLAYPOTS SEAFOOD Melbourne's beaches may be a little frosty, but the seafood on the shores is exceptional. Claypots in St Kilda is one of the most well-known seafood eateries, so book in advance or you may miss out entirely. The menu is almost entirely seafood and changes depending on the haul of the day. You have to try their signature claypots ($20), with flavour profiles like the Orpheus (red wine, sweet pepper and capsicum) and the Singapore (chilli, coriander, and ginger sauce). We also recommend trying the king prawns and fresh fish dishes (prices vary) if you want to indulge. Usually, the atmosphere is romantic, warm and boisterous, thanks to live music and close quarters, making it the perfect destination for a special dinner. Don't miss: It's all in the name — at least one claypot is a must. MADAME BRUSSELS ROOFTOP BAR There's something hopelessly romantic about rooftop bars, and Madame Brussels is the queen of them all. Situated conveniently on Bourke Street, the iconic establishment is styled to look like a really fancy, if a little kitschy, garden party, with white lattice, fake flowers and wrought-iron chairs you might remember from your grannie's garden. The open-air deck is cosy, designed for reclining instead of standing. We recommend trying the (hilariously named) boards: the Rather Fancy and Slightly Smelly Old Cheese Plate ($28) or the Butch charcuterie board ($30). Don't miss: A jug of Pimms in the sun — it will have you feeling as fancy as the royal family. SUPERNORMAL FOR DINNER You're going to have make some hard choices when it comes to dining in Melbourne. There's just so many world-class venues and never enough evenings to explore them all. But, trust us, you don't want to miss Supernormal. Don't let the name deceive you; it's anything but normal. We recommend sharing a few smaller dishes so you can sample broadly from the menu. Try the tuna with perilla and kombu ($19) and the pot-sticker dumplings ($15), and make sure you don't overeat, because you're going to want stomach space to fit in their famous dessert. Don't miss: The peanut butter parfait ($15). It is known far and wide as Melbourne's most indulgent dessert. Seriously, this dish could run for mayor and win, it's so beloved. And it's no wonder: creamy PB parfait mixed with salted caramel and served with soft chocolate is a winning combo. ART & DESIGN VIVIEN ANDERSON GALLERY One of St Kilda's less obvious but most important art spaces, the Vivien Anderson Gallery showcases the work of prominent Indigenous artists. Over the last 20 years, the gallery has moved locations several times to accommodate for its growth, but all the while it's been dedicated to displaying and encouraging Indigenous art. It's a small and intimate gallery that lends itself well to introspection and quiet contemplation. They curate thoughtful, small-scale displays of individual works and artefacts or thematic group exhibitions, and the staff are all knowledge and passionate about Indigenous art. A must-do when visiting St Kilda. Don't miss: Picking the brains of the staff to get more insight into what's on the walls. NGV AND ACCA No trip to Melbourne is complete without a visit to the National Gallery of Victoria, the crowning jewel of Melbourne's art scene. All the big exhibitions that grace our shores can be found there, but the permanent collections are worth your time too. The international collection contains works from big names like Picasso, Monet, Renoir, Degas, Rubens, Manet and a host of Australian artists, so even if you turn up between key exhibits, there's always something pretty to stare at. And just over the way is the Australian Centre for Contemporary Art, which is a work of art in itself. You'll be able to pick it a mile away for the stark, rusty steel facade and awkward angles. Don't miss: Stop at the Malthouse Theatre's cafe, which shares a courtyard with ACCA, and drink it all in. LANEWAYS TOUR (STOPPING OFF AT A FEW KEY COFFEE HOUSES) Melbourne is known for its street art scene, and nowhere is it more prominent and competitive than in the crowded laneways of the CBD. Start on Bourke Street Mall with Union Lane, a smelly but graf-heavy place. It's usually packed with tourist taking pics, so try to get in early. While you're skulking around the laneways, stop in at Dukes Coffee Roaster on Flinders Lane, one of the city's smallest but best coffee vendors. The City of Melbourne have a recommended route to hit all the best laneways and arcades, which is a good place to start. If you want to venture further afield, head to Fitzroy, where you'll the find the George Costanza mural near George's Bar and the work of renowned artist Ghostpatrol along Napier Street. Don't miss: Sniders Lane, home of the famous Kim K and Kendall mural. WELLBEING & LEISURE SOUTH MELBOURNE MARKET There are some incredible permanent markets in Melbourne that create a lot of competition for one another. On the southside, South Melbourne Market is the best of the bunch. It's a huge undertaking, so give yourself a whole morning to wander through the many stalls. Grab a coffee and almond croissant from Padre (Stall 33) to start you off right, then make your way over to Azalea, the florist and nursery in stall 49. It's always bursting with Aussie native blooms, gorgeous smells and reasonably priced plant-babies. Lunch at Proper and Son is always fresh (and realllllly well priced). We recommend the prosciutto, bocconcini and peach salad ($10.50) or field mushroom and haloumi with romesco sauce in a roll ($11.50). Don't miss: SO:ME Space, the permanent and semi-permanent installation for fashion and design. They rotate between pop-ups regularly, and you'll always find handcrafted, one-off pieces from Melbourne designers. STUDLEY PARK BOATHOUSE On a fine day, take an Uber to Yarra Bend Park. Follow the rolling hills and winding turns in the Yarra until you come to Studley Park. Over a bridge and alongside the river you'll find the Studley Park Boathouse, an idyllic little wonderland that backs onto the Yarra. At this point you can choose to rent a rowboat and cruise the river trying to look cool in a safety vest, or recline on the bank with a scone and beer and survey the rowboat carnage. Rowboat rental for two people is $40 an hour and you'll need some form of ID. And, word of warning, make sure you play nice with the duck families that cruise the waterway. Don't miss: You came all this way, so rent a rowboat and enjoy the Notebook-level romance. ACLAND STREET TO LUNA PARK WALK IN ST KILDA Even though it's only a 25-minute tram ride out of the city, St Kilda is like another world. There's a fine layer of sand on everything, people walk around with no shoes on, and everything is totally cowabunga. But the most cowabunga thing (are we using that right?) about St Kilda's main drag, Acland Street, is the bakery shop windows filled with treats. We recommend a cake crawl, stopping in at Le Bon Continental Cake Shop, Europa Cake Shop and Monarch Cakes, if you have the stamina. Don't miss: A visit to Luna Park and its rickety wooden rollercoaster — preferably before you eat all the cake. Explore more with Pullman. Book your next hotel stay with Pullman and enjoy a great breakfast for just $1.
Over the past few years, Gelatissimo has whipped up a number of creative flavours, including frosé sorbet, gelato for dogs, and ginger beer, Weet-Bix, fairy bread, hot cross bun, cinnamon scroll, chocolate fudge and bubble tea gelato. Earlier this year, it made its own spin on Caramilk gelato, too. For its latest offering, the Australian dessert chain is getting festive, all while still turning something that everyone loves into gelato. The new source of inspiration: gingerbread — and it's mixing it with choc chip cookie dough. Can't choose between tucking into gingerbread or licking your way through a few scoops of choc chip cookie dough ice cream? Why not do both, because Gelatissimo now has the short-term solution. That very combination is on the menu all throughout December. 'Tis the season and all that. Whether you opt for a cone or a cup, you'll be tucking into gelato made with choc chip cookie dough, a ginger cookie crumble, ginger creme and ginger caramel. That ginger hails from Buderim Ginger on the Sunshine Coast — and apparently the limited-edition flavour goes mighty well with Christmas pudding. If your stomach is now rumbling, you can get gingerbread cookie dough gelato in stores Australia-wide. Or, Gelatissimo also delivers take-home packs via services such as Uber Eats, Deliveroo, Menulog and Doordash. Gelatissimo's gingerbread cookie dough gelato is available from all stores nationwide throughout December.
Right now, we all fall into two categories. Firstly, there's the hefty group of people who are already devoted to The Last of Us, the hit video game that's been a button-mashing favourite since 2013 and spawned a sequel in 2020. Then, there's the folks that are about to start obsessing over its new HBO adaptation when it arrives in 2023. Whichever camp you fall into, the just-dropped first teaser trailer for the streaming series sets a moody, creepy, action-packed scene — as expected of a game-to-TV show that dives into a tense and fraught post-apocalyptic version of the US. For The Last of Us newcomers, here's the premise: 20 years after modern civilisation has been destroyed, survivor Joel is hired to smuggle 14-year-old Ellie out of a tough and oppressive quarantine zone. There wouldn't be a game, let alone a television version, if that was an easy task, of course — and if the pair didn't need to weather quite the brutal journey, as well as a nightmarish quest for survival. So far, so intriguing — and while the debut sneak peek does indeed conjure up memories of The Walking Dead, that just comes with the basic concept. The Naughty Dog-created PlayStation game wouldn't be the huge hit it's proven for almost a decade now if it simply cribbed from that TV show, obviously. As a series, The Last of Us also boasts a heap of impressive names — starting with star Pedro Pascal (The Unbearable Weight of Massive Talent) as Joel, plus Game of Thrones' alum Bella Ramsey as Ellie. Fans of the game will note that Ashley Johnson (Blindspot) and Troy Baker (Young Justice), who voiced the two characters in the source material, will indeed pop up in the HBO show. They'll clearly be playing different characters, however. Also pivotal to HBO's adaptation: co-creator, executive producer, writer and director Craig Mazin, who already brought a dystopian hellscape to the US network (and to everyone's must-watch list) thanks to the haunting and horrifying Chernobyl. He teams up here with Neil Druckmann from Naughty Dog, who also penned and directed The Last of Us games. Alongside Pascal and Ramsey — and Johnson and Baker — the series also boasts Gabriel Luna (Terminator: Dark Fate) as Joel's younger brother and former soldier Tommy, Merle Dandridge (The Flight Attendant) as resistance leader Marlene and Aussie actor Anna Torv (Mindhunter) as smuggler Tess. And, Nico Parker (The Third Day) plays Joel's 14-year old daughter Sarah, Murray Bartlett (The White Lotus) and Nick Offerman (The Resort) feature as isolated survivalists Frank and Bill, Storm Reid (Euphoria) pops up as Boston orphan Riley, and Jeffrey Pierce (Castle Rock) plays quarantine-zone rebel Perry. As seen in the trailer, Yellowjackets' Melanie Lynskey also guest stars. The Last of Us doesn't have an exact 2023 premiere date yet — it'll be available in Australia via Binge and in New Zealand via Neon when it does — but you can check out the trailer below: The Last of Us will hit streaming in 2023, including in Australia via Binge and New Zealand via Neon— we'll update you with an exact release date when one is announced.
