Whether robots will inherit the earth is yet to be seen, although science fiction keeps telling us they will. Until that becomes a reality, they're going to keep pitching in to help make our lives scarier easier. Take food deliveries, for example. Here we were, just getting used to UberEATS helping us eat from a wider arrange of restaurants without leaving home — aka ferrying meals from places without their own delivery service — and now machines are taking over. Welcome to the future. Yelp and robotics company Marble have joined forces to start delivering food orders on the streets of San Francisco, with a small number of four-wheeled bots transporting meals in the city's Mission and Potrero Hill neighbourhoods. The robots "use advanced sensors and high-resolution 3D city maps to efficiently and politely navigate busy urban environments", in case you were wondering. Yep, they'll bring you your food and they'll be nice about it. If you saw Marble's machines in person, you'd definitely notice. Built from the base of an electric wheelchair, and featuring swappable cargo bays to ensure that goods of various sizes can be stored and moved in the most efficient manner possible, they measure just over four metres in height and travel at a pace of three to four miles per hour. For the current trial, they'll venture short distances of around one mile over a six to eight-hour shift, accompanied by living, breathing people to make sure everything runs smoothly. Good to see that humanity still has a use. As for those doing the ordering, they'll simply sit back and wait — and, after receiving a text message with a customised code, unlock the bot when it gets to their door. Expect more robotic food delivery to follow. It was just last year that Dominos unveiled an autonomous vehicle built for the sole purpose of delivering pizza. And, shortly afterwards, the company completed the world's first-ever pizza deliver drone. Via CNet. Images: Marble.
There's a good chance you've heard about spice bags by now, with this culinary masterpiece popping up on menus across town. Emerging in the mid-2000s, its greasy, spicy, salty combination emerged from Dublin's Chinese restaurants and has increasingly gained a cult following on our shores in recent times. Yet to discover its charms? Archive Beer Boutique in the West End is now serving an Irish Spice Bag for your dining pleasure. Loaded with crispy chicken bites, golden chips, stacks of spices, and fresh capsicum and onion, this steaming bag of goodness goes down a treat with the venue's wide selection of craft beers. Priced at $23, it's available on Archive Beer's specials board throughout the week before moving to the late-night-only menu after 9.30pm. Meanwhile, if you're keen to add even more kick to each bite, the kitchen recommends slathering the whole thing in their sweet-and-spicy Thai sauce. Archive's buzzing late-night atmosphere is ripe for a spice bag, usually best paired with a big night out and a few too many drinks. Once the hangover is really starting to kick in, you might even find yourself going for a second round the next day.
Eiffel 65's 1998 hit 'Blue (Da Ba Dee)' doesn't play over the first trailer for Avatar: The Way of Water, but you're forgiven if you get it stuck in your head anyway. The 97-second clip comes with a sweeping score by composer Simon Franglen (a veteran of the first film) that's designed to set an ethereal and epic mood — but blue really is the colour of all that it wears. If you saw James Cameron's initial entry in this sci-fi franchise back in 2009 — and given that the original Avatar quickly became the highest-grossing film of all time, it's highly likely that you did, because seemingly everyone did — then all those shades of blue won't come as a surprise. They're splashed across the movie's CGI-filled waters, skies and Na'vi people, and across the first look at its long-awaited sequel as well. Yes, 13 years after the first flick became such an enormous hit, there really is evidence that the long-floated follow-up will reach cinemas this year. Avatar: The Way of Water is one of those movies that you might only truly believe exists once you're sat in a theatre watching it, though, because it has been in the works for that long. It's currently set to reach the silver screen Down Under this December, stepping back into the story of the Sully family, aka Jake (Sam Worthington, Fires), Neytiri (Zoe Saldana, The Adam Project) and their children, on the habitable moon Pandora. This time around, staying safe and alive remains a focus — and, from the just-dropped trailer, it looks like more battles are a-coming. The initial clip, which started screening in cinemas with Doctor Strange in the Multiverse of Madness but has only just made its way online, doesn't spell out much in the way of plot, however. Given that Avatar wowed viewers mainly due to its imagery and special effects (and definitely not its "Dances with Wolves but in space"-style narrative), that too is hardly astonishing. Also set to feature amid all those pixels: Sigourney Weaver (Ghostbusters: Afterlife), Stephen Lang (Don't Breathe 2), Cliff Curtis (Reminiscence), Joel David Moore (Bones), CCH Pounder (Godzilla: King of the Monsters), Edie Falco (Nurse Jackie), Kate Winslet (Mare of Easttown) and Flight of the Conchords' Jemaine Clement. And, obviously, James Cameron is back in the director's chair. If the sneak peek has you excited about re-entering Avatar's blue-heavy world, get ready for more where that came from. A third movie is due in 2024, a fourth in 2026 and a fifth in 2028. Also, the original Avatar will return to cinemas in September, in the lead-up to Avatar: The Way of Water. (And no, there's no word yet whether a team-up with The Smurfs, Sonic the Hedgehog and the Blue Man Group might ever be in the works.) Check out the trailer below: Avatar: The Way of Water releases in cinemas Down Under on December 15. Images: Photos courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved.
Ever convinced yourself that you needed something from Bunnings on a Saturday morning just so that you could down a snag in bread? If you answered no to that question, we don't quite believe you. The hardware chain's sausage sizzles are a beloved Australian weekend ritual, and we all missed them when they were put on hiatus during lockdowns. Come Saturday, July 23, however, they'll cost an extra $1. The price increase marks the first change in 15 years, and will see snags in bread go up from $2.50 to $3.50. And if you're quick to blame inflation, you're right, but it's worth remembering that the whole point of the sausage sizzles is to raise money for community groups. With the price of just about everything going up over the past few months, the community groups, not-for-profit organisations and charities that host the weekend barbecues have asked Bunnings to up the price so that their fundraising activities aren't impacted. When sausages, bread, onions, sauce and oil costs more for them to buy, that's less cash they're making after those snags have been sizzled, then sold to hardware-shopping customers. The entire price increase — the whole price for each snag, in fact — still goes directly to the community group running the barbie. So, while you'll be out an extra dollar, you'll also still be doing an ace deed. Drinks will remain $1.50, which means that you can grab a bite and a beverage for a fiver. On average, each Bunnings sausage sizzle brings in around $800–900, with more than 155,000 held at Bunnings outlets across Australia in the past five years alone — raising more than $140 million in that period. Bunnings' sausage sizzle prices will increase to $3.50 per snag from Saturday, July 23. For more information about the hardware chain, head to its website.
Turn it back up to 11: 41 years after the members of Spinal Tap were first immortalised on film, David St Hubbins (Michael McKean, The Diplomat), Derek Smalls (Harry Shearer, The Simpsons) and Nigel Tufnel (Christopher Guest, Mascots) are scoring their second big-screen moment. As announced in 2022, iconic 1984 mockumentary This Is Spinal Tap is getting the sequel treatment. And if this felt like one of those "I'll believe it when I see it" follow-ups, Spinal Tap II: The End Continues has just dropped its first trailer ahead of hitting cinemas Down Under this spring. Filmmaker Marty DiBergi is also back to chronicle the group's latest antics — which means that IRL director Rob Reiner (The Princess Bride, A Few Good Men) is as well, both playing the fictional part on-camera and helming Spinal Tap II: The End Continues. As the sneak peek shows, he's pointing the camera at a reunion concert and its preparations, including efforts to find a new drummer, merchandising ideas and waxing lyrical about Spinal Tap's journey so far. Elton John, Questlove and Paul McCartney are also sighted in the first glimpse at the new film, as Spinal Tap's estranged bandmates reform, grapple with their past and contemplate their mortality — and ponder how the latter might help bring in fans. Viewers will be able to watch along with their efforts from Thursday, September 25, 2025. If you're new to all things Spinal Tap, the fictional English heavy metal band initially debuted on American TV in 1979; however, it was This Is Spinal Tap that made them legends. With this trio, there is indeed a fine line between stupid and clever. The group behind 'Lick My Love Pump', 'Sex Farm' and 'Hell Hole' have reformed in reality a number of times, too, and released albums. This Is Spinal Tap isn't just an 80s comedy gem that everyone needs to see at least once, and actually several times more than that. Every music documentary since for the past four decades has followed in its footsteps, straightforward and satirical alike. Also, Spinal Tap's name has become shorthand for OTT bands who take themselves too seriously. The OG film is also hitting picture palaces in 2025, re-releasing in 4K from Thursday, August 7. Check out the trailer for Spinal Tap II: The End Continues below: Spinal Tap II: The End Continues releases Down Under on Thursday, September 25, 2025. Images:Bleecker Street & Authorized Spinal Tap LLC.