Think you've seen it all when it comes to wedding fairs? Think again — this one's a little less about the dress and a little more suited for, well, suits. Groom Fest will unite around 40 wedding vendors from all over Australia to concentrate on those who need a snappy three-piece suit and a pocket square to top it all off — the grooms of the world. There'll be much to see in the way of men's fashion, not to mention suiting, styling and grooming advice, with a barber setting up shop to do live hairstyling demonstrations. Model and rugby player Luke Casey will play MC for the day, while you wander through the stalls and get that special day sorted. To help you sail even closer to being your smoothest self, live panel sessions will cover everything from delivering a killer wedding speech to nailing that daunting first dance. There'll be plenty of food and drinks on offer, including gin tastings from Sydney-based distillery Archie Rose and live music performances from The White Tree Band (to help settle that band-versus-DJ argument once and for all). The event is open to all (not just grooms), so round up the troops for a two-hour wedding planning power session. All attendees will score a free goodie bag filled with items from Hunter Lab, a free Hello May magazine and the official Pocket Groom's Guide, written and produced exclusively for the event. Groom Fest will take place from 7.30–9.30pm on Sunday, March 31 at The Brooklyn Standard. Entry is free but RSVPs are essential — and you can add a donation to Movember at check-out if you wish. To reserve your ticket, head this way. Images: The White Tree.
The cure to decades of SXSW FOMO arrived in Australia in 2023. Sydney played host to the first-ever iteration of the festival Down Under — the first outside of the US, in fact — and put on a massive party. It was a hit. Cue SXSW Sydney 2024, then, to ideally repeat the feat. There's still almost three months to go, but the second Aussie SXSW just keeps getting bigger. So far, organisers of the tech, innovation, screen, music, games and culture festival — which will run from Monday, October 14–Sunday, October 20 this year — have dropped three past rounds of lineup details, starting in May, adding to it in June, then expanding it some more at the beginning of July. Now comes the next batch, growing the music bill, throwing in parties and naming a few extra speakers. More than 40 talents have joined the onstage roster, starting with the UK's Jorja Smith on the 'Be Honest' musician's Australian tour. Also from overseas, Canada's Aysanabee, Thailand's PYRA, New Zealand's Brandn Shiraz and XUZZ, and the UK's Submerse feature. Among the homegrown names, Aussies Brazen Barbie, Jamahl Yami, Kitschen Boy and Special Feelings have scored a spot, plus a heap of other locals. When SXSW Sydney's 25 stages turn on their microphones, then, it's going to be mighty busy. For those keen on networking and shindigs, the lineup there now features parties and mixers hosted by ADA, APRA-AMCOS, Blak Label, Canada House, Concord Music Group, Future Classic, Inertia & [PIAS], Meta, Rolling Stone, The Orchard, UNIFIED Music Group, Virgin Music and Warner Music. Among the events, there's an Indies Please session, one dedicated to Women in Music and a meetup that's all about agents versus promoters. Plus, get ready to dive into international music tours and the streaming landscape, the first talk with WME UK's Global Head of Touring Lucy Dickins and Frontier Touring's Susan Heymann, and the second with Will Page. The latest additions extend a 2024 program that already boasts human rights lawyer Jennifer Robinson, author Johann Hari, Australian race car driver Molly Taylor, pianist Chad Lawson, Westworld's Luke Hemsworth hosting a session about the Tasmanian tiger, Aussie astronaut Katherine Bennell-Pegg, TikTok marketing head Sofia Hernandez, Heartbreak High star Ayesha Madon, cricketer David Warner, Mortal Kombat director Simon McQuoid and documentary Slice of Life: The American Dream. In Former Pizza Huts, about the new uses of former Pizza Hut buildings across America — and that's barely scratching the surface of the lineup specifics announced so far. If you missed it, 2023's inaugural SXSW Sydney welcomed everyone from Black Mirror's Charlie Brooker and Chance The Rapper to Future Today Institute founder and CEO Amy Webb and Nicole Kidman to its stages. In the process, and via not just its talks but also its concerts, films, TV shows and games as, it notched up 287,014 attendances from 97,462 unique attendees. Those figures came from 34,975 total tickets, with folks from 41 countries heading along to 1178 sessions. SXSW Sydney 2024 will run from Monday, October 14–Sunday, October 20 at various Sydney venues. Head to the SXSW Sydney website for further details. Images: Jess Gleeson, Ian Laidlaw, Jami Joy, Brendon Thorne/Getty Images for SXSW Sydney.
In Westeros, and in books and TV shows that head to the fictional location, some things are simply inevitable. People saying "winter is coming" is one of them. Creepy relationships, whether because of gross age differences or blood ties, is another. Flowing long blonde hair is yet another certainty. People stabbing each other in the back for the Iron Throne ranks right up there, too. Indeed, there are so many predictable eventualities, you could make a drinking game out of watching new Game of Thrones prequel House of the Dragon — and we did. Here's something we should've included but didn't, though: House of the Dragon proving such a hit straight away that HBO has already renewed it for a second season. If you already been enjoying the show's jump back into House Targaryen's history, to 172 years before the birth of Daenerys and her whole dragon-flying, nephew-dating, power-seeking story, then rejoice — like winter, more is coming. Again, the news is hardly surprising, especially given that House of the Dragon's debut episode, which arrived on Monday, August 22, gave the US cable network its largest American audience for any new original series in the history of HBO. Yes, House of the Dragon is basically a case of new show, same squabbles, as it was easy to foresee it would be. Yes, it's pretty much Game of Thrones with different faces bearing now well-known surnames — and more dragons. And yes, this latest adaptation of George RR Martin's popular fantasy books is bound to continue on for more than just two seasons, but that's all that's confirmed for the moment. If you haven't yet caught up with the series, it dives into the battle for the Iron Throne before the one we all watched between 2011–19. Paddy Considine (The Third Day) plays King Viserys — and it's exactly who should be his heir that sparks all the Succession-style fuss. The words "succession" and "successor" (and "heir" as well) get bandied around constantly, naturally. The king has a daughter, Princess Rhaenyra Targaryen (played by Upright's Milly Alcock, then Mothering Sunday's Emma D'Arcy), who is also his first-born child. But because putting a woman on the throne isn't the done thing, the King's younger brother Prince Daemon Targaryen (Matt Smith, Morbius) considers that spiky iron chair his birthright. And, this wouldn't be Westeros if plenty of other people didn't have an opinion, including Ser Otto Hightower (Rhys Ifans, The King's Man), the Hand of the King; his own daughter Alicent (The Lost Girls' Emily Carey, then Slow Horses' Olivia Cooke); and Lord Corlys Velaryon (Steve Toussaint, It's a Sin), who is married to Princess Rhaenys Velaryon (Eve Best, Nurse Jackie), who had a better claim to the throne when Viserys was named king instead. All that feuding over the realm's spiky metal seat will continue across House of the Dragon's ten-episode first season, of course, before returning for a second go-around. HBO hasn't announced a date for the show's second patch of episodes, but you could bet all the wine in King's Landing on it arriving around this time in 2023. House of the Dragon is the culmination of years of planning to extend the GoT franchise by HBO. Firstly, the American cable network announced that it was considering five different prequel ideas. It then green-lit one to pilot stage, scrapped it and later picked a contender to run withL House of the Dragon. It has also opted to give novella series Tales of Dunk and Egg the TV treatment, too, and to work on an animated GoT show. And, it's been reported that another three prequels are also under consideration — plus a Jon Snow-focused sequel series. Check out the full House of the Dragon trailer below: House of the Dragon streams Down Under via Foxtel and Binge in Australia and SoHo, Sky Go and Neon in New Zealand. Read our full review of season one. Images: Ollie Upton/HBO.
Four months after announcing that the Australian Aboriginal flag will get a permanent berth atop the country's most famous man-made structure — the Sydney Harbour Bridge — the New South Wales Government has committed to making that promise a reality by the end of 2022. A third flagpole will be added to the structure, giving the Aboriginal flag its own place to fly every single day of the year — instead of the current situation, where it is only on display for 19 days annually, for Australia Day, Sorry Day, Reconciliation Week and NAIDOC Week. The NSW Government will commit $25 million in the 2022–23 NSW budget to installing the third Harbour Bridge flagpole, and will do so before the year is out. The bridge's flagpoles stand around 20 metres high — the same height as a six-storey building — while the flags themselves measure around nine metres by four-and-a-half metres, which means they need a strong attachment that's able to hold in all weather conditions. "Our Indigenous history should be celebrated and acknowledged so young Australians understand the rich and enduring culture that we have here with our past," said NSW Premier Dominic Perrottet in a statement. "Installing the Aboriginal flag permanently on the Sydney Harbour Bridge will do just that and is a continuation of the healing process as part of the broader move towards reconciliation." [caption id="attachment_841961" align="alignnone" width="1920"] Mary and Andrew via Flickr.[/caption] Back in February, when the Premier first revealed that a third flagpole would be erected, he advised that it'd happen "as soon as possible". On exactly what date before 2022 is out that'll become a reality hasn't been announced, however, but there's now a concrete timeframe. The Sydney Harbour Bridge currently has two flag poles, with one flying the Australian flag and, when the Aboriginal flag isn't on display on its allocated days, the other flying the NSW state flag. The move to fly the Aboriginal flag permanently follows a five-year-long campaign by Kamilaroi woman Cheree Toka, who also launched a Change.org campaign in 2020 to continue to call on the NSW government to make this exact move. "The Aboriginal flag is a reminder that the country has a history before European arrival," Toka said two years ago. "I think it's really important to have a symbolic gesture on the bridge that identifies the true history of Australia, which is a starting point for conversation around greater issues affecting the Indigenous population." After the first three years of Toka's campaign, she had amassed more than 157,000 digital signatures and the required 10,000 paper-based signatures to bring the issue to NSW parliament. However, when it was debated in the final NSW parliamentary session of 2019, the result then was that it would cost too much to construct a third flagpole to see the Aboriginal flag flying daily — which was what sparked her crowdfunding campaign to raise the $300,000 quoted by the government to 'fund the flag'. Also in Aboriginal flag news this year, the Australian Government unveiled a copyright deal at the end of January with Luritja artist Harold Thomas, who designed the symbol, to make it freely available for public use. The Aboriginal flag will start flying permanently on the Sydney Harbour Bridge by the end of 2022 — we'll update you when further details are announced. Top image: Boyd159 via Wikimedia Commons.
Dancing in your lounge room: everyone's doing it, and it seems that almost every musician around is happy to provide the soundtrack. Hot on the heels of virtual dance party Room 2 Radio and Aussie live-streamed music festival Isol-Aid comes Courtney Barnett and Lucius & Friends — and it comes with quite the lineup. Clearly, both Courtney Barnett and Lucius will be playing sets — and, like everyone involved, will be doing so live from their own respective lounge rooms. Joining them is a lengthy list of musos, including Nathaniel Rateliff, Lukas Nelson, Fred Armisen, Sheryl Crow, Sharon Van Etten, Emily King, Bedouine and Jonathan Wilson, with more set to pop up on the day. Live-streaming on Monday, March 23 Down Under — at 8am AEST, 9am AEDT and 11am NZDT — the online gig aims to raise money for Oxfam's COVID-19 Relief Fund. https://www.instagram.com/p/B9-o8PWBFn6/ To watch along, head to Lucius' Instagram Live feed. Top image: Bruce via Wikimedia Commons
Lucinda Wolber has created a wonderful line-up of great local talent for the second annual Low Brow Art Exhibition. Last years event was reportedly a great success, so why not put together another stunning group of artists and do it all again? This year sees a collection of lowbrow work including illustration, comic/cartoons, kitsch, skate- and tattooing-based work. The exhibition celebrates the humorous side of lowbrow creation, where the rough, off the cuff, crude and irregular styling’s are appreciated more than the contemporary norms. The full list of artists is as follows: Ellie Anderson Caitlyn Sheedy Alex Winters Josh Rufford Maddy Young Liam Bhats Plump Oyster Danish Quapoor Rachael Bartram Cathryn Rhule Ella Mobbs Gabriele Lee Nick Drake Dave Collinson Sam McKenzie Lucinda Wolber The exhibition opens on the 10th of July, but a special opening night celebration will take place on the night of the 12th at 6pm.
If you haven't yet forked out the krónas to head to Iceland, you might have only hypothesised about that mystical phenomena known as the Northern Lights (or Aurora Borealis) through Philip Pullman's pageturner. But after this little gem of a new project, you'll be booking flights before you can spell Reykjavík. Created by three independent filmmakers from Reykjavík and a web developer from Azambuja, Portugal, and co-produced by Design Studio Borgarmynd and TrailerPark Studios, Iceland Aurora takes timelapse next level. There's been a fair few amateur timelapse videos cranked out featuring the Northern Lights, like this and this, but this new project is just out of control. Scored by Pétur Jónsson, the non-narrative film was shot in more than 50 different locations around Iceland and put together from over 100.000 individual RAW High Res images. Turning Iceland into Hogwarts meets The Riddler's weird mindreading machine from Batman Forever, the Northern Lights get a whole new round of applause in this stunning new film. Iceland Aurora will be available in full HD and 4K resolution, on DVD and digital download in July 2014. Via Fubiz. Images by Iceland Aurora.
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.
Located in West End, The Hold Artspace ‘aims to foster innovative and critical practice amongst early and mid-career artists’. With that in mind, The Hold presents First Light, a first look, so to speak, of some of the next wave of Australian artists. The works on show are from twenty-six students from the Queensland College of Art, this exhibition represents one of their first forays into the art world in an exhibition dedicated to showcasing their budding talent. The exhibition itself is varied, with no set theme aside from the brief description that the works will ‘explore a range of topics through contemporary photographic art practice’. Although this might not give much away, rest assured that each piece will resonate with youthful vibrancy and the talent will be on par with most professional level exhibitions. The student artists on display are as follows: Sam Adams Alice Alderman Jaala Alex Jacqueline Bawtree Jessica Bell Cherie Blyth Anna Birkett Jess Collins Helen Corr Lesley Denny Melissa Doolan Zara Duffy Katelyn-Jane Dunn Andrew Ellery Anna Gee Adam Michael Green Oliver Hew Gareth Manson Ashleigh May Jeorgia McManus Chelsea Miller Kelly Morgan Chris Taylor Adam Thomas Eva Turek-Jewes Peter Ward The opening night is this Wednesday and the exhibition will wrap up on the 9th of June.
You've worked all week. You've earned your thirst. And this Sunday you will be rewarded with a big cold beer. Make tracks to your local pub this weekend because Victoria Bitter is shouting a round all across Australia. The free beer giveaway will go down at over 280 venues around the country this Sunday, May 26 from 2–4pm, including 50 venues across New South Wales, over 80 venues across Victoria and a whopping 120 Queensland venues. A few things you should know: the free brews will be limited to one per person and only while supplies last, so you can't count on a completely free afternoon out. The pub will decide the size of the beer, so it could be a pint, pot or schooey — you'll just have to rock up and see. If you're in Sydney, you can head to the New Brighton in Manly, Pyrmont's Harlequin Inn, and the Crows Nest, Kirribilli and Greenacre hotels — and a heap more locations up north and out west. In Melbourne, punters can go along to Young and Jacksons in the CBD, Elsternwick Hotel, Brunswick's Moreland Hotel, the Royal Oak in Richmond and Essendon's Royal Hotel. Up in Brisbane, the CBD's Victory Hotel is slinging the freebies, as is the Valley's Brunswick Hotel, and the Newmarket, the Breakfast Creek, the Stones Corner and Sunnybank hotels. VB's Our Shout giveaway will run from 2–4pm on Sunday, May 26 at venues across the country. Check NSW, Victoria, Tasmania, SA and ACT venues here, and Queensland and WA venues here.
What would you get if you plucked a handful of our nation’s favourite artists from the streets and studios, bundled them together in an exhibition space with the work of other renown artists and told them to re-create it? The answer: Etcc. Running throughout August as a Semi Permanent side show, Etcc will be in Brisbane for its second exhibition its series, featuring new works that explore the realities of copyright in the visual arts. Now for the important stuff: whose work will be there? Etcc is showcasing a broad range of works from a varied selection of artists including Shida, Georg, Kasino, Anthony Lister, Angus Whelan, Benjamin Reeve, Cezary Stulgis, Elana Mullaly, Jon Dowding, Ken Smith, Rachel Bartram, Rinzen, Rod Bunter, Sebastian Moody, Warren Handley with still more to be announced! These artists have remixed the works of artists Beastman, Bec Winnel, Numskull, Phibs, Ben Frost, MiniGraff, Rena Littleson and Maricor Maricar. The uniquely intriguing concept attracted many the first time round and will no doubt acquire an assembly of fans again for the second. Don’t be the one to miss out! Get down to Shooting Gallery this Friday for opening night. Keep your eyes peeled – those with a keen eye might get to meet the artists themselves.
When Melbourne's acclaimed 400 Gradi achieves a significant feat, it doesn't rest on its laurels. It was true when the Italian joint whipped up a 99-cheese pizza, which it then bested with a 150-cheese pizza. And it has proven true at one of the pizza industry's night of nights: the 50 Top Pizza awards in Naples. At last year's gongs, 400 Gradi claimed the title of Best Pizzeria in Oceania. This year, it's done so again. It's only the third year that the awards have been held, with the Melbourne eatery now emerging victorious two years running over all other pizza places in the region. To anoint its winners, the event secretly judges almost 1000 pizzerias in Italy and around the world. While 400 Gradi topped the list in Oceania, it had some local company in the shortlist, including Melbourne's +39 Pizzeria, Doc Pizza & Mozzarella Bar, SPQR Pizzeria and Woodstock Pizzacheria; Sydney's Gigi's Pizzeria and Rosso Antico Pizza Bar; Brisbane's Pizzeria Violetta; and The Dough Room in Perth. It has been a big year for 400 Gradi, with the pizza joint also picking up another coveted prize this year at the Olimpiadi Vera Pizza Napoletana contest. Held by the Associazione Verace Pizza Napoletana (which is also known as The True Neapolitan Pizza Association), it compiles a ranking of the best pizzerias in the world — and while 400 Gradi didn't take the top spot, it did come in second. 400 Gradi Essendon eatery was the only restaurant outside of Naples to make the top five, in fact, and was joined by 400 Gradi at Brunswick and Gradi Crown at sixth and eighth place. To check out the 50 Top Pizza awards full lineup of award-winning pizzas, visit its website. To run through the Olimpiadi Vera Pizza Napoletana contest winners, head to its website, too.
When spending your days vacationing around the world is a genuine lifestyle choice, how do you follow up a chaotic Hawaiian getaway at a swanky resort? With a jaunt to Italy to stay in the same chain's just-as-exclusive Sicilian abode. That's the reality for Tanya McQuoid-Hunt, aka the character that newly minted Emmy-winner Jennifer Coolidge was born to play in The White Lotus — and you'll be able to start watching what happens during her latest trip before October is out. Mark Monday, October 31 in your diary, as that's when HBO's biting satire will return for its second season, including via Binge in Australia and Neon in New Zealand. Yes, we know that that's the same date as Halloween, but prepare for something twistier, more scathing and more playful than trick-or-treating — at least based on The White Lotus' exceptional first go-around, which just swept Hollywood's TV night of nights earlier in September. Coolidge returns as McQuoid-Hunt, this time travelling to another White Lotus hotel with her husband Greg (Jon Gries, Dream Corp LLC) and assistant Portia (Haley Lu Richardson, After Yang) in tow. HBO hasn't dropped a trailer for the show's second season yet, so exactly what Tanya's latest vacation will entail — and how it'll turn sour — hasn't even been teased yet. But based on a couple of brief Twitter clips, the level of opulence seen at the Hawaiian outpost remains. Also present: a new twist on the series' still-unnerving theme song. While The White Lotus season one also starred Murray Bartlett (Physical), Connie Britton (Bombshell), Steve Zahn (Where'd You Go, Bernadette), Sydney Sweeney (Euphoria), Fred Hechinger (Fear Street), Brittany O'Grady (Little Voice), Kekoa Kekumano (Aquaman), Alexandra Daddario (Songbird), Jake Lacy (Mrs America) and Natasha Rothwell (Insecure), a new cast of faces is joining Coolidge and Gries this time around. Checking into season two: F Murray Abraham (Mythic Quest), Michael Imperioli (The Many Saints of Newark) and Adam DiMarco (The Order) as three generations of one family; Aubrey Plaza (Best Sellers) and Will Sharpe (Defending the Guilty) as a newly wealthy couple vacationing with pals played by Theo James (The Time Traveller's Wife) and Meghann Fahy (The Bold Type); Tom Hollander (The King's Man) as an English expat away with Leo Woodall (Cherry) as his nephew; Beatrice Grannò (Security) and Simona Tabasco (The Ties) as locals; and Sabrina Impacciatore (Across the River and Into the Trees) as this White Lotus' manager. Once again, creator/writer/director Mike White (Brad's Status) is behind the series — and also once again, the social satire will follow a week in the lives of titular resort's guests and employees. Season two will span seven episodes, however, prolonging the holiday fun/mess. The White Lotus' second season doesn't yet have a trailer, but you can check out HBO's teaser tweets so far below: Reservations are required. Check in to the second installment of #TheWhiteLotus October 30 on @hbomax. #HBO50 pic.twitter.com/cqjqiOB623 — HBO (@HBO) September 23, 2022 We're waiting for you. Experience pure luxury at #TheWhiteLotus Sicily. Join us this October on @hbomax. pic.twitter.com/2CupyaTZ0i — HBO (@HBO) August 30, 2022 The second season of The White Lotus will be available to stream Down Under via Binge in Australia and Neon in New Zealand from Monday, October 31. Read our review of season one.
By this stage, most of us have come to terms with the fact that jetting off to USA or Europe is a seriously long slog, made worse by unavoidable (sometimes long, always painful) stopovers. But that European or American trip looks set to become a whole lot more bearable — including for Brisbane travellers. Last year, Qantas announced that it was exploring non-stop routes from Sydney and Melbourne to London and New York. Earlier this year, CEO Alan Joyce told Bloomberg that the plan — called Project Sunrise — looks set to become a reality. Now Brisbane Times is reporting that direct flights from Brisbane are under consideration too. Sure, only stopping in Sydney on the way to London sounds much better than spending hours in Singapore, Dubai or somewhere else, but not stopping at all sounds even better. As it has always been, the key factor is the most obvious one: planes that can handle the trip. The extra distance involved with flights from the east coast capitals to London and New York is something that none of today's planes can manage, so the airline put out a call to Airbus and Boeing, the world's biggest aircraft manufacturers, to make an aircraft that can go the distance. Joyce said in September that "we're now comfortable that we think we have vehicles that could do it". Looking to start taking off from late 2022 or sometime in 2023, the planes will need to be able to handle around 20 hours to London and 18 hours to New York. The airline has done its homework, analysing a decade's worth of wind and weather data to confirm the routes are actually possible — but it needs the planes to fly it. Those planes could come equipped with extra facilities — such as bunks and workout spaces — to help combat the lengthy time travellers will spend in the air in one stint. And, if and when the new routes are up and running, Qantas will look at direct connections between Australia and other places around the globe, with spots in the Americas, Europe and Africa on the company's list. Qantas already added the hefty 17-hour Perth to London route to its capabilities this year, so it's clearly in the long-haul game for, well, the long haul. Right now, the world's longest direct flight clocks in at over 19 hours, with Singapore Airlines flying 15,322-kilometres along its Singapore-to-New York route. Previously, the journey from Doha and Auckland earned that mantle, taking around 18 hours to travel 14,529 kilometres. Via Brisbane Times.