Summer might be over, but when winter adventures abound somewhere like Tasmania, there's no excuse for hiding indoors. Surrounded by views so awe-inspiring, you really won't care if you need to pack an extra jacket or two. Tasmania may be Australia's smallest state, but it's got a massive reputation, especially among hikers and adventurers from all over the globe. From epic multi-day coastal walks and summit lookouts to remote islands that display the state's famously rugged landscape, Tasmania is a natural wonderland that'll satisfy your explorer spirit. To help you get prepped and planned, we've tracked down five breathtaking places to hike that perfectly express why folks just can't get enough of this beauty. THREE CAPES TRACK Considered one of Australia's most impressive bushwalks, the Three Capes Track combines soaring clifftops that offer incredible views of the Southern Ocean with a myriad of rugged windswept landscape and the possibility of peeping some glittering Aurora Australis. Over the course of 48 kilometres, this multi-day hike tours across the southeast's most famous capes: the trio of Cape Pillar, Cape Hauy and Cape Raoul. Along the way, the natural landscape shifts from woodland to eucalypt forest — before you arrive at the coastline and get a spectacular view of the Blade, which juts out into the ocean. If you feel like making your visit extra-special, consider taking the Three Capes Lodge Walk, dotted with boutique overnight eco-stays and making your adventure a little cosier. [caption id="attachment_718814" align="alignnone" width="1920"] Painted Cliffs on Maria Island. Courtesy of Flow Mountain Bike.[/caption] MARIA ISLAND Just off Tassie's celebrated east coast, Maria Island boasts a seemingly endless variety of wildlife and plants. Whether you're keen on spotting wallabies, Tasmanian devils or wombats, you're bound to see at least one. Plus, in the winter, there are fewer crowds here so you'll get all of these sights practically to yourself. There's also an astounding range of natural landmarks, such as the island's famed marbled sandstone marvels, The Painted Cliffs and Haunted Bay, which showcases enormous granite cliffs overlooking the sea — a very dramatic site to see during Tasmania's rugged winters. Accessible only by ferry, Maria Island is covered by dozens of spectacular walking tracks with lots of picturesque spots to pitch a tent. There are also firepits already stocked with wood for you to cosy up to at night. If you have less time on your hands, e-bike trips around this World Heritage Listed island are another great way to cover some ground. It'll be quite the active stay and a seriously scenic trip, too — with all those trails highlighting the very best of Tassie's coastline from an offshore vantage. [caption id="attachment_718811" align="alignnone" width="1920"] Tourism Tasmania and James Bowden.[/caption] PANDANI GROVE The drive to Mount Field National Park is almost as special as the destination, with the park located 80 kilometres west of Hobart through the Derwent Valley. Your trip isn't over yet; in fact, you'll have to trek deep into the state's oldest national park, which is often dusted with snow in winter. On your hike, you'll pass rushing waterfalls before reaching the Pandani Grove. This otherworldly nature walk winds its way alongside Lake Dobson and features the rather odd looking pandani fern, which only grows in Tassie and is quite the marvel, especially when cloaked in snow. Even compared to Tasmania's wealth of natural landmarks, Pandani Grove stands out — it's the kind of place you won't find anywhere else in a hurry. MOUNT RUFUS CIRCUIT Starting from the Lake St Clair visitor centre, the Mount Rufus Circuit walk takes hikers on a journey through an incredible display of natural beauty. Take the Watersmeet Nature Trail through a peppermint gum forest and, eventually, you'll come to the Mount Rufus summit track junction. Make a turn upwards and trek seven-and-a-half kilometres to the peak where you'll be welcomed with panoramic vistas that are hard to beat. As well as looking over Lake St Clair far below, you'll also score views of Mount Olympus, the immense Frenchmans Cap and the Franklin River that winds its way through the landscape. And the fact that all of these sights will be dusted with snow, will make your trek through this veritable winter wonderland all the more magical. [caption id="attachment_721403" align="alignnone" width="1920"] Paul Fleming.[/caption] MARIONS LOOKOUT Cradle Mountain is possibly Tasmania's most popular mountain, typifying the rugged terrain that the island is known for. The sprawling region is filled with highlights just about everywhere you look, but few can match the beauty of Marions Lookout — especially when it's covered in snow. To get there, you'll have to be willing to take on a rather strenuous three-hour return trek, but the gradual climb will take you through stunning scenery like snowy forests, white-frosted peaks and around some glacial lakes. Of course, once you reach the summit, you'll almost certainly forget that your legs feel a bit like jelly — unsurprisingly, the 360-degree views of spectacular winter wonderland provide the perfect distraction. Roam the summit and admire the vantage over the rest of Cradle Mountain and the surrounding lakes. Yep, this is quite the hike. Top image: The Candlestick at Cape Hauy by Jason Charles Hill.
If a trip to SXSW has always been on your bucket list, here's an alternative much closer to home: Australia's own — and first — huge five-day technology and music festival. Called Sound West, the new event is headed to Sydney's west in early 2022, and will combine a two-day conference at CommBank Stadium with three days of live music events. Networking, workshops, mentoring, big tech brands and music industry leaders, performances by local, national and international talent — that's all on the bill. Mark Wednesday, March 30–Sunday April 3 in your diary, as that's when Parramatta will play host to an event that's been three years in the making — after the team behind Sound West conceived of giving Greater Western Sydney its own landmark fest. The end result will take over venues large, small and unique, bring together the music and tech industries, and both recognise and develop the next generation of talent in the two fields. Exactly what'll be on the entire lineup won't be revealed until February — which is when tickets will also go on sale — but Dylan Alcott OAM, L-Fresh The Lion, Khaled Rohaim and Serwah Attafuah will all pop up among Sound West's presenters and performers. Alcott will chat about his accessibility-focused music festival Ability Fest, L-Fresh The Lion will collaborate on a number of singer-songwriter initiatives, Rohaim will discuss his work with Rihanna, Ty Dolla $ign and The Kid Laroi (including working from his western Sydney bedroom), and Attafuah will cover her moves in the NFTs and their relevance to the music industry. [caption id="attachment_831234" align="alignnone" width="1920"] Khaled Rohaim[/caption] The program will also feature keynote addresses, panels, one-on-one sessions, live podcasting and interactive activations. SXSW has been known to get creative in the latter space, so fingers crossed that proves the same at Sound West. And, brand-wise, plenty of big music and tech names will be represented, such as NEC Australia, TikTok, Shopify, Warner Music, Universal Music Australia, Live Nation, Apple Music, ARIA and APRA AMCOS. "This region is going from strength to strength through industry development, investment in research and innovation, and a rich cultural foundation that makes for a dynamic city to live, work, visit and host events," said Stuart Ayres, NSW Minister for Tourism and Western Sydney, announcing the festival. "Sound West is the first of its kind in Australia and will bring together brilliant minds, industry leaders and music enthusiasts to share ideas, network and enjoy the creativity of home-grown artists." Sound West Technology and Music Festival will run from Wednesday, March 30–Sunday April 3, 2022, in Parramatta. The full event lineup will be revealed in February — we'll update you with further details then.