In the space of less than a week, the last two Super Bowl half-time show headliners have both announced 2025 tours to Australia. First, Kendrick Lamar locked in a prime slot at Spilt Milk just months after taking to the field. Next, 2024's Super Bowl performer Usher has confirmed Aussie dates for his Past Present Future world tour. He's heading to Melbourne in November and Sydney in December. The appropriate reaction if you're an Usher fan: yeah! This will be the eight-time Grammy-winner's first Australian solo headline tour since 2011. Celebrating his three-decade career is the name of the game — which means going all the way back to his first single 'Call Me a Mack' from 1993, also playing tracks off of his latest 2024 album Coming Home, plus working his way through plenty in-between. "I can't wait to bring this tour to Australia, a place where I hope to retire in the future. See you soon!" said Usher, announcing his trip Down Under. Eight dates have been locked in for when Past Present Future makes its Aussie stop: four each at Rod Laver Arena in Melbourne across Wednesday, November 19–Thursday, November 20 and Saturday, November 22–Sunday, November 23, plus another four at Qudos Bank Arena in Sydney from Monday, December 1–Tuesday, December 2 and Thursday, December 4–Friday, December 5. And yes, that timing means that Usher and Lamar will be here at around the same time, given that Spilt Milk runs across the first two weekends of December. The first US shows on the Past Present Future tour were announced just days before Usher's Super Bowl set, which worked through hits from across his lengthy career itself. From August–December 2024, the Texas-born singer made his way across North American stages, before heading to Europe (including England, France, the Netherlands and Germany) from March 2025. Also popping up on his setlist across the tour so far: 'Yeah!', of course, plus everything from 'Can U Get Wit It', 'Nice & Slow', 'U Remind Me' and 'U Got It Bad' to 'Burn', 'OMG', 'Euphoria' and more. Usher Past Present Future World Tour Australia 2025 Dates Wednesday, November 19–Thursday, November 20 + Saturday, November 22–Sunday, November 23 — Rod Laver Arena, Melbourne Monday, December 1–Tuesday, December 2 + Thursday, December 4–Friday, December 5 — Qudos Bank Arena, Sydney Usher is touring Australia in November and December 2025. Presales start on Monday, May 12 at 11am for Melbourne and 12pm for Sydney, while general tickets go on sale at 12pm for Melbourne and 1pm for Sydney on Friday, May 16 — head to the tour website for more details. Images: Marcus Macdonald / Bellamy Brewster.
I think Bansky put it best when he said ‘some people become cops because they want to make the world a better place. Some people become vandals because they want to make the world a better looking place.’ Where would we be without our vandals? Looking at boring city walls and buildings all day? No way, they have better ideas. You don’t have to travel around Brisbane to see the work of our graffiti greats though. A few of them have been working on some art that’s a little more law abiding. To coincide with the National Gallery of Australia’s Space Invaders exhibition at The University of Queensland art Museum, The Edwina Corlette Gallery gives us Super Heroes. The exhibition features recognisable favorites including Anthony Lister, Georg Whelan, Nails, HaHa, Vexta and more, all who have migrated from the streets to canvas in order to make your personal space a better looking place. A great opportunity to invest in some iconic street art and support local artists.
Google's just made life a whole lot easier for people across the world, this week launching a new wheelchair-friendly transit feature for its Maps app. While Google Maps has been helping users get around their cities on public transport for years, a lack of information about important things like wheelchair accessible trains and elevator locations has made the app way less user-friendly for those with limited mobility. But that's set to change, with Google Maps in Sydney, Tokyo, New York, London, Boston and Mexico City now featuring wheelchair accessible route options. When getting directions for public transport, users in these cities can simply hit 'options' and select 'wheelchair accessible' under 'routes' to access a list of suggested courses that take mobility needs into consideration. It's not only a huge (and overdue) win for travellers with physical disabilities, but it's also useful for those getting around on crutches or pushing prams. Google's been enlisting the help of people across the globe to improve this part of its services, gathering accessibility information from individuals and groups of Local Guides for over 12 million places. Plenty more cities are expected to add these wheelchair accessible routes in the coming months — let's hope Melbourne and Brisbane are among them.
Imagine if Ferris Bueller's Day Off was a horror movie, with the eponymous truant skipping class, flitting around Chicago and narrowly avoiding hordes of zombies that start shuffling around on the same day. Or, maybe Dirty Dancing could get the spooky treatment. No one puts Baby in the corner unless they need to help her combat a demon conjured up by the repressive reaction to all that fancy footwork, perhaps? We should probably stop listing these ideas, because Blumhouse Productions might end up making them a reality. Already, the film company has turned Groundhog Day into a horror flick via Happy Death Day and Happy Death Day 2U. It gave 70s TV series Fantasy Island an unsettling makeover, too, to downright awful results. Now, it's Freaky Friday's turn. Body-swap movies span far beyond films starring Jodie Foster (in 1976) and Lindsay Lohan (in 2003), but given that Freaky sets the bulk of its action on a Friday, it's clearly nodding in the obvious direction. The movie begins with a prelude on Wednesday the 11th (yes, not only will most of the chaos go down on a Friday, but it'll happen on Friday the 13th). In the opening scene, four small-town high schoolers do what teens do in the first moments of slasher flicks: talk, party and make out in an empty old mansion, then get killed by a mask-wearing psychopath. Before the quartet meets that fate, its members explain who is responsible. The Blissfield Butcher (Vince Vaughn) is known to have terrorised the area but, due to a lack of recent murders, the serial killer has mostly become an urban legend of late. Writer/director Christopher Landon (Happy Death Day and its sequel) and his co-scribe Michael Kennedy (Bordertown) know that they're sticking to a formula here, and that any viewer who has seen any number of other frightening franchises knows it as well. They're being playful, though, a trait they try to keep up for the rest of the film. Not only is the Butcher real, but he steals a cursed Aztec dagger that lets him swap bodies with his next victim. So, when Millie (Kathryn Newton, Big Little Lies) crosses his path, she wakes up in his very tall and very male guise the next morning — and vice versa. For the Butcher, who instantly kits out Millie's petite frame in an uncharacteristic red leather jacket and tight jeans, it's a dream. He's already known for offing adolescents, and now he can blend in as one of them. For Millie, it takes some explaining to get her besties (The Goldfinch's Misha Osherovich and Selah and the Spades' Celeste O'Connor) not to scream at her new manly form. And, with the entire town is on the lookout for the Butcher, she's forced to run and hide while she's trying to track down her actual body. Shy, bullied and still mourning the death of her father a year ago, Millie also notices the changes that come with her masculine appearance. She can impose her might on her tormenters (although the Butcher has them in his sights, too), and comments on feeling strong and commanding. As Millie explains this strangely empowering sensation — after gags about what's now in her pants, expectedly — Freaky adds some depth to its high-concept horror-comedy idea. It calls out society's accepted notions of male power, and makes it plain that women are never seen in the same forceful fashion. Later, Millie shares a tender exchange with her also grief-stricken, often wine-drinking mother (Katie Finneran, Why Women Kill), showing how it's often easier to unburden your problems upon strangers than loved ones. These are astute and accurate observations, as paired with savvy moments. In a far more lived-in way than fellow recent release The Craft: Legacy, the film eagerly inhabits a progressive and accepting world. But not every aspect lands as intended. Another sequence that sees Millie connect with her crush (Uriah Shelton, Girl Meets World) while also still stuck in the Butcher's body too overtly tries to evoke laughs when they kiss, for example. That patchwork outcome — sometimes things fall into place entertainingly, sometimes they don't — applies to Freaky overall. Given that it sports a big twist right there in its premise, no one should expect a surprise-laden narrative. Still, even though Landon and Kennedy wink and nod as they borrow from other body swap and slasher fare, a movie can be aware of what it's doing, deliver standout moments and elements, and flit between fun and average as well. Freaky is glossily shot, swiftly paced and boasts a memorable graphic match, segueing from a head being slammed by a toilet seat to two teens getting intimate. It's particularly engaging when it ramps up either the gore-splattered horror or the over-the-top comedy. But it also swaps a heap of competing pieces into one package, then appears mostly content to play by the numbers when it comes to relentless serial killers plucking off teens and folks ending up in each other's bodies alike. Oh, and it's mighty keen to make its franchise aspirations well and truly known, too. As a result, Freaky always feels heavily indebted to its lead casting choices, both of which are top-notch. Without either Vaughn or Newton, the film might've resembled The Hot Chick meets the worst Nightmare on Elm Street sequels rather than Freaky Friday meets Friday the 13th. Vaughn gets the showier role, and demonstrates how shrewdly he's considered what it's like to be a teenage girl, with his version of Millie occasionally proving more fleshed out than the real thing. Newton embraces her fierce and fearsome side as the Butcher and, consequently, it's easy to see why Millie herself is a little impressed by her confidence. Both actors do more than just stick to the movie's clearcut concept, crucially — but Freaky itself could've taken their lead more often, and taken note of its titular term far more as well. https://www.youtube.com/watch?v=W-M4qEmF268
Since a US remake of Jemaine Clement and Taika Waititi's vampire sharehouse mockumentary What We Do in the Shadow was first hinted to back in 2017 — then confirmed in May the following year — three brief teasers have dropped. Now, finally, us mere mortals have been blessed with a full two-minute trailer. The ten-episode American version is set to air in the US this March, and has been written by Clement and directed by Waititi. It follows three vampire flatmates living in New York City. Despite being written and directed by Clement and Waititi, the duo won't be starring in the new-look series (but may make guest appearances — we hope), instead it'll feature Toast of London's Matt Berry, Four Lions' Kayvan Novak, British stand-up comedian Natasia Demetriou, The Magicians' Harvey Guillen and The Office's Mark Proksch. Unfortunately for Aussie fans, an offical release date has not yet been announced — but it's looking like we will get to see the series. According to ads aired frequently during Foxtel's Golden Globes broadcast, the show is headed to the pay TV network's Fox Showcase channel at a yet-to-be-revealed date. In New Zealand, the ten-episode mockumentary will air on Sky TV's SoHo2 in March. Here's the first full What We Do in the Shadows trailer in all its glory: https://www.youtube.com/watch?v=VWUiU3t5udM The US remake is just the latest addition to the What We Do in the Shadows universe, too. A follow-up, We're Wolves, is in the works, focusing on the undead bloodsuckers' Rhys Darby-led lycanthrope enemies. And television spinoff Wellington Paranormal, following the movie's cops (Mike Minogue and Karen O'Leary) as they keep investigating the supernatural, debuted its first season last year and has a second season in the works. What We Do in the Shadows will debut in America on FX on Wednesday, March 27, with a New Zealand screening scheduled on SoHo2. We'll update you as soon as further release dates have been announced.