Fan art has been deemed the domain of the obsessive. Whether that is reserved for the creator or extends to the viewer is still undecided. Nevertheless, Seinfeld - the show about nothing that graced our television screens for 9 years and 180 episodes - is being remembered in a unique way in Newcastle's ArtHive. During the month of May and thirteen years after the show ended, ArtHive, an artist-run initiative, will be home to a new exhibition, Art Vanderlay. The showcase, curated by Jessica Louttit, will showcase art inspired by the show's 9-season run and feature works from local artists including Mike Foxall, Ry Wilkin, Sarah Mould and "many sponge-worthy others in one huge Seinfeld fan flaunt." The opening night on May 27 will see the exhibition come to life with episodes of the hit television show being beamed onto the walls, prizes awarded for the best character costumes, as well as catered to the brim with your choice of muffin tops, black & white cookies, Junior Mints and Pretzels. To get in contact, share your ideas, get more details, yada yada yada, keep an eye on the gallery's blog at subjecthive.blogspot.com https://youtube.com/watch?v=t_nCmj9IyLo [via Lost at E Minor]
A tribute to Los Angeles in film. Dreaming about somewhere over the rainbow and defying gravity with Wicked stars Ariana Grande and Cynthia Erivo singing the house down. 2025 ceremony host — and four-time Oscar-viewer — Conan O'Brien making a The Substance-inspired entrance, then regaling the crowd and the watching world with a genuinely funny opening monologue. A Real Pain winner Kieran Culkin telling Jeremy Strong how phenomenal he was in The Apprentice when collecting the first award of the night. Parks and Recreation favourite Nick Offerman announcing the presenters. That's how the 97th Academy Awards began. As they went on, this year's Oscars made dreams come true for the folks behind some of the best movies of the past 12 months. Flow, Wicked, Anora, Conclave, The Substance, Emilia Pérez, No Other Land, Dune: Part Two, The Brutalist, I'm Still Here: with A Real Pain, they're now all Academy Award-winners. Accordingly, 2025 is the year that an independent, dialogue-free film about animals — a movie that marked the first-ever Latvian title nominated for an Oscar, and to make good on that nod — won Best Animated Feature, and Flow couldn't be a more-worthy victor. Wicked costume designer Paul Tazewell made history as well, his award for the stage-to-screen musical making him the first Black man to ever take out the category. Best Supporting Actress Zoe Saldaña is the first American of Dominican origin to collect an Oscar statuette, too. I'm Still Here's Best International Feature prize makes it the first Brazilian flick to win that field. For Anora, Tangerine, The Florida Project and Red Rocket's Sean Baker, one of American cinema's great champions of otherwise untold tales, now has multiple Academy Awards — including for directing, writing and editing. Adrien Brody is now a two-time Best Actor winner, nabbing his second trophy 22 years after his first, again for grappling with the horrors of the Holocaust. By the numbers, this was a night of sharing the love, however. Best Picture's Anora wasn't the only film to get a shoutout more than once, even if it was the big winner with five awards. Also victorious multiple times: The Brutalist, Wicked, Dune: Part Two and Emilia Pérez. And, from the Best Picture nominees, only A Complete Unknown and Nickel Boys went home empty-handed — although both deserved better. Among the ceremony's fun, the 2025 Oscars also delivered an ode from Morgan Freeman to the late, great Gene Hackman to start the in-memorium segment, worked in a Bond song-and-dance spectacle, nodded to Kill Bill, honoured Quincy Jones and saw Mick Jagger receive a standing ovation for presenting the award for Best Original Song. When Quentin Tarantino announced Best Director, he was rewarded with thanks from Baker, noting that Anora wouldn't exist if QT hadn't first cast Mikey Madison in Once Upon a Time in Hollywood. The Oscars featured a pitch for a building dedicated to watching streaming movies on the big screen as well, and a Dune and Dune: Part Two sandworm playing various musical instruments. If you needed a reminder of who was hosting, O'Brien wasn't afraid to skew silly, clearly — and savage in some of his jokes, including about standing up to Russians. Wondering what and who won what, and the films and talents that were also contending, at this year's Academy Awards? Check out the full list below — and if you're curious, you can also see what we predicted would and should win, plus our full list of where most of this year's nominees are screening or streaming in Australia right now. Oscar Winners and Nominees 2025 Best Motion Picture Anora — WINNER The Brutalist A Complete Unknown Conclave Dune: Part Two Emilia Pérez I'm Still Here Nickel Boys The Substance Wicked Best Director Anora, Sean Baker — WINNER The Brutalist, Brady Corbet A Complete Unknown, James Mangold Emilia Pérez, Jacques Audiard The Substance, Coralie Fargeat Performance by an Actress in a Leading Role Cynthia Erivo, Wicked Karla Sofía Gascón, Emilia Pérez Mikey Madison, Anora — WINNER Demi Moore, The Substance Fernanda Torres, I'm Still Here Performance by an Actor in a Leading Role Adrien Brody, The Brutalist — WINNER Timothée Chalamet, A Complete Unknown Colman Domingo, Sing Sing Ralph Fiennes, Conclave Sebastian Stan, The Apprentice Performance by an Actress in a Supporting Role Monica Barbaro, A Complete Unknown Ariana Grande, Wicked Felicity Jones, The Brutalist Isabella Rossellini, Conclave Zoe Saldaña, Emilia Pérez — WINNER Performance by an Actor in a Supporting Role Yura Borisov, Anora Kieran Culkin, A Real Pain — WINNER Edward Norton, A Complete Unknown Guy Pearce, The Brutalist Jeremy Strong, The Apprentice Best Original Screenplay Anora, Sean Baker — WINNER The Brutalist, Brady Corbet and Mona Fastvold A Real Pain, Jesse Eisenberg September 5, Moritz Binder, Tim Fehlbaum and Alex David The Substance, Coralie Fargeat Best Adapted Screenplay A Complete Unknown, James Mangold and Jay Cocks Conclave, Peter Straughan — WINNER Emilia Pérez, Jacques Audiard in collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi Nickel Boys, RaMell Ross and Joslyn Barnes Sing Sing, Clint Bentley, Greg Kwedar, Clarence Maclin and John 'Divine G' Whitfield Best International Feature Film I'm Still Here — WINNER The Girl with the Needle Emilia Pérez The Seed of the Sacred Fig Flow Best Animated Feature Flow — WINNER Inside Out 2 Memoir of a Snail Wallace & Gromit: Vengeance Most Fowl The Wild Robot Best Documentary Feature Black Box Diaries No Other Land — WINNER Porcelain War Soundtrack to a Coup d'Etat Sugarcane Best Original Score The Brutalist, Daniel Blumberg — WINNER Conclave, Volker Bertelmann Emilia Pérez, Clément Ducol and Camille Wicked, John Powell and Stephen Schwartz The Wild Robot, Kris Bowers Best Original Song 'El Mal', Emilia Pérez, Clément Ducol, Camille and Jacques Audiard — WINNER 'The Journey', The Six Triple Eight, Diane Warren 'Like A Bird', Sing Sing, Abraham Alexander and Adrian Quesada 'Mi Camino', Emilia Pérez, Camille and Clément Ducol 'Never Too Late', Elton John: Never Too Late, Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin Best Cinematography The Brutalist, Lol Crawley — WINNER Dune: Part Two, Greig Fraser Emilia Pérez, Paul Guilhaume Maria, Ed Lachman Nosferatu, Jarin Blaschke Best Film Editing Anora, Sean Baker — WINNER The Brutalist, David Jancso Conclave, Nick Emerson Emilia Pérez, Juliette Welfling Wicked, Myron Kerstein Best Production Design The Brutalist, Judy Becker, Patricia Cuccia Conclave, Suzie Davies, Cynthia Sleiter Dune: Part Two, Patrice Vermette, Shane Vieau Nosferatu, Craig Lathrop, Beatrice Brentnerová Wicked, Nathan Crowley, Lee Sandales — WINNER Best Visual Effects Alien: Romulus, Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin and Shane Mahan Better Man, Luke Millar, David Clayton, Keith Herft and Peter Stubbs Dune: Part Two, Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer — WINNER Kingdom of the Planet of the Apes, Erik Winquist, Stephen Unterfranz, Paul Story and Rodney Burke Wicked, Pablo Helman, Jonathan Fawkner, David Shirk and Paul Corbould Best Costume Design A Complete Unknown, Arianne Phillips Conclave, Lisy Christl Gladiator II, Janty Yates and Dave Crossman Nosferatu, Linda Muir Wicked, Paul Tazewell — WINNER Best Makeup and Hairstyling A Different Man, Mike Marino, David Presto and Crystal Jurado Emilia Pérez, Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini Nosferatu, David White, Traci Loader and Suzanne StokesMunton The Substance, Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli — WINNER Wicked, Frances Hannon, Laura Blount and Sarah Nuth Best Sound A Complete Unknown, Tod A Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco Dune: Part Two, Gareth John, Richard King, Ron Bartlett and Doug Hemphill — WINNER Emilia Pérez, Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta Wicked, Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis The Wild Robot, Randy Thom, Brian Chumney, Gary A Rizzo and Leff Lefferts Best Documentary Short Subject Death by Numbers I Am Ready, Warden Incident Instruments of a Beating Heart The Only Girl in the Orchestra — WINNER Best Animated Short Film Beautiful Men In the Shadow of the Cypress — WINNER Magic Candies Wander to Wonder Yuck! Best Live-Action Short Film A Lien Anuja I'm Not a Robot — WINNER The Last Ranger The Man Who Could Not Remain Silent The 2025 Oscars were announced on Monday, March 3, Australian and New Zealand time. For further details, head to the awards' website.
If you're a fan of watching smart, rewarding, deep-thinking science fiction, then you're probably a fan of Alex Garland's. Originally an author, he initially came to fame as the writer of 90s bestseller The Beach, before moving into screenwriting with the script for 28 Days Later. More screenplays followed, including Sunshine, Never Let Me Go and Dredd — but it was his 2014 directorial debut Ex Machina that showed the extent of his filmmaking prowess. Annihilation proved a highly worthy addition to his resume in 2018, too, even after it was shuffled onto Netflix rather than screening in cinemas in much of the world. Given his track record so far, any new project by Garland is cause for excitement. In 2020, direct your enthusiasm towards new eight-part series Devs. The writer/director is making the leap to television with a cast led by Nick Offerman — and with Ex Machina's Sonoya Mizuno, Love's Karl Glusman, American Horror Story's Alison Pill and Bad Times at the El Royale's Cailee Spaeny also featuring. Due to start streaming in the US in March — with availability Down Under yet to be confirmed — Devs begins with a premise that doesn't sound all that different from Ex Machina. At a quantum computing company called by Amaya, which is run by an unnerving CEO called Forest (Offerman), things don't seem quite right. That especially seems the case to computer engineer Lily Chan (Mizuno), who believes that Amaya is responsible for the disappearance of her boyfriend. The more she investigates, the stranger and more sinister it all appears, as seen in the show's first trailer. Expect conspiracies, futuristic tech thrills, dark yet vivid images and Offerman sporting a long-locked hairstyle that Ron Swanson surely wouldn't approve of — plus, as the series' sneak peek demonstrates, killer set design. Naturally, the bulk of Devs' mysteries are being kept close to Garland's chest until the show premieres, but the initial teaser still paints an immensely intriguing picture. Check out the trailer below: https://www.youtube.com/watch?v=t8klax373ds Devs starts streaming in the US on March 5 via Hulu, with the series' air date Down Under yet to be revealed. Image: Miya Mizuno, FX Networks.
First came Princess Diana, then Elvis, then Marilyn Monroe. That's not how it happened in reality, of course, but it's how 2022's big biopics are shaping up Down Under. This year has already seen both Spencer and Elvis sashay onto local screens — and, because star-studded movies about stars are a film buff's best friend, or so studios seem to think, Netflix's Blonde will follow come September. Here's hoping that the long-awaited feature — which started shooting back in 2019, but was delayed due to the pandemic — completes a trifecta of excellent recent films about icons, too. It has just as wild, chaotic and tragic a story to tell, and someone just as famous at its centre. This take on Monroe's life is based on the 2000 novel of the same name by Joyce Carol Oates, so it'll spin a piece of biographical fiction; however, looking at the just-dropped full Blonde trailer, there's plenty that sticks with the facts in the movie's frames. Dresses, moments, that titular hair, the husbands, the fame, the scrutiny: they're all a part of this haunting sneak peek at the film, which sees Ana de Armas hopping from Knives Out, No Time to Die and The Gray Man into her biggest role yet. The trailer features her voiceover throughout, explaining the toll that all that success had. "I can't face doing another scene with Marilyn Monroe. Marilyn doesn't exist. When I come out of my dressing room, I'm Norma Jeane," she says. "Marilyn Monroe only exists on the screen," she continues — and that's clearly set to be a constant point throughout the movie. Blonde will peer back at the days when she was only known as Norma Jeane, explore her rise to stardom, and look at her romances as well, all to unpack the gap between who she was in private and the persona that the public demanded. Blonde hits Netflix on Wednesday, September 28, with Australian filmmaker Andrew Dominik both writing and directing, and the cast also featuring Bobby Cannavale (Nine Perfect Strangers), Adrien Brody (Succession), Julianne Nicholson (Mare of Easttown), Xavier Samuel (Elvis) and Evan Williams (Westworld). Of course, de Armas isn't the first actor to step into the icon's shoes — and twirling frocks and diamonds, too — or to do so in an adaptation of Oates' book. Aussie actor Poppy Montgomery (Christmas on the Farm) did the same back in 2001, in a made-for-TV version also called Blonde. Elsewhere, Michelle Williams (Venom: Let There Be Carnage) did the honours in the unrelated 2011 movie My Week with Marilyn, and earned an Oscar nomination in the process, while Mira Sorvino (Shining Vale) and Ashley Judd (Berlin Station) shared the part — one as Marilyn, the other as Norma — in 1996 TV effort Norma Jean & Marilyn. Check out the trailer for Blonde below: Blonde will be available to stream via Netflix Down Under on Wednesday, September 28. Images: 2022 © Netflix.
If you're a fan of whatever huge HBO hit happens to be airing at any given time, Monday public holidays Down Under are an extra-special joy. They mean watching whichever series is currently showing at the earliest moment possible, and also not having to spend your workday avoiding spoilers. Tuning in to see Succession on Easter Monday wasn't just a normal viewing experience, however. So, if you're now wondering what happens after the award-winning show's monumental third episode in its fourth and final season, HBO has dropped a midseason trailer to tease the series' endgame. This sneak peek comes with the biggest of spoiler alerts, obviously. If you aren't up to date on Succession, you shouldn't even be reading this article. But if you're dying to know where the Roy family saga goes from here, you'll obsess over all two minutes and 13 seconds of this glimpse at the show's last-ever seven episodes. "I just didn't see it coming," says Roman (Kieran Culkin, No Sudden Move) to start off the clip. He isn't alone, although Shiv (Sarah Snook, Pieces of a Woman) is swiftly chatting about "coronation demolition derby". Trust cousin Greg (Nicholas Braun, Zola) to pop up, try to stay relevant as he always does, and stress that he's sad — yes, while also attempting to secure his position in the family. Everyone has an opinion on how to handle things, including Waystar Royco's CFO Karl (David Rasche, Swallow) and general counsel Gerri (J Smith-Cameron, Fleishman Is in Trouble) — and, of course, executive and Shiv's estranged husband Tom Wambsgans (Matthew Macfadyen, Operation Mincemeat). Plenty of stern words are spoken, complete with how "the naysayers might frame it". And the deal to sell the firm to Lukas Matsson (Alexander Skarsgård, The Northman) looks shaky. Kendall (Jeremy Strong, Armageddon Time) is floating in a body of water again, while Connor's (Alan Ruck, The Dropout) bid to become the US President sees him polling well in Alaska — and laughing at the suggestion that he should do what's right for the good of the republic. As for the rest, as always in this high-stakes drama about who'll take over business titan Logan Roy's (Brian Cox, Remember Me) multinational corporation, it's best discovered by watching. "Let the games begin!", as Kendall announces. Check out Succession season four's midseason trailer below: Succession streams via Foxtel, Binge and Foxtel On Demand in Australia and Neon in New Zealand. Check out our review of season four. Images: David Russell/Macall B Polay, HBO.
Brisbane-based adventurers, this one's for you. Over the last little while, we've been going on about pristine waterfalls right outside the city, we've pointed you to unusual swimming holes, and we've sent you valiantly exploring on Brisbane's very best walks. Haven't done it all? Haven't found your perfect perfect camping spot? Yet to stake your claim on the ultimate Brisbane outdoor barbecue spot? Fill up your canteen with water (wink), pack a little lunchbox and get going this weekend. Here's a little guide to help you.
There's no end to innovative musical apps, but one of the most successful we've seen must be John Lennon: The Bermuda Tapes, a new iPad app that gorgeously visualises the creative process of a true legend. Made with input from Yoko Ono and with all proceeds going to the Imagine No Hunger campaign, the app is an interactive musical journey resurrecting Lennon’s unreleased demos from his mysterious trip to Bermuda in 1980. Here, he began writing material for the first time in five years and reworking earlier demos, cultivating inspiration from his new surroundings. It is this inspiration that director Michael Epstein has sought to harness, inviting you to steer Lennon’s yacht as he battles thrashing waves solo (in fact, he almost lost his life voyaging through these treacherous waters). Perhaps venture through Bermuda’s gardens and record your own musical fancies, or witness Lennon’s moment of realisation when he recognises Ono’s wailing vocals influencing the music of the B-52’s, pumping through '70s disco speakers. What has been referred to here as 'The Bermuda Tapes' blossomed into John Lennon and Yoko Ono’s final studio album, Double Fantasy. Released in 1980, the album received largely negative reviews for its perceived lapse into sentimentality and familial bliss. However, the shock murder of Lennon three weeks after the album’s release swiftly transformed these criticisms into tributes and reflections on a staggeringly influential career cut short. The fact that the album became coloured by the murder is something Epstein hopes to counter, aiming to reclaim some of the music and spark fresh appreciation untainted by the tragic circumstances. Contemplating what makes a successful album app, Catherine Moore, an associate professor of music business at New York University, told Time magazine.,“My feeling is that unless the app is visually really engaging, really fits with the music, that there’s better ways to spend your creative resources.” It may just be that John Lennon: The Bermuda Tapes meets this criteria. It is an impressive feat of digital storytelling, consisting of six chapters driven by interviews with Lennon and Ono, who comment on their being apart and how this impacted their artistic process. It is a searing portrait of the intimacy and dynamism of their relationship. The app errs more on the side of interactive storytelling than gameplay. There is a profound sense of nostalgia imbued in the gentle and harmonious rhythm of images constantly forming and reforming. Epstein has also achieved a skillful balance between narration, music and interaction — there is no one component that feels intrusive or overbearing. It is an appropriately exploratory aesthetic in accommodating these fragments of lost music and commentary. Epstein also insists upon the need to experience music in a new way, telling Fast Co.Create, "I think this is the logical evolution of the digital platform for music." John Lennon: The Bermuda Tapes offers the industry a much-needed injection of warmth and vitality. It is a technological revival and revamping of one of our most beloved artists and musicians — the best of the past and the future moulded into one. See more of Yoko Ono's works at her exhibition War Is Over! (If You Want It) is on at Sydney's Museum of Contemporary Art Australia until February 23, 2014. Via Fast Co.Create.