What will open with the Australian premiere of one of this year's Sundance hits — an Aussie movie that won one of the prestigious fest's audience awards, no less — and also feature a huge music celebration right at its centre? The 2023 Melbourne International Film Festival. Just under three months out from the Victorian capital's annual cinema showcase, MIFF has revealed its first two titles for this year, both with strong local connections. Launching the festival for 2023 is Noora Niasari's Shayda, which is set and shot in Melbourne, marks the Tehran-born, Australian-raised writer/director's feature debut and tells an autobiographical tale. Seeing Niasari leap from participating in the MIFF Accelerator Lab for short film helmers to opening the fest, the movie follows an Iranian woman and her daughter who seek refuge at a suburban Melbourne women's shelter. Cate Blanchett's Dirty Films executive produces, while 2022 Cannes Best Actress-winner Zar Amir-Ebrahimi (Holy Spider) and Australian great Leah Purcell (The Drover's Wife The Legend of Molly Johnson) star. Since returning to in-person fests after two pandemic-affected virtual-only years in 2020 and 2021, this is MIFF's second homegrown opener in succession. In 2022, Goran Stolevski's coming-of-age feature Of an Age did the honours. Of course, Shayda will have ample company when it comes to local titles in 2023, including the also just-announced Ego: The Michael Gudinski Story. The documentary will enjoy its world premiere at MIFF, as the festival's first-ever gala screening from its regular Music on Film program. Celebrating the late Australian record executive and promoter, who passed away in 2021, Ego: The Michael Gudinski Story steps through its namesake's life and career. Unsurprisingly, it has plenty of well-known names joining in to pay tribute, with featured interviewees spanning Kylie Minogue, Dave Grohl, Sting, Ed Sheeran, Bruce Springsteen, Billy Joel and Jimmy Barnes. And, when the Paul Goldman (Suburban Mayhem)-directed doco plays MIFF mid-fest, it will score red-carpet events across multiple Melbourne venues. As for what else will screen in the festival's 71st year, the rest of the program will start being revealed in early June, ahead of the full 2023 MIFF lineup drop in July. Whatever ends up on the bill after Shayda and Ego: The Michael Gudinski Story, they'll join a fest that'll continue its 2022 format of playing in cinemas in Melbourne (from Thursday, August 3–Sunday, August 20) and at regional Victorian locations (from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20), and also once again expand its audience by bringing back online platform MIFF Play (from Friday, August 18–Sunday, August 27). Shayda's opening-night session will screen on Thursday, August 3, with tickets for MIFF members available from 8am on Tuesday, May 23 and general public sales from 10am on Thursday, May 25. If you're keen to see Ego: The Michael Gudinski Story, it'll premiere on Thursday, August 10, with tickets available at the same times as Shayda. The 2023 Melbourne International Film Festival runs from Thursday, August 3–Sunday, August 20 at a variety of venues around Melbourne; from Friday, August 11–Sunday, August 13 and Friday, August 18–Sunday, August 20 in regional Victoria; and online nationwide with MIFF Play from Friday, August 18–Sunday, August 27. For further details, including the full program from Tuesday, July 11, visit the MIFF website.
The omnipresence of satellite imaging, thanks particularly to our friends at Google, has meant we have become increasingly desensitised by the awesomeness that is mankind's ability to take detailed photographs of our neighbour's backyard from thousands of kilometres up into space. However, every so often we stumble upon images that reignite our wonder in our seemingly endless technological capacity and the epic majesty that is the natural world. These satellite photographs from John Nelson, a mapping manager at data visualisation company IDV Solutions, capture hurricanes, earthquakes and wildfires across the globe using colour coding and cutting edge data visualisation technology to beautifully and innovatively map some of the most devastating storms throughout history. 11 Years of Major US Fires After devastating fires blazed across Utah and Colorado earlier this year, Nelson gathered satellite imagery from NASA to visually map the spread and intensity of wildfire across the US over the last 11 years. The differing colours represent the intensity of the fire as compared to the average output of a nuclear power plant during Summer. The bright yellow spots, spread primarily across the West Coast, represent fires burning at a heat and intensity of roughly three or more nuclear power plants, with the hottest recorded at approximately 14 nuclear power plants in June, 2005. Every Hurricane and Tropical Storm Over the Last 150 Years With the help of a plethora of data from the National Oceanic and Atmospheric Administration including wind speeds, dates and names, Nelson was able to map every hurricane and tropical storm over the last 150 years. Using this data along with some educated predictions about the movements of 19th Century storms, Nelson "slapped it on a polar projection" and added some colour coding depicting storm intensity to create these incredible images. The maps however serve much more than an artistic purpose, with Nelson creating them in the wake of Hurricane Isaac in order to assist meteorologists in analysing storm trends and even allowing us to detect storms before they have occurred. The World's Earthquakes Since 1898 This map provides an awe-inspiring view of the tectonic boundaries of the Earth's surface. The yellow and green glow represents every earthquake over the last century that measured 4.0 or over on the richter scale, with the more luminous the glow the higher the magnitude of the earthquake.
Love a good dinner party? Well, this March, you can put on a feast that does a whole lot more than just impress your mates and sate your need to play host with the most. The Asylum Seeker Resource Centre's (ASRC) annual Feast for Freedom is back for its 2022 edition, giving Aussies the chance to put on a sumptuous banquet for an excellent cause. Now in its fourth year, the fundraising event invites locals to host their own dinner parties across one dedicated weekend, cooking to home-style recipes supplied by folks seeking asylum. By hosting a Feast for Freedom, you'll not only be celebrating Australia's cultural diversity but also helping to raise important funds for the not-for-profit ASRC, to assist with its work supporting and empowering refugees. The ASRC is Australia's largest human rights organisation providing support to people seeking asylum. You'll also get some cracking new recipes to add to your repertoire, each with a story behind it. And this year's lineup is a very tasty one, featuring dishes like Persian jewelled rice, parvardeh (olive dip), green chilli chicken, gheymeh bademjan (a lamb and eggplant stew) and sago pudding. Cooks who've shared their cuisines and recipes for this year's Feast include Iranian culinary instructor Mahshid and Malaysian-Indian chef Manel. A couple of familiar names will be joining the ASRC's efforts, too, with Darren Purchese (Burch and Purchese) and 2021 Masterchef alumni Kishwar Choudry in the role of ambassadors. Anyone who's keen to get involved can register to host a Feast for Freedom by signing up online. Participants will be sent a hosting kit complete with recipes and all the nitty-gritty fundraising details, before the official Feast for Freedom weekend sees dinner parties happening across the country from Friday, March 25 to Sunday, March 27. Feast for Freedom's 2022 fundraising will go towards supporting the ASRC's Foodbank and its many other services which assist people in the community seeking asylum. The ASRC's Feast for Freedom 2022 is open now for registrations — sign up at the website. The official dinner party weekend will then run from March 25–27, with donations open until April 30.
If dressing up in costume is your favourite part of Halloween, then your wardrobe is getting a workout right now. And, you clearly already know one of the ace (and related) standout things about this time of year: it's perfectly acceptable to wear those costumes anywhere and everywhere. On Friday, October 27 from 7.30pm, that includes kitting up to head to iconic Brisbane music venue The Zoo. The venue is marking Halloween by hosting the return of Creepshow — a one-night-only music fest that's all about live tunes and eerie vibes. Yes, dressing up is encouraged — heartily. There'll even be prizes, including for best solo costume and best group. So, either showing off your individual Halloween look or gathering the gang for a combined stint of scary style should be on the agenda. That said, whatever you're wearing, obviously the music is the real star of the show. Get ready to listen to These New South Whales, Concrete Surfers, Sophisticated Dingo, Sacred Hearts, Bean Magazine, Square and more. Images: The Zoo.
Just when you thought your smartphone might have reached it's multitasking limit, it’s about to take on a job usually left to the law enforcers: breathalysing. That’s right, soon it will be easier than ever for designated drivers to eliminate the risky guesswork involved in decided whether to knock back a sneaky last drink. The initial batch of the world’s first smartphone breathalyser, ‘Alcohoot’, has sold out, and will be ready for shipping in September this year. Keen socialisers can reserve one of the second lot for $75 and expect to have it in their hands by October. Compatible with iPhone, iPad and Android, Alcohoot is powered by a rechargeable lithium-ion battery, which means that the device can handle at least 150 tests. Not only can you use it on yourself, you can also pass it around among friends. The accuracy of the testing system, which is reliant on platinum grade fuel cell sensors, is similar to that of a breathalyser used by police. If you’re interested in developing a detailed understanding of how your body responds to alcohol consumption, you can track your blood alcohol level throughout the course of any given night. If it turns out that you’re over the limit, you can use the app to contact local cabbies, or to find details of nearby restaurants and cafes. [Via Lost at E Minor]
If there's one way to forget that you're still in your own city, staycationing within a short drive from home rather than heading further afield, it's splashing around up high while peering down on familiar sights from a completely different angle. Sydneysiders, another place to do just that is in your future, with TFE Hotels set to launch its first Collection property in the Harbour City in early 2024 — complete with a rooftop infinity pool. The new Collection by TFE Hotels property will be a big feature of the in-development Surry Hills Village, sitting on Baptist Street as part of a precinct that'll also include shops, apartments, event spaces, work spaces and dining. The Sydney spot joins the brand's Savoy Hotel on Little Collins in Melbourne, Hotel Kurrajong in Canberra, Calile Hotel in Brisbane and Hotel Britomart in Auckland. That's impressive company, and the new boutique hotel will continue the same design-led, individual-focused approach. When it comes to slumbering, there'll be 102 rooms. While exactly what they'll feature, and what other amenities guests can expect, hasn't yet been revealed, the hotel will boast curved brickwork and stone pathways as part of its design — and greenery aplenty. Also set to be a highlight: the Cloister, the hotel's restaurant and bar space. And, yes, that sky-high pool with scenic views, of course. "Surry Hills is home to one of the city's premier restaurant, dining, and boutique precincts," said TFE Hotels CEO Antony Ritch, announcing the new hotel. "This Collection property will become a destination in its own right." View this post on Instagram A post shared by Surry Hills Village By TOGA (@surryhillsvillage) Within the 1.2-hectare mixed-use development that is Surry Hills Village itself, Sydneysiders can also look forward to a new 517-square-metre public park, plus up to 12,000 square metres of retail and commercial tenants. There'll also be a new public pedestrian thoroughfare linking Marriott Street and Baptist Street — and, as part of the hospitality offering, a new restaurant from Fink Group, the team behind Quay, Bennelong, Otto and newly anointed third-best steak restaurant in the world Firedoor. And yes, new hotels are sprouting up thick and fast around Sydney, with the new Collection by TFE Hotels site joining the soon-to-launch Porter House Hotel; the just-launched Ace Hotel, Australia's first outpost from the chain; and none other than the Waldorf Astoria, which'll also opening its first-ever Australian hotel in Sydney in 2025. That's obviously excellent news not just for staycationers, but for folks visiting the city from interstate as well. TFE Hotels' new Collection property at Surry Hills Village, on Baptist Street in Surry Hills, is due to open in 2024. Head to the Collection by TFE Hotels and Surry Hills Village websites to keep an eye out for further information.