First, the glorious news: since Thursday, August 5, all has been right in Melbourne's cinema scene again. For the first time 2019, the Melbourne International Film Festival has been taking over the city's picture palaces, filling them with the best movies it can find and letting film lovers live their most joyous lives. Yes, it's as wonderful as it sounds. Now, the sad news for Melburnians: come Sunday, August 21, this year's in-person MIFF comes to an end. Thankfully, MIFF Play, the festival's online platform, is sticking around for another week. That's a wonderful development for cinephiles located well beyond Melbourne, too, with the digital program showing nationally. Finding something to stream is never difficult these days, but until Sunday, August 28, your usual queue can wait. It'll still be there when you're doing MIFFing on your couch — after popping your own popcorn, pouring a glass of wine, and politely asking your partner or housemate to turn their phone off, to complete the cinema-at-home experience. But when that date rolls by, MIFF Play's impressive lineup won't still be there at the touch of a button. It's the MIFF you can hit up when you can't be at MIFF, and these are our ten must-see picks. Happy watching. HIT THE ROAD How fitting it is that a film about family — about the ties that bind, and when those links are threatened not by choice but via unwanted circumstances — hails from an impressive lineage itself. How apt it is that Hit the Road explores the extent that ordinary Iranians find themselves going to escape the nation's oppressive authorities, too, given that the filmmaker behind it is Panah Panahi, son of acclaimed auteur Jafar Panahi. The latter's run-ins with the country's regime have been well-documented. The elder Panahi, director of Closed Curtain, Tehran Taxi and more, has been both imprisoned and banned from making movies over the past two decades, and was detained again in July 2022 for enquiring about the legal situation surrounding There Is No Evil helmer Mohammad Rasoulof. None of that directly comes through in Hit the Road's story, not for a moment, but the younger Panahi's directorial debut is firmly made with a clear shadow lingering over it. As penned by the fledgling filmmaker as well, Hit the Road's narrative is simple and also devastatingly layered; in its frames, two starkly different views of life in Iran are apparent. What frames they are, as lensed by Ballad of a White Cow cinematographer Amin Jafari — with every sequence a stunner, but three in particular, late in the piece and involving fraught exchanges, nighttime stories and heartbreaking goodbyes, among the most mesmerising images committed to celluloid in recent years. Those pictures tell of a mother (Pantea Panahiha, Rhino), a father (Mohammad Hassan Madjooni, Pig), their adult son (first-timer Amin Simiar) and their six-year-old boy (scene-stealer Rayan Sarlak, Gol be khodi), all unnamed, who say they're en route to take their eldest to get married. But the journey is a tense one, even as the youngest among them chatters, sings, does ordinary childhood things and finds magic in his cross-country road trip, all with zero knowledge of what eats at the rest of his family. WE WERE ONCE KIDS A wide array of movies first hit silver screens in 1995, as they have every year since the advent of the medium. It was the year of Clueless, Before Sunrise, Billy Madison, Empire Records and Casper — and of Casino, Apollo 13, Babe, Showgirls and Seven, too. But only one is the subject of excellent documentary We Were Once Kids, which sees Australian filmmaker Eddie Martin (All This Mayhem, Have You Seen the Listers?) peer back at perhaps the most controversial movie of the 90s. That's the era's judgement, as archival news clips make plain from the outset. When Larry Clark's Kids reached cinemas, the mainstream press was scandalised at its portrait of New York City, the teens who live in it, and the drugs, sex, parties and violence that's shown to be an everyday part of their lives. Even if any of that was actually shocking, it'd have nothing on the tale around the tale — one about a tight-knit group of friends growing up in poverty, meeting Clark and a then 19-year-old Harmony Korine, finding their existence turned into a movie, and getting little more than some screentime and $1000 to show for it. Hamilton Chango Harris is one such Kids alum, aka a skater who temporarily became a movie star. He and his pals enjoyed Clark and screenwriter Korine's attention, and the break from their routines — with skating and partying already a break from their troubles, including parents struggling with addiction, at home. Harris is We Were Once Kids' key subject, but Martin understandably focuses on Justin Pierce and Harold Hunter, who had the biggest hopes for post-Kids fame but tragically aren't here now to tell their own stories. This is a gripping and damning doco about filmmakers who catapulted to success on the back of exploiting the working class, and about the complete lack of care they had for the lives they co-opted and the fallout. One story, from Harris, Pierce and Hunter's friend Highlyann Krasnow, says oh-so-much. She opted out of featuring in Kids when she saw how Clark and Spring Breakers' Korine had sexualised their group. That didn't change the film at all; instead, Chloë Sevigny (Russian Doll) and Rosario Dawson (DMZ) were cast, and are now household names. YUNI Again and again in Yuni, a heartbreaking clash echoes. Its sounds stem from schoolyard gossip, superstitious tut-tutting, ultra-conservative demands and reminders that its titular character shouldn't steal anything purple that she sees. In the third feature from Indonesian filmmaker Kamila Andini (The Seen and Unseen), Yuni (Arawinda Kirana, Angkringan) is a 16-year-old in a Muslim society where agreeing to an arranged marriage is the only thing truly expected of her. When the movie begins, a proposal from construction worker Iman (Muhammad Khan, Memories of My Body) already lingers. After she declines, her classmates chatter. Then another offer comes from the much-older Mang Dodi (first-timer Toto ST Radik), who is looking for a second wife. Yuni knows the accepted myth that any woman who refuses more than two proposals will never wed, but she's also keen to make her own choices. She has a crush on teacher Mr Damar (Dimas Aditya, Satan's Slaves), and spends time with the younger and infatuated Yoga (Kevin Ardilova, Vengeance Is Mine, All Others Pay Cash). She's also the smartest student at her school, with dreams of attending university. Andini's film is full of specifics, diving into the minutiae of Yuni's life — surveying Indonesian society and its customs, the roles thrust upon women from their teenage years, and enormous gap between the path that she's supposed to follow and the yearnings of her heart. This is a movie where scenes of its protagonist hanging out with her friends, whether kicking back on the grass talking about boys or dressing up with her beautician pal Suci (Asmara Abigail, Satan's Slaves 2: Communion), could be scenes from almost any teenage girl's life. Of course, then the reality sinks in, whether in discussions about husbands, babies and virginity tests, or in the teary worries about horrific power imbalances. The ability of poetry to capture everything that can't be easily uttered otherwise also floats through Andini's deeply moving picture, so it should come as no surprise that Yuni is both naturalistic and lyrical. It's precise and universal, follows an easily foreseeable path and yet proves full of surprises, and is astutely directed as well — and Kirana is a star. MASS Two couples, one church, six years of baggage and two absent children. That's one of the equations at the heart of Mass. Here's another: four phenomenal performances, one smart and affecting script that tackles a difficult subject in a candid and thoughtful way, and one powerful directorial debut by actor-turned-filmmaker Fran Kranz. Best known for on-screen roles in Dollhouse, The Cabin in the Woods, Homecoming and Julia, the latter guides gripping portrayals out of Reed Birney (Home Before Dark), Ann Dowd (The Handmaid's Tale), Jason Isaacs (Operation Mincemeat) and Martha Plimpton (Generation) — and crafts a harrowing yet cathartic drama out of the aftermath of a far-too-familiar tragedy, too. The reason that Richard (Birney), Linda (Dowd), Jay (Isaacs) and Gail (Plimpton) are in the back room at a place of worship, discussing their kids with heartbreak etched across their faces? Richard and Linda's son Hayden was a school shooter, killing Jay and Gail's son Evan in his spree, then turning the gun on himself. What can anyone say in that situation? Kranz, who both writes and directs, keeps his screenplay simple — but as loaded with emotion as the scenario obviously requires. He keeps his filmmaking flourishes just as restrained as well; that's a craft in itself, but the cast rather than the technique is the focus here. At first, they utter loaded lines with weighty awkwardness, aka the kind that fills and silences a room. Then, each in their own way, they unleash the hurt, anger, regret, sorrow, misery and more that's festering inside their characters, and that no amount of talking can ever completely capture. Mass is a musing on that very fact, too: that even the most spirited of dialogues, slinging about both carefully chosen and heatedly spur-of-the-money words, can't fix, explain or do justice to the pain that Richard, Linda, Jay and Gail are going through. The end result would make an exceptional, albeit unshakeably distressing, double with We Need to Talk About Kevin, The Fallout or Vox Lux, or even Elephant or Polytechnique as well. LEONOR WILL NEVER DIE To create is to become immortal. Write something that's hopefully committed to print or pixels forever, or direct a film that'll ideally keep reaching eyeballs in some format year after year, and a part of you — the part you've invested in time, sweat, tears and creativity — lives on eternally. That notion haunts playful and perceptive Filipino genre-bender Leonor Will Never Die, which understands the power that making a movie has both for the talents involved and the audiences watching. The eponymous Leonor Reyes (Sheila Francisco, Gulong) is an action-film director, albeit one whose heyday is behind her. She stopped stepping behind the camera after a tragedy, and her family has suffered in the aftermath. With her husband Valentin (Alan Bautista) gone and her favourite son Ronwaldo (Rocky Salumbides and Anthony Falcon) dead, only her other offspring, the concerned, discontent and constantly critical Rudie (Bong Cabrera), remains at her side. But Leonor still types away her ideas, and fantasises about how they'd turn out — including when she's knocked unconscious in an accident, only to wake up inside one of her scripts. To create something, such as a film, its screenplay or both, is also to become a deity in a way. That concept also lingers over Leonor Will Never Die, too, because we're all gods over our own existences. When first-timer feature writer/director Martika Ramirez Escobar has her protagonist thrust into a space that should only dwell in the character's head and pages, this constantly twisting feature ponders agency, control and the power of our choices — and, often, the lack thereof. It explores escapism and wish fulfilment as well, all while proving an inventive and pulpy action flick itself, a thoughtful family melodrama, a rumination on life and regrets, a musing about grief and, frequently, an absurd comedy. Case in point re the latter: Leonor, the cinema-obsessed filmmaker, is knocked into her coma by a falling TV. Once you've seen the film, you'll realise that that sounds like something she'd dream up herself. THE HUMANS If you're the kind of cinephile who likes to theme their viewing around the relevant time of year — holiday-related, primarily — then you're clearly always spoiled for choice. Christmas movies, horror flicks at Halloween, Easter-relevant films: you can build a binge session out of all of them (several in fact, depending on the occasion). The same applies to Thanksgiving, all courtesy of the US, and The Humans is the latest addition to the November-appropriate list. But while it ticks a few easy boxes, including bringing a family together to celebrate the date, steeping their get-together in awkwardness, and having big revelations spill out over the course of the gathering, this A24-distributed release is far creepier and more haunting than your usual movie about America's turkey-eating time of year. Based on Stephen Karam's Tony-winning play, and adapted and directed for the screen by Karam himself, it's downright unsettling, in fact, and for a few reasons. There's the tension zipping back and forth between everyone in attendance, of course; the bleak, claustrophobic, rundown setting, in a New York apartment close to ground zero; and the strange sounds emanating from other units. As a result, seasonal cheer is few and far between in this corner of Manhattan, where the Blake family congregates in Brigid (Beanie Feldstein, Booksmart) and her boyfriend Richard's (Steven Yeun, Nope) new abode. Also making an appearance: parents Deirdre (Jayne Houdyshell, Only Murders in the Building) and Erik (Richard Jenkins, Nightmare Alley), Brigid's older sister Aimee (Amy Schumer, Life & Beth), and their grandmother Momo (June Squibb, Palmer), who has dementia. No one is happy, and everyone seems to have something that needs airing — but there's always the feeling that, in any other location, this might've truly been a joyful affair. Discussions about dreams and nightmares prove revealing, but The Humans points out the thin line between both, whether we're slumbering or waking, several times over in its talky frames. MILLIE LIES LOW A scene-stealer in 2018's The Breaker Upperers, Ana Scotney now leads the show in Millie Lies Low. She's just as magnetic. The New Zealand actor plays the film's eponymous Wellington university student, who has a panic attack aboard a plane bound for New York — where a prestigious architecture internship awaits — and has to disembark before her flight leaves. A new ticket costs $2000, which she doesn't have. And, trying to rustle up cash from her best friend and classmate (Jillian Nguyen, Hungry Ghosts), mother (Rachel House, Cousins) and even a quick-loan business (run by Cohen Holloway, The Power of the Dog) still leaves her empty-handed. Millie's solution: faking it till she makes it, searching for ways to stump up the funds while hiding out in her hometown, telling everyone she's actually already in the Big Apple and posting faux Instagram snaps MacGyvered out of whatever she can find (big sacks of flour standing in for snow, for instance) to sell the ruse. There's a caper vibe to Millie's efforts skulking around Wellington while endeavouring to finance her ticket to her dreams — and to the picture of her supposedly perfect existence that she's trying to push upon herself as much as her loved ones. Making her feature debut, director and co-writer Michelle Savill has imposter syndrome and the shame spiral it sparks firmly in her sights, and finds much to mine in both an insightful and darkly comedic manner. As she follows her protagonist between episodic efforts to print the legend — or post it one Insta picture at a time — her keenly observed film also treads in Frances Ha's footsteps. Both movies examine the self-destructive life choices of a twentysomething with a clear idea of what she wants everyone to think of her, but far less of a grasp on who she really is and what she genuinely needs. While some framing and music choices make that connection obvious, the astute delight that is Millie Lies Low is never a Wellington-set copy. WE ARE STILL HERE It begins with stunning animation, shimmering with the rich blue hues of the sea. From there, everything from lush greenery to dusty outback appears in its frames. The past returns to the screen, and a vision of the present finds a place as well — and crossing the ditch between Australia and New Zealand, and venturing further into the South Pacific, is baked into the movie's very concept. That film is We Are Still Here, which makes an enormous statement with its title, responding to 250 years of colonialism. Of course, filmmakers in the region have been surveying this history since the birth of the medium, because the topic is inescapable. Combining eight different takes from ten Indigenous filmmakers instantly makes We Are Still Here stand out, however — and this Pacific First Nations collaboration, which opened Sydney Film Festival before coming to MIFF, isn't short on talent, or impact. Australian filmmakers Beck Cole (Here I Am), Danielle MacLean (Carry the Flag), Tracey Rigney (A Chance Affair) and Dena Curtis (Back to Nature) add their parts, as do New Zealand directors Tim Worrall (Head High), Richard Curtis (Nanakia), Renae Maihi (Waru), Miki Magasiva (The Panthers), Chantelle Burgoyn (short Tatau) and Mario Gaoa (Teine Sa). Some of their chapters explore heated discussions about whether to fight back, others find understanding in unlikely places, and another heads into the First World War. The same passion — the same determined survey of what it means to live in countries forever changed by James Cook's landing — beats within each, whether peering at the animated stars, trying to survive in the trenches or pondering what might come is earning attention. Understandably, it makes for not just potent but sincere, weighty and moving viewing. PIGGY Hell is other people in Spanish horror film Piggy, an observation that's been made countless times on-screen. Hell is also today's always-online world, another familiar statement. Still, a movie doesn't need to trade in completely new observations to stand out — which this bullying-revenge film definitely does in a plethora of ways. Sadly, its title stems from the taunt slung in its protagonist's direction much too often. A resident of a small, sleepy Spanish village close to the Portuguese border, Sara (Laura Galán, Unknown Origins) is called other names, too, none of them kind. She's also almost drowned by her tormentors during a trip to the local pool, where they're as cruel as anyone can be about her body. That experience comes with consequences, however, when a kidnapper strikes. Sara is a witness, the three mean girls that've made her life miserable go missing, and the right next step isn't straightforward. Galán is astonishing in Piggy, reteaming with writer/director Carlota Pereda after also starring in her 2018 Goya Award-winning short of the same. This full-length expansion is a vicious marvel, too — and it isn't afraid to get brutal either thematically or physically, or to plaster gory sights across its imagery. Indeed here, seeing a murdered corpse weighted down at the bottom of a public pool isn't a pretty vision, unsurprisingly. That said, it also pales in comparison to the nastiness continually thrust Sara's way, and to everything the film sinks a knife into about being a woman today in the process. Piggy is also astonishingly stylish, using its Academy-ratio frames to ramp up the sense of claustrophobia to an immersive degree. Pereda has enjoyed stints behind the lens since 2008, spanning television, shorts and features, but this immediate must-see deserves to put her on the path to a great genre career. LOVE AND OTHER CATASTROPHES There's no doubting that MIFF loves Melbourne. In the festival's 70th year, it's celebrating that fact in a huge way, too, courtesy of a Melbourne on Film program strand. That's the part of this year's overall festival lineup that surveys the way that the Victorian capital has been seen on the big screen over the years, complete with 25 examples — spanning everything from The Story of the Kelly Gang, aka the world's first full-length film, through to the original Mad Max. One absolute must-see, in general and as part of this MIFF showcase, hails from the 90s. The tale it tells couldn't be more relatable, even if you weren't a uni student navigating all of life's chaos three decades back. Indeed, if you only watch one movie from MIFF's Melbourne love-in, Love and Other Catastrophes is that pick — as well as a stellar 1996 debut by writer/director Emma-Kate Croghan, who was only 23 when she made this micro-budget gem. The focus: two film students, Mia (Frances O'Connor, The End) and Alice (Alice Garner, Jindabyne), who've just moved into a new place. They're in need of another housemate, and — as the title makes plain — they do indeed have love and other catastrophes to weather. For starters, while Mia's girlfriend Danni (Radha Mitchell, Girl at the Window) is keen to join them, that'd take their relationship to another level. Then there's Alice's romantic woes, involving both the resident university ladies' man Ari (Matthew Dyktynski, Offspring) and the quiet, besotted Michael (Matt Day, The Unusual Suspects). Yes, as well as being an astute and amusing rom-com, Love and Other Catastrophes is also a who's who of Aussie talent — and the picture that helped put O'Connor and Mitchell on the road to everything from AI: Artificial Intelligence and The Conjuring 2 to Pitch Black and Man on Fire. MIFF Play, the 2022 Melbourne International Film Festival's digital fest, runs from Thursday, August 11–Sunday, August 29. For further details, visit the MIFF Play website.