The idea behind theme parks is simple. If someone loves something enough — superhero movies, TV shows, video games, animation studios, a huge entertainment brand or Italian food, for example — they'll be willing to pay money to indulge that affection. And, they'll be particularly keen to roam around an entire site dedicated to their favourite thing, celebrating it all day long. With that in mind, if you're someone who simply can't get enough bubble tea, you'll want to head to Japan's latest theme park. There are no prizes for guessing what patrons will be drinking at Tokyo Tapioca Land; however, that's not all they'll be doing. Attendees will also be able to work their way around various tapioca-themed photo booths, and try different tapioca foods and beverages, including from some of the country's big brands. Based on sketches on the theme park site, as well as a report by Sora News 24, they may also be climb onto tapioca-themed rides. Just what most of above will entail is being kept rather vague — and yes, it sounds a more than a little like the incredibly Instagram-friendly food-focused sites that've been popping up around the place, such as Australia's Sugar Republic. Tellingly, Tokyo Tapioca Land is a temporary attraction, setting up shop outside of the station in Harajuku train station from August 13 to September 16. [caption id="attachment_707444" align="aligncenter" width="1920"] Gotcha Tea[/caption] If you're going to be in Tokyo at the time, pre-sales have already sold out, but there will be tickets available on the day for 1200 yen (around AU$16) — if you're willing to brave what'll likely be some significant queues. For those who don't have a trip to Japan on the cards, perhaps trying to drink away your envy by indulging in a bubble tea or several will help. Tokyo Tapioca Land will be open at jing, outside the Harajuku train station at 6-7 Jingumae Shibuya-ku, Tokyo, from August 13 to September 16. For further details, visit the website. Via PR Times / Sora News 24.
Brisbane’s favourite local duo are back with a new album and a new enhancement to their name, i.e. an imaginary deadly power beam. Yes, it’s DZ Deathrays. Same band, same sound, but with some additional letters of the alphabet. Extending the equations of their explosive punk rock sound, following on from their previous release DZ Ruined My Life, the DZ Deathrays newest EP edition Brutal Tapes is electric, aggressive and promises more strobes than ever. In celebration of their EP launch set for April 1, the DZ boys will begin their national tour locally at Woodland Brisbane. No, this is not a DZ comical April fools joke - I hope. Be sure to make some time amongst your pranking to catch DZ before they escape overseas for their international tour. You might have heard their new track ‘Rad Solar’ broadcasted over the radio waves but this is your chance to see and hear the electric new EP before any other. And, if you weren’t already aware, it is vital to observe DZ performing live to really capture the essence of their harsh punky, electric sound. Prepare you ears for an angry outburst of sound. Bring a bucket, it’s going to be sick.
War-holy crap. The Art Gallery of New South Wales has just announced one of its most ambitious and extensive projects. Ever. On November 1, 2014, they'll open the doors on Pop to popism — the largest pop art exhibition in Australian history. More than 200 works by 70 artists, including Andy Warhol, Roy Lichtenstein, Ed Ruscha, Martin Sharp and Brett Whiteley will have an entire floor to themselves. In the biggest pop art escapade the AGNSW has ever undertaken, 35 collectors from all corners of the earth will be lending their works. The selection covers both classic pop art as well as the '70s and '80s new wave. Squealworthy inclusions count Andy Warhol’s Triple Elvis (1963) among the ranks, as well as David Hockney’s Portrait of an artist (1972), Robert Indiana’s Love cross (1968), Lichtenstein’s In the car (1963) and Howard Arkley’s Triple fronted (1987). "This will be the most comprehensive survey of pop art to be seen in Australia and reflects the decisive role played by pop in the development of contemporary art," said AGNSW director Dr Michael Brand. "The exhibition will present Australian pop artists alongside their international peers from the United States, the United Kingdom and Europe, and extends beyond the period of classic pop art into the eighties, giving audiences an insight into pop’s enduring legacy both here and abroad." Pop to popism, which will be on display until March 1, 2015, makes up one half of the sixth incarnation of the annual Sydney International Art Series, managed by Destination NSW. The exhibition will run in conjunction with Chuck Close prints: Process and collaboration, which will show at the Museum of Contemporary Art between November 19, 2014 and March 9, 2015. Pop to popism runs 1 Nov 2014 — 1 Mar 2015 at the AGNSW.
If you've been perplexed, provoked or just plain pissed off by Shia LaBeouf's antics, you can now gain some insights. In an exclusive interview with Dazed, artists Luke Turner and Nastja Rönkkö open up about collaborating with the Nymphomaniac star on #IAMSORRY. "At its core, the most fascinating part of the performance was whether people would see Shia as a person, flesh and bones and soul, or as an object, a celebrity," says Nastja. "I also find it quite revealing that whereas in the past everyone wanted to become celebrities, today everyone wants to be an artist. For me, this opens up questions of whether our value systems are moving towards something more meaningful." Shia copped quite a bit of flak last year when Daniel Clowes fans made plagiarism accusations. As far they were concerned, LaBoeuf's new film Howard Cantour.com (2012) was far too close to Clowes' comic Justin M. Damiano (2007) for comfort. Previously, in an inflamed letter to Alec Baldwin, he'd passed off several paragraphs written by Tom Chiarella as his own. As if that wasn't attention enough — or perhaps because he sought to shift the focal point of the public eye — he turned up to the Berlin Film Festival wearing a paper bag bearing the statement, 'I am not famous anymore', quoted Eric Cantona at the Nymphomaniac press conference, and vanished. Some people were sympathetic; others expressed outrage. Either way, the stunt swamped arts headlines all over the globe. Then, like any good Matthew Arnold scholar, he sought refuge in art. For six days, a Los Angeles gallery hosted Shia's performance #IAMSORRY, which involved the either beleaguered or exceptionally publicity-hungry actor donning a tuxedo and paper bag and crying in public. Visitors reacted by losing their temper, taking selfies or offering congratulations. It was a multiplatform project that also played out on Shia's Twitter, in skywriting and a university seminar in which he read Guy Debord to students. In Nastja's view, Shia "made a genuine mistake during the process of trying to find his directorial feet" and has "undoubtedly regretted it deeply ever since". The actor approached the pair while the plagiarism controversy was going on. "Right from our very first meeting, I had been convinced of his commitment to his art and the trueness of his aim," Luke says. The artists both indicate that they intend to keep working with Shia, so expect to feel that vague annoyance towards him for some time yet. Read more about the history of Shia's new art form in our feature on ten crazy things done in the name of performance art.
Australia's best hotel — according to the World's 50 Best Hotels — is welcoming one of Australia's very best bars — according to the World's 50 Best Bars — for a one-night takeover this winter. Sydney's pocket-sized mezcal mecca, Cantina OK!, is headed north and landing at The Calile's Lobby Bar on Tuesday, June 17, for a very special collaboration. Part of The Calile's Rooftop Harvest series — which showcases the seasonal produce grown on the hotel's rooftop kitchen garden — this one-off event will bring together two stars of Australia's hospitality scene for a sunset session of creative cocktails. Cantina OK! Venue Manager Jordan Grocock and Creative Lead Jaxon Kite will be flying the flag for the Sydney bar, and they'll be shaking up a bespoke cocktail just for the occasion. Inspired by the pastel tones of The Calile's pool, the Sandia OK! is a vibrant green and pink margarita that features fresh lime and hibiscus leaf harvested from the hotel's rooftop garden. They'll be mixed with makrut lime leaf tequila and topped with shaved watermelon for a textural and visual punch. The Calile crew will also be behind the stick, serving one of the hotel's signature creations that again makes use of ingredients from the rooftop. The Marigold Highball is a twist on the classic highball, with a mix of Red Mill coconut rum, soda, coconut vinegar and a house-made shrub crafted using marigold leaves picked from the rooftop garden. Both drinks will be paired with seasonal snacks that also showcase ingredients from the June harvest. [caption id="attachment_909116" align="alignnone" width="1920"] Calile SS22[/caption] Clocking in at just 17 square metres, the six-seat Cantina OK! — tucked at the end of an otherwise nondescript Sydney CBD laneway — is perhaps Australia's smallest bar. It punches well above its diminutive size, though, often named among the world's very best bars thanks to its extensive program of hand-sourced, hand-imported and handmade mezcal, and thoughtful, personalised service. Entry is free but registration is recommended — and you'll want to get in early, as drinks are only available from 5–7pm. Don't miss your chance to experience one of Sydney's most celebrated bars, no flight required. [caption id="attachment_909117" align="alignnone" width="1920"] Calile SS22[/caption] [caption id="attachment_1006984" align="alignnone" width="1920"] Dexter Kim[/caption] [caption id="attachment_973394" align="alignnone" width="1920"] The Calile James St, Cieran Murphy.[/caption] Rooftop Harvest: Cantina OK! x The Calile takes place on Tuesday, June 17, from 5–7pm at The Calile's Lobby Bar, Ground Floor, 48 James Street, Fortitude Valley. For more information and to register, head to the event website.
Think of a way to group movies together — any way you like — and there's probably a film festival doing just that. Some celebrate features from a particular country or part of the world, and others revel in the weird and wonderful side of filmmaking. There's even film fests for dog flicks, and retrospectives focusing on filmmakers and genres have become as common as popcorn. But Brisbane's latest cinematic celebration, the Brisbane Only Rotoscoped Lightning Film Festival, just might've found itself a unique niche. Its focus: movies that feature hand-drawn lightning effects. Those distinctive visual touches have graced everything from David Lynch's OG big-screen adaptation of Dune through to the early-90s all-ages delights that are The Addams Family and Addams Family Values — which are on BORLFF's lineup, naturally. The fest will make its debut from Friday, July 29–Sunday, August 7, screening at New Farm Cinemas. And yes, that acronym does sound like the noise you might make when you see hand-drawn lightning effects and are so excited that you just have to exclaim something — anything — out loud. In total, 11 films will screen over the fest's ten-day run, with Lynch's Dune opening the program. While the recent Timothée Chalamet version is spectacular, that original, lightning effects and all, is also its own kind of cinematic treasure. Also on the bill: John Carpenter's Big Trouble in Little China, because every film fest needs a bit of Kurt Russell; martial arts comedy The Last Dragon; 1950s sci-fi wonder Fantastic Planet; early Marvel adaptation Howard the Duck; and the one and only Hellraiser. There's also Lifeforce, from The Texas Chain Saw Massacre director Tobe Hooper; Invasion of Astro-Monster, because every film fest needs a Godzilla flick as well; and 1993's Super Mario Bros, complete with Dennis Hopper as King Koopa. BORLFF stems from Netherworld, Two Bit Movie Club — the regular cult and classic movie event that often screens at the arcade bar — and New Farm Cinemas. It'll also feature an art show, via Feature Presentation, showcasing new interpretations of movie posters for the fest's films. They'll display at New Farm Cinemas during the festival, and you'll be able to buy prints of them, too. And yes, thanks to its Addams Family pinball machine, New Farm Cinemas is clearly the ideal venue for a fest like this.
When Interface asked Francois Chambard what kind of art he could devise from carpet tiles, these critters were his response. He and 29 other designers and architects put their carpeted creations up for auction, raising $16,000 for Design Industries Foundation Fighting AIDS (DIFFA). Interface organised the auction to mark the official opening of its new showroom in New York City, an 8,000 square foot space that looks over the Empire State Building. Other designers invited to contribute included David Ling, Harry Allen, Russell Groves, Joey Shimoda and D.B. Kim, and over 400 prominent industry members comprised the crowd. Peter Greene, the Vice President of marketing of Interface’s American arm, expressed the company’s enthusiasm. “The galvanizing impact that DIFFA brings to our design community is overwhelming, and Interface is excited it could join with the organization as we put out the welcome mat to our new Big Apple showroom . . . We’re delighted the proceeds of this event could help swell DIFFA’s coffers a bit more and at the same time let us welcome architects and designers into our new space with a fun occasion that also gives back in a meaningful way.” Interface is not only the world’s largest supplier of carpet tiles, but also one of the most socially conscious corporations on the stock exchange. Anyone who’s seen Canadian documentary The Corporation may remember the role played by then CEO Ray Anderson in representing the potential for an ethical approach to business. When Anderson passed away in August 2011, headlines proclaimed him ‘the greenest CEO in America’. Images: gBlog [Via boing boing]
For some bands fame, fortune, adoration and all the rest happens in the blink of an eye; for others it is a slow burn. This was the case for Melbourne band The Panics - after four EPs and two albums they released the album Cruel Guards in 2007, and things took off from there - They won Triple J’s coveted J Award and had a top 10 track in the Triple J Hottest 100 in the same year. Following the success of Cruel Guards, The Panics spent almost two years touring far and wide before finally settling down and basing themselves in the iconic music hub of Manchester to write a new album, then heading to New York City to record it. Finally in 2011 the fruit of this transnational music making process was released in the form of Rain on a Humming Wire and like the last album, this has received rave reviews. Once again the band are hitting the road to perform and share their new selection of beautiful music across the country - they’ll be in Brisbane for one night only. Brisbane fans need not panic, just get your butts down to the Hi-Fi and see this homegrown class act before they disappear off the Australian map again.
You know when you're trying to read on a train but you just can't tune out that other passenger's borezo conversation? Or when you're at a festival and you want to turn up the base? It's these times that you wish you could just flick a switch in your ear and change the levels, but laugh the thought away because we're humans, not robots, and we don't have switches anyway. Well that may be true, but a Silicon Valley start-up have developed wireless earbuds which, when placed in your ear, can give you control over what you hear — and what you don't. It's called the Here Active Listening system, and it's basically a fancy add-on to your actual, working ear. The earbuds are controlled by a smartphone app and, once in your ear, can be used to modify the sounds around you. What does this mean? Well it would allow you to eliminate sounds (say, a crying baby), increase the bass and amplify sounds, such the voice of the person you're talking to — which would be great in loud environments, like gigs and festivals. This last point is probably why creators Doppler Labs have decided to release the product at Coachella this year. Here will be fully integrated into the festival, and will give punters the opportunity to access exclusive 'listening experiences' and audio filters. There will even be presets optimised for each stage. It will be the first opportunity for people to purchase the earbuds since the project raised over $600,000 on Kickstarter last year. There's no set date on when the rest of the us not attending Coachella can try them out, but the price point is set to be around $200-300. Via Mashable.
Suitcases at the ready: your latest excuse to not just dream of a getaway, but actively start looking forward to your next one, is here. Virgin is putting on another flight sale, and this one expands its usual Happy Hour promotions. For one day only, and for the first time ever, the airline is extending its weekly window for specials to a full day. That means that today, Thursday, February 23, you have until midnight AEDT to score a bargain fare to destinations around Australia. Included on the sale list is everywhere from the nation's capital cities to Sunshine State hotspots such as Hamilton Island, Cairns and the Gold Coast. So, whether you're keen to explore a different concrete playground than your own or to soak in some beach time on an endless summer, you've got options. A huge 250,000 discounted one-way flights are on offer, starting at at $55. As always, that price will get you from Sydney to Byron Bay, which is consistently the cheapest route during sales like this. Other cheap fares include Sydney to the Gold Coast from $89, Adelaide to Melbourne from $99, Brisbane to Hamilton Island from $119, Sydney to Hobart from $95 and Melbourne to Launceston from $69. And, the discounts apply both ways, and for economy seats. If you're wondering when you'll need to travel, the dates cover between Thursday, March 9–Friday, September 15, all varying per route. Get ready for autumn and winter getaways, or to start off spring with a break. As usual when it comes to flight sales, you'll need to get in quick — quicker than usual, in fact, given the midnight deadline. Virgin's day-long Happy Hour sale runs until midnight AEDT on Thursday, February 23 — unless sold out earlier. Feeling inspired to book a getaway? You can now book your next dream holiday through Concrete Playground Trips with deals on flights, stays and experiences at destinations all around the world.
He has filled the National Gallery of Victoria with silver bikes, thrown paint over his pals, had quite the public fight with Lego and set up a studio in Lesbos to draw attention to the refugee crisis. And, before he heads to Australia again for the 2018 Sydney Biennale, Ai Weiwei is continuing to contemplate and challenge the way that immigration and security are handled in his latest New York installation. It'll be his largest and most ambitious public exhibition to date, and he's asking for help to make it happen. Due to be unveiled in October, Ai Weiwei's next project is called Good Fences Make Good Neighbors, as presented by the city's Public Art Fund. To assist in the massive effort — which will feature site-specific pieces, plus 2D and 3D artwork, spanning more than 300 outdoor sites in all five boroughs — the Chinese artist has launched a Kickstarter campaign. At the time of writing, it has passed the halfway mark towards his US$80,000 goal. Given the exhibition's title, as well as Ai Weiwei's ongoing political activism, it's far from surprising that Good Fences Make Good Neighbors addresses the plight of migrants and refugees, immigration and border control policies, and the current global rise in nationalism. Drawing upon his own experience in detention, as well as his visits to refugee camps around the world, the project will adapt security fencing in a number of different ways, and in unexpected places, in order to make a statement about division and separation. New Yorkers can expect pieces at street level, on rooftops, between buildings, on lampposts, attached to frame bus shelters and elsewhere in the urban landscape, as well as site-specific installations in the likes of Central Park and Washington Square Park. With the project running through until February 2018, the artworks are designed to act "as powerful metaphors in a city that has long served as a gateway to the United States for millions of immigrants," according to the Public Art Fund website. For those unable to see the end result in person, it's not the only thing the always-busy Ai Weiwei has been cooking up of late. Human Flow, his new documentary about the global refugee crisis, has just premiered at the Venice Film Festival. It'll have its Aussie debut at the Adelaide Film Festival in October, before reaching cinemas around the country on December 7. https://www.youtube.com/watch?v=YP5F7-RwVgM Images: Ai Weiwei studio via Kickstarter.
Being The Drums means being one of the most hardworking bands around at the moment – since they skyrocketed in hype in 2009, The Drums haven't slowed down, incessantly touring and releasing two LPs in that time. They've visited antipodean shores before, working the festival circuit and are about to do it for the third time – this time around for St. Jerome's Laneway Festival in Australia. Singer Jonny Pierce took some time out to talk to Kirstie Sequitin about the rise and rise of the band, recording Portamento in their kitchen and getting lost in translation in Poland. Hi Jonny, how are you? Hey there, how you doin'? I'm good thank you, how's your day going? It's going pretty good, I'm down in Puerto Rico right now, just wrapping up my first real holiday since we started the band and heading back to wintery New York City tomorrow morning. It's a little fast to be leaving but I'm also ready for it – I'm having a really hard time actually relaxing. My mind is constantly reeling so I think it'll actually feel better to sort of, do something creative again. This is the first time, actually, that we've had time for a break… we've had just under a month off. That's the longest time that we've had off since we started three years ago. Because we've just been going going going, even a month feels like a very long time. I feel like we all feel somewhat refreshed and excited to come to Australia, which is a change from sort of the, the, how we were feeling a few months ago when we were wrapping up a very long three-year tour. So Australia will kind of be the first stop after your holidays then? It will, absolutely, yeah. It'll be nice to continue this warm weather, actually. I really didn't like warm weather as a child - I was always drawn towards the cold winters but uh, getting older, so, things change I suppose. You've been coming to Australia every year basically since you started – doing the festival circuit and your sideshows and tours and whatever – how do you feel about coming here so often? Do you like it here? Well, we've always had a really warm reception in Australia so it is a place that we look forward to going… and you know there are some places that we've gone a few times and every time it feels the same but there's always this… it feels like every time we've been to Australia there's been this mounting electricity in the air. It's that sort of thing that keeps you on the road. It seems that the fans there are a bit more rowdy than most of the places which really gets us through the show and makes us excited and makes us sort of play the best show possible. And it's nice to go somewhere where people speak English, to be quite honest (laughs). We spend a lot of time sort of, pointing at venues, and… a lot of sign language. So it's sort of nice to just be able to talk to people. Yeah. "We… like… being… here…" Yeah, exactly. Or like, memorising the words Thank You in every language. It seems that I think I know it and I walk up on stage confidently and it completely slips my mind. I end up asking my guitar player how to say thank you in Polish and he tells me – he gives me an answer that's almost right but just wrong enough to make me look foolish and for the entire set I'm saying thank you wrong… (laughs) Oh, that's awesome. Literally happens non-stop. You were saying before that you being in Puerto Rico is the first holiday that you've had since you guys have started – so how does it feel to be on the road for three years? Do you feel like you've enjoyed those three years or do you feel like it's a bit of a burden? Well, when we first started writing songs for this band and recording, we were living in the middle of nowhere in Florida and it was just Jacob and I – we wrote the Summertime EP and then we recorded most of the first album and that whole time we thought we'd be the only two people who would ever hear it. And out of nowhere, we were asked to play a show in New York City – you know, we had a MySpace page and that was it – so we went off to New York and played the show and the next day we were getting calls from record labels and managers and booking agents. Right from the very first show that we played it was a non-stop whirlwind up until a month ago. At the beginning everything is exotic and exciting and surreal and there's nowhere to really feel like you can put your feet down because the whole time it just felt like we were floating and being hyped up as we were. You don't even really feel anything: we didn't have time to feel excited, we didn't have time to feel angry, we didn't have time to feel anything which is just so, so wild. And then about a year into it, the dust starts to settle a little bit and our feet started touching the ground and you sort of have a clearer vision of what you are as a band and we realised where we had landed. It was really exciting, we felt really grateful for everything – and we still do – but, you know, the reality was… none of us were home, ever, and we were always all together and you don't think about those things when you start a band. You think, 'Oh, we'll play a couple of shows here and there, and I'll keep my bartending job and you'll keep your retail job and that will be enough…' you just jump into it because it's exciting. It's very simple - we just spent too much time together and things started to get a little bit ugly. To me, when things get dramatic and ugly, to me it's a really exciting time to be creative, because I think the best art comes through hardship, and that sort of anger and bitterness really gave Portamento a darker texture that I think we were hoping for. So I think, without really saying it, we were all welcoming the drama. Since then, when we finished Portamento and released it, I think we all felt something break… it was just a unifying experience and I think what we all really learned from the whole thing was to give each other space and to respect each other's opinions. Jacob, Connor and I are all really stubborn, bull-headed people and I don't think this band would exist or be able to survive if we weren't that way. I think it's those three dynamic, clashing heads all the time that… that's where the ideas come from. I'm grateful for all of that and I wouldn't want this to be easy and comfortable because I think that's the number one way to lose your creative spark. Yeah, definitely. (And then the line gets cut and Kirstie's heart breaks a little bit. But he calls her back!) Hello! I don't know what happened there. Alright, so I always read the fact that you guys produced Portamento in your kitchen – is that true? Mmhmm. Do you think that for your next efforts you'll go into the studio? Or do you think you'll continue this kind of, very DIY sensibility. Um, I don't know. We didn't do things DIY because we thought we should – we did things DIY because it was the only option when we started. We were completely broke – we didn't have cars, we didn't really have friends, we were living in this small apartment complex in Kissimmee, Florida, riding my bike to work, a 36-mile round trip every day, that sort of thing. We were really broke. So we just downloaded recording software illegally (laughs) and borrowed our friend's guitar and used an old synthesizer that Jacob's mum gave him and bought a $25 microphone from RadioShack and just recorded things that way. With Portamento we just decided that we were really happy with how the first album turned out. We were trying to record things as professionally as we possibly could but because we didn't have the right gear and the right know-how to do it, we sort of landed on a certain sound by accident but we really learned to love it and call it our own. For Portamento we didn't want to stray from that. We kept it the same way and didn't buy any new equipment or any new recording gear, we just decided to make another record how we made the first. And The Drums, I think so far our heart has been into doing it on our own, but that's just because that's sort of how it happened and I think however we go about the next album – whether we get a producer or we do it ourselves again, or we co-produce, I'm not really sure – whatever it is, you can bet that it's because that's what we want to do. That's the number one thing for us, to never look back and feel like we've made a long list of compromises. So if we work with a producer it's because we feel like we should for the next album and not because someone tells us we should. It's about feeling really natural about everything. Alright, I think that's all I've got for today – thank you so much for your time Jonny and thanks for calling me back after I dropped out there. No problem at all, thank you. Have a great time in Australia, et cetera et cetera. Oh, and have fun in Puerto Rico! Oh, thank you, I will - we have had a really nice time. I lied to this man and told him I had a boating license so I've been taking his boat out every day. So, so far you know that I've been downloading illegal software and lying to people in Puerto Rico – it's not all bad, I swear. The Drums will be playing at St. Jerome's Laneway Festival in Australia. This interview was originally conducted for Scene Magazine.