When a hit show comes to an end, the network behind it often tries to fill the gap with something similar. It's the situation that HBO found itself in last year when Game of Thrones wrapped up, with the US cable channel quickly launching new fantasy series His Dark Materials and committing to making a GoT spinoff called House of the Dragon. And, with Big Little Lies looking like it's also all done and dusted, the station seems to be in the same predicament in the star-studded murder mystery genre as well. Enter The Undoing. Starring Nicole Kidman, and written and produced by Big Little Lies' David E. Kelley, it's definitely a case of HBO sticking with what they know. Kidman plays a successful therapist who appears to have the perfect life, with a loving husband (Hugh Grant), a son (Honey Boy's Noah Jupe) attending an elite school and her first book about to be published. Then a violent death sparks a chain of revelations that shatters her life as she knows it. Also part of the plot, as seen in the show's first teaser, its second teaser as well and now its just-dropped new full trailer: a missing spouse, plenty of public attention, a heap of interrogations and a plethora of tough choices for Kidman's Grace Fraser. It'll all play out as a once-off limited series — although that was originally the case with Big Little Lies before it came back for a second season. Based on the novel You Should Have Known by Jean Hanff Korelitz, The Undoing also features The Burnt Orange Heresy's Donald Sutherland and American Crime Story: The Assassination of Gianni Versace's Edgar Ramirez — with Bird Box director Susanne Bier behind the camera on every episode, just as she was on excellent Emmy-winning mini-series The Night Manager. As for when you'll be able to watch it, it was originally set to premiere sometime in May; however now it'll launch on Monday, October 26. In Australia, it'll screen via Foxtel, Foxtel Now and Binge. Check out the latest teaser below: https://www.youtube.com/watch?v=QWoiNlLqLR8&feature=emb_logo The Undoing will screen in Australia via Foxtel and Binge, with episodes airing weekly from Monday, October 26. Top image: Niko Tavernise/HBO.
In the space of a mere six months across the end of 2023 and beginning of 2024, Godzilla fans have enjoyed not one, not two, but three opportunities to see the now 70-year-old kaiju trample across the screen. Talk about a new empire. Not all of those projects are officially connected. Not all of them unleashed their giant creature upon cinemas. But just like standing at the foot of the lizard-like behemoth, there's been no avoiding the prehistoric reptile's footprint — in Japan's Godzilla Minus One, the film that finally won the Godzilla franchise an Oscar; in American streaming series Monarch: Legacy of Monsters, as led by Kurt and Wyatt Russell playing the same character; and now in Godzilla x Kong: The New Empire, the latest Monsterverse flick, which its TV predecessor also ties in with. Thinking about anything Godzilla-related seven decades into its life brings up a numbers game, then. The Gold Coast-shot Godzilla x Kong: The New Empire is the fifth Monsterverse movie and the seventh entry in the US-made saga that started with 2014's Godzilla. It's the 38th Godzilla film overall. Because King Kong is part of the equation, it's the 13th feature in that franchise, too. In other words, Godzilla x Kong: The New Empire is a flick with a massive history. Director Adam Wingard, who helmed 2021's Godzilla vs Kong first, knows the weight that such a hefty past brings to his second entry in all of the above sagas. That said, the filmmaker behind A Horrible Way to Die, You're Next and The Guest also knows the possibilities that can spring. One such opportunity: having its two titans join forces, rather than do battle. Godzilla vs Kong wasn't the debut picture to pit Japan's scaly icon and the world's most-famous towering simian against each other — that idea dates back to 1962's King Kong vs Godzilla — and Godzilla x Kong: The New Empire isn't the first feature to see how Godzilla can benefit from having friends to fight beside. But Wingard's sophomore Monsterverse film values its titular pairing, which arises to try to save the world from new threats. It also enjoys putting its characters in an action-adventure escapade in Hollow Earth, the titans' home world, as much as being a monster movie. And, it appreciates its human cast, such as the returning Rebecca Hall (Resurrection), Brian Tyree Henry (Atlanta) and Kaylee Hottle (Magnum PI), plus Wingard's The Guest lead Dan Stevens (Welcome to Chippendales) joining as a veterinarian equipped to do dentistry on Kong. Each of Godzilla x Kong: The New Empire's core quintet came to the movie via different paths, and with an array of backgrounds with the fictional creatures they're now linked with. "The origins of my memories of Godzilla and Kong go back as far as I can remember. I think the Godzilla films and the King Kong movies, specifically the original and the 76 one, they've always existed in my reality as far back as I can remember," Wingard tells Concrete Playground. "Specifically, I think that they were playing on daytime television all the time. That's how I would see movies in general, and that's how I got into them in the first place." In contrast, teenager Hottle, who plays Skull Island orphan Jia, is deaf, and made her acting debut in Godzilla vs Kong, notes that "I had heard of them, but that's about it." She continues: "I didn't know much more about either of them. And once I acted in the movie, I thought it was, of course, strange, but a great experience." [caption id="attachment_948230" align="alignnone" width="1920"] Eric Charbonneau/Getty Images for Warner Bros.[/caption] Hall's leap into the Monsterverse as "the Jane Goodall of Kong", aka Dr Ilene Andrews, slots in on her resume alongside the vastly dissimilar Vicky Cristina Barcelona, The Town, Christine and The Night House — and Tales From the Loop on the small screen — among other work, but also after featuring in Iron Man 3. Henry, who steps into the shoes of conspiracy theorist Bernie Hayes, boasts an Emmy nomination for Atlanta, an Oscar nomination for Causeway and a Tony nomination for Lobby Hero. His recent flicks include Bullet Train and Eternals. And Stevens has period drama Downton Abbey, playing the second half of Beauty and the Beast's title, superhero series Legion and giving German-language dramedy I'm Your Man its humanoid robot on his filmography. Ask them about their time with Godzilla and Kong, as we did, and Hall mentions always wanting to be in "big, iconic kind of movies", Henry says it's a "a place to have fun" and Stevens advises that having the part of Trapper written for him was "a huge honour". With Godzilla x Kong: The New Empire releasing in cinemas Down Under on Thursday, March 28, we also chatted with Wingard, Hottle, Hall, Henry and Stevens about the sense of responsibility behind any Godzilla or Kong entry, and the kind of preparation required for a Monsterverse team-up flick — plus ensuring that the movie was grounded in its human characters, subverting stereotypes, working together, the film's buddy scenario between its eponymous critters and more. On Swinging Into Godzilla and Kong's Huge On-Screen History Wingard is no stranger to entering well-traversed realms. Before hopping behind the camera with the Monsterverse, he directed 2016's Blair Witch, the third flick in the big-screen horror series that began with the low-budget sensation of 1999. Then, in 2017, he gave Japanese manga Death Note an American live-action adaptation. Still, there's no denying that making a Godzilla and Kong movie, and therefore working with characters that date back seven and nine decades, involves a feeling of duty. "It absolutely does," says the director. "And it's such an honour to be able to carry on their legacy, because they've been around since the beginning of special effects in cinema, to a certain degree. The original Kong was so groundbreaking in terms of its approach to stop-motion at the time." "So I don't take that lightly. And what's cool about Godzilla and Kong, those characters, is that there's been so many iterations over the years, and so many tonal takes and stylisations. Even Godzilla as a character, he's existed as a good guy, a bad guy, a metaphor, a character, all these kind of things and everything in-between, and sometimes multiple things at once. So there's a lot to take in, but there's still somehow so many new possibilities of how you can explore them," Wingard continues. "That's why it was so exciting for me to take on this film. Even though I've even made a Godzilla vs Kong movie myself, I still felt like there was still plenty of untapped potential and ways to utilise these characters to innovate the way movies are made. And to be able to lean into a film that has so many long sequences of nonverbal visual storytelling is something you really couldn't do in any other subgenre than this." On Becoming the Heart of a Coming-of-Age Story Within the Monsterverse In Godzilla vs Kong, Hottle's Jia was in as unique a situation as anyone can be in the Monsterverse: as the last surviving member of the Iwi, the tribe that resided on Skull Island, the adopted daughter of Dr Andrews had a bond with Kong like no one else. Godzilla x Kong: The New Empire continues that thread as Jia endeavours to fit in in her new life, and also when she's drawn into Hollow Earth to assist with the ultimate animal pal. "I think that her journey is very tough, but it's a great journey for her," Hottle reflects about Jia's coming-of-age narrative in the new movie. "She grows up, she's older, and she's figuring out how to belong somewhere that she wants to belong — and she's going to get there in the end of her journey." As for what she hopes comes next for Jia, "I think I can see her helping others," Hottle explains. Preparing for her role simply requires "trying to understand the storyline of who Jia is, and what she wants to be as well. So I try to think of that when I'm portraying her character," Hottle also notes. But it's equally crucial that the film is grounded in its humans, especially Jia. "If you watch the whole monster movie, of course that's what we want. But the additive of the human factor, making those connections, and Jia's experience in her journey, that adds more to the movie. It's a great connection to show in this kind of movie," Hottle advises. Ask Hottle what gets her excited about being part of the Monsterverse — and such a pivotal part, too — and she's clear: "my character just being portrayed in a movie — and figuring out who I get to act as, and what I get to act as, as well". On Challenging Damsel-in-Distress Stereotypes in Monster Movies — and Having Fun If you're wondering why Hall initially took on the role of Dr Andrews, "the first time, it was unlike anything I'd done. Also, Adam Wingard pitched it to me as 'the Jane Goodall of Kong', which I thought was such an interesting pitch," she shares. Henry jokes that "he pitched it to me that way too, to get me to come back here" — which is exactly the banter you'd expect about a movie that its three biggest on-screen names, Stevens among them, all describe as plenty of fun. "I wouldn't say that I wasn't a kid that dreamed of being in a Kong or Godzilla movie, but I was a kid that dreamed of being in movie movies — like real popcorn, like entertaining, like big, iconic kind of movies. And this is that opportunity," Hall furthers. "There is so much fun to be had in that." "I am a cinephile sort of snob in many ways, but my snobbery includes good popcorn movies. There are some good, good movies. A good movie is a good movie, is what I'm saying." "So it's everything to me. Plus, there's a history of women in Kong movies that puts them in the damsel-in-distress place, and they're very rarely in positions of authority or capability, or able to call the shots or have any autonomy on some level. And I think that that has been changing over the last few years in this iteration of the Monsterverse. And I think Andrews is a really big step in that direction. In this movie especially, she's really the boss, and that was fun." On Being Able to Further Flesh Out Characters the Second Time Around Henry doesn't just jest about why he joined the Monsterverse. He starts digging into how he prepared for playing Bernie by answering that "channeling my inner neuroses was really fun — to have an outlet to just let it all out, to be able to scream as often as possible, to cry. Oh, were you talking about this movie?". Bernie might be one of Godzilla x Kong: The New Empire's sources of comic relief, but he's still a character that's taken seriously, including by Henry. "I signed on to champion Bernie because I really love Bernie. I love everything about him. I love that he was looked at as a crackpot. I love that he has always been right about his theories. I also love that he found a team," he advises. "He was kind of out there on his own. No one really received him in any kind of way. And Rebecca's character, Dr Andrews, really coming to me and being like 'hey, you are valuable; hey, we actually could use you' was really exciting. And really getting a chance to go in and show all of who Bernie can be: that he had dreams of being a documentarian, that he had these wishes to see Hollow Earth. And then watching him immediately regret it the minute that he gets down there. To me it was like 'aaaah, I get this guy very much'." "So, he was a place to have fun. I got to wear leather. Like, that was truly all I really wanted. I was like 'can we put Bernie in leather?'. And Adam was willing to go along with my ride as well," Henry says. Pointing to Hall and Stevens, he also notes that "to be able to play with them" was among the appeal of returning to the character. "To be completely honest, to be able to play with them, to see that Bernie found a tribe and to find a family — it was a no-brainer to come back." On Leaping From Indie Thrillers to Monster Movies with the Same Director When Stevens starred in The Guest for Wingard in 2014, he'd already amassed a decade of on-screen credits. Downton Abbey had come calling by then as well. But the indie thriller was a breakout performance. At the time, reteaming with his director on a movie about Godzilla and Kong wasn't something he could've conceived would arrive ten years later, however. "I could definitely see Adam going on to direct big movies like this. He's steeped in fandom. He's a guy who worked in the video store throughout his adolescence and watched every single movie in that store. He just knows this world so well and is able to transmit that to fans, transmit that enthusiasm through the screen," Stevens says. "I never dreamed that I would be teaming up with him on this. I loved the job he did on the last movie with these two [Hall and Henry], and I just enjoyed that as a fan. So I was giddy when he asked me to join it, really." "And the fact that they wrote Trapper with me in mind was a huge honour — it made it very, very attractive. But also Trapper is a great character to join this world with. And it really embodies the spirit of fun, I think, that Adam brings to these kind of movies, and enables us to just go on a really wild ride with this one." On Letting Godzilla and King Kong Team Up, Rather Than Battle Each Other Hottle, Hall, Henry and Stevens' on-screen alter egos are Godzilla x Kong: The New Empire's human heroes. Their monster equivalents: both Godzilla and Kong. Neither were born into pop culture as villains. Watching them fight it out, including in Godzilla vs Kong, has always felt manufactured. Here, thankfully, they have other foes to deal with — primarily the Skar King, the orangutan-esque enemy that's been throwing his weight around Hollow Earth — in their roles of protectors of humanity and the natural world. Not just because he helmed Godzilla vs Kong, Wingard understands the appeal of having Godzilla and Kong face off. "I can remember as far back as being in maybe first or second grade and having arguments on the playground about who would win a fight, Godzilla or King Kong. That's just how iconic they are, that kids all know and love them," he notes. But with Godzilla x Kong: The New Empire, he also appreciates that getting Godzilla and King Kong teaming up is a dream scenario. "As a filmmaker, it's just the ultimate stomping ground of being able to play with toys on a creative level. And we're always finding new, interesting ways to explore their realities. These are 300-foot-tall characters, and so it's always fun to try to find things that you can juxtapose onto them that are relatable," he shares. "So, for instance, we have one scene in this film where Kong has some dental work done, and that was something that I was really pushing for right out the gate — because I've also had a lot of dental work done over the years, and had some pretty traumatic experiences. So in a way, I had to work in my own catharsis through Kong's experience of dental work in this movie. But that's just an example of how you're always trying to find relatable ways to re-experience the monsters." Godzilla x Kong: The New Empire opened in cinemas Down Under on Thursday, March 28, 2024. Read our review. Images: courtesy of Warner Bros. Pictures.
They headed Down Under to give the town of Yass a makeover. They toured their first-ever standup show our way back in early 2020, too. Now, to make 2022 a whole lot more fabulous, Queer Eye star Jonathan Van Ness is again venturing to Australia and New Zealand — bringing their latest live show Imaginary Living Room Olympian to Perth, Adelaide, Melbourne, Sydney, Brisbane and Auckland in September and October. On the agenda: not just tales from the Emmy Award-nominated television personality, hit podcaster and hairstylist to the stars' life, which'll definitely be included, but also gymnastics as well. Their last tour was inspired by a lifelong goal of becoming a figure-skating prodigy in time for the 2022 Beijing Olympics, after all. Clearly, that's not something you shake easily, and Van Ness has a gymnastics routine to show audiences this time around. The overarching theme of the show: that's it's not about the destination, but the journey. That might sound like standard advice, but fans of the rebooted Queer Eye know that no nugget of wisdom sounds average or cliched when delivered by Van Ness. The Imaginary Living Room Olympian tour comes after a big few years for Van Ness, including not only Queer Eye — which has notched up six seasons already — but this year's fellow Netflix series Getting Curious with Jonathan Van Ness, which is based on their podcast of the same name. And, there's Van Ness' publishing career, too, courtesy of 2019's Over The Top: My Story and this year's Love That Story: Observations from a Gorgeously Queer Life (plus children's picture book Peanut Goes for the Gold, about a gender non-binary guinea pig). Expect Van Ness' new shows to be popular — their last tour, which played 40 cities worldwide, sold out theatres in the US, the UK, Canada, Australia and New Zealand. View this post on Instagram A post shared by Jonathan Van Ness (@jvn) JONATHAN VAN NESS' IMAGINARY LIVING ROOM OLYMPIAN TOUR 2022 DATES: Friday, September 23 — Riverside Theatre, Perth Sunday, September 25 — AEC Theatre, Adelaide Wednesday, September 28 — Plenary, Melbourne Thursday, September 29 — Aware Super Theatre, ICC Sydney Friday, September 30 — Convention and Exhibition Centre, Brisbane Sunday, October 2 — Kiri Te Kanawa Theatre, Auckland Jonathan Van Ness' Imaginary Living Room Olympian tour heads to Australia and New Zealand September and October 2022. For more information or to buy tickets from 2pm local time on Friday, May 13, head to the tour website.
With so much focus on pollution and how we can reduce it, bikes are a cheap, convenient and environmentally-friendly method of travelling that more and more commuters are choosing. Take a look at some of the emerging trends and ingenious modifications that have been made to the humble bicycle. Forget your fixie, these are the real deal. Silverback Stark Sub Zero Ever left the house only to realise that your iPod is out of battery? You won't have that problem with the Silverback Stark Sub Zero, which has a USB port for charging your iPod, GPS system or phone. This is powered through an electric generator built into the wheel, and the bike's lights are also charged this way. If you ever get lost on a deserted rural road with no means of communication, just keep on peddling until you have enough battery to call your best mate. Edward Kim and Benny Cemoli's INgSOC The INgSOC bicycle also has a charging dock and lights that can be powered by the rider. However, this bicycle also has the advantage of looking like a cross between a transformer and some weird alien offspring. The frame is made out of carbon fibre reinforced polymer, which is incredibly strong and lightweight. The rider can choose to pedal the bicycle for some healthy exercise, or have it run by a battery back when they're in a rush or feeling especially lazy. Conveniently, the battery pack is charged by the rider pedalling. Nippon Basic CycloClean Nippon Basic have managed to develop a bike with a social conscience. The Japanese company's invention purifies water using energy from its rider's pedaling motion. The CycloClean is designed for those living in areas which might not have drinkable water, or places which have been hit by natural disasters. In just 10 hours of riding time, it can purify up to three tonnes of water. Furthermore, it has tyres which