What can Disney say except... yes, "you're welcome", Moana fans? A sequel to the 2016 animated hit is on its way to cinemas before 2024 is out, as announced earlier in the year. Now, the movie's first teaser trailer is here to make a splash, and to confirm that Auli'i Cravalho (Mean Girls) is back voicing Moana and Dwayne Johnson (Fast X) is also returning as demigod Maui. When Walt Disney Animation Studios had Johnson sing a ridiculously catchy tune that was penned by Lin-Manuel Miranda in the first Moana, it clearly gave itself the perfect response to all the love thrown the film's way. Adore the movie? You're welcome. Can't stop crooning its songs? You're also welcome. Excited about the sequel that'll hit cinemas on Thursday, November 28 Down Under? You're welcome for that as well. Story-wise, Moana 2 will see its namesake take to the seas of Oceania to answer the call from her ancestors, which is where new characters will come in. While eight years have passed for viewers, only three have elapsed within the film when Moana and Maui set off on their new — and dangerous — adventure. In the director's chair: Dave Derrick Jr, who was a storyboard artist on the original Moana. And on music duties this time are singer-songwriter Abigail Barlow, composer Emily Bear (Dog Gone), Opetaia Foa'i (returning from the first film) and Mark Mancina (also back from the initial movie). "This was originally developed as a series, but we were impressed with what we saw and we knew it deserved a theatrical release," said Disney CEO Bob Iger when he announced the sequel in the company's first-quarter earnings call for 2024. "The original Moana film from 2016 recently crossed one-billion hours streamed on Disney+ and was the most streamed movie of 2023 on any platform in the U.S." Moana 2 is one of two new Moana movies in the works, with a live-action adaptation of the first Moana also on the way — and with Johnson starring. "Along with the live-action version of the original film that's currently in development, Moana remains an incredibly popular franchise," continued Iger. Check out the first teaser trailer for Moana 2 below: Moana 2 will release in Australian and New Zealand cinemas on Thursday, November 28, 2024. Read our interview with Jemaine Clement about Moana. Images: © 2024 Disney Enterprises, Inc. All Rights Reserved.
If you drink much coffee (or have ever been to a cafe, worked in an office or looked through other people's rubbish), you've probably realised that Australia's cafe culture produces a huge number of wasted takeaway cups. But what you may not know is that these cups are not recyclable. Though coffee cups feature paper on the outside, the liquid-proof inside lining is made of plastic, which means the cups cannot be recycled like other cardboard items. It also means they take on average 50 years to decompose in landfill. There is currently no facility in Australia that is able to recycle takeaway coffee cups, but Closed Loop hopes to change that. The Australian company — which offers waste management and environmental solutions to a range of companies, including Noma when it was in Sydney — just completed a trial to help make the case for their proposal. The trial, which received a $17,500 grant from the City of Sydney, introduced standalone bins for takeaway coffee cups into three office buildings across Sydney, Melbourne and Brisbane. 12,000 cups were collected over four weeks, successfully demonstrating that people would be willing to use such bins. And after they've been collected? Closed Loop has worked with researchers from the UK, where they already run a similar cup collection and recycling program, to develop technology that combines the materials in the cups with a polymer to produce a plastic-fibre compound. It can be used to make placemats, coasters and outdoor furniture. Based on the success of the pilot (that is, people using the bins correctly), Closed Loop is proposing to set up a dedicated facility to recycle them. Sydney Lord Mayor Clover Moore estimates that if the program were to go ahead, more than 25 million coffee cups could avoid ending up in landfill per year from the City of Sydney area alone. Given that around one million disposable coffee cups end up in landfill per minute worldwide, it's good to know there are people trying to tackle the issue. We'll keep an eye on this one to see where it goes. Image: Tim Wright.
The Icelandic Government ushered in the new year with a legal first when, on January 1, it became the first nation in the world to outlaw unequal pay for women. Any company or government agency that employs 25 people or more must prove their equal pay policies through government certification or face hefty fines. "[They] evaluate every job that's being done, and then they get a certification after they confirm the process if they are paying men and women equally," Dagny Osk Aradottir Pind, a board member of the Icelandic Women's Rights Association, told Aljazeera. Even before the passing of the law, which was announced on International Women's Day 2017, Iceland was ranked number one in the world for gender equality according to the World Economic Forum's Global Gender Gap Report 2017. (In case you're wondering, Australia came in at 35, while New Zealand took out 9th spot). Iceland's current leader, Katrin Jakobsdóttir, who was elected in November 2017, is the nation's second female Prime Minister — and since 2016, women have held 48% of parliamentary positions. "I think that now people are starting to realise that this is a systematic problem that we have to tackle with new methods," said Aradottir Pind. "Women have been talking about this for decades and I really feel that we have managed to raise awareness, and we have managed to get to the point that people realise that the legislation we have had in place is not working, and we need to do something more." The Icelandic Government is hopeful that the gender pay gap won't exist beyond 2020. Here's hoping other countries around the world start to follow their lead.
When 2025 hits, 20 years will have passed since Oasis last toured Australia, but that's where the lengthy gap between the band's Down Under shows is ending. There's comeback tours and then there's Britain's most-famous feuding siblings reuniting to bring one of the country's iconic groups back together for a massive world tour — and when Liam and Noel Gallagher start taking to the stage together again, they'll do so at gigs in Sydney and Melbourne. Oasis' reunion tour has been huge news for months, ever since Liam and Noel announced in August that they would reform Oasis — and bury the hatchet — for a run of shows in the UK and Ireland. Since then, they've been expanding their tour dates, also locking in visits to Canada and the US. From London, Manchester and Dublin to Toronto, Los Angeles and Mexico City, the entire tour so far is sold out. [caption id="attachment_975205" align="alignnone" width="1920"] Oasis Knebworth 1996, Photo by Roberta Parkin/Redferns[/caption] That's the story, morning glory — and expect Australian tickets to get snapped up swiftly for Oasis' two announced concerts, one apiece in Sydney and Melbourne. The Manchester-born band is kicking off their Aussie visit on Halloween 2025 at Marvel Stadium in the Victorian capital, then heading to Accor Stadium in the Harbour City a week later. "People of the land down under. 'You better run — you better take cover ...'. We are coming. You are most welcome," said the group in a statement. [caption id="attachment_975206" align="alignnone" width="1920"] Oasis Knebworth 1996, Jill Furmanovsky[/caption] Oasis broke up in 2009, four years after their last Australian tour, and following seven albums from 1994's Definitely Maybe through to 2008's Dig Your Soul — and after drawing massive crowds to their live gigs along the way (see: documentary Oasis Knebworth 1996). If you're feeling supersonic about the group's reunion, you can likely expect to hear that track, plus everything from 'Live Forever', 'Cigarettes & Alcohol', 'Morning Glory' and 'Some Might Say' through to 'Wonderwall', 'Don't Look Back in Anger' and 'Champagne Supernova' when they hit Australia. Oasis Live '25 Australian Dates Friday, October 31 — Marvel Stadium, Melbourne Friday, November 7 — Accor Stadium, Sydney Oasis are touring Australia in October and November 2025. Presale ticket registration runs until 8am AEDT on Wednesday, October 9, 2024, with Melbourne tickets on sale from 10am AEDT and Sydney tickets from 12pm AEDT on Tuesday, October 15. Head to the tour website for more details. Top image: Simon Emmett.
Street food has fast become the current gastronomic obsession. When The Bun Mobile started driving around Brisbane in 2012, food trucks were a novel concept. Now, the city’s first purveyor of quality meals on wheels has become a local institution, and it has company. The new breed of mobile culinary delights spans all types of cuisines, dishing up delicious delights at affordable prices. At Food Truck PheNomNomNom, nine roaming restaurants will converge upon the Coorparoo Bowls Club for the first event of its kind in Brisbane. Fancy the Mexican tastes of Juan More Taco? Or the hearty Italian of The Pasta Cruiser? Is devouring a woodfired slice of Roam'In Pizza more your style? Do you have a hankering for Thumbs Up Hotdogs? Alongside the cutely named Sushi Neko Food Van and the savoury treats of King of the Wings, these trucks have lunch and dinner covered — but don’t forget dessert. I Love Frozen Yoghurt serves up everyone’s favourite cold concoction, Chocolate Komberry Co. keeps the cronut craze kicking on, and V's Vanilla Van has a solution for poffertjes cravings. With local blues-infused rockers Don & the Mobsters providing jaunty tunes for a enjoyable afternoon, Food Truck PheNomNomNom is the initial instance of what aims to be a regular event. Sample the fun of curbside dining on June 1, from midday to 6pm at Coorparoo Bowls Club (32 Riddings Street, Coorparoo).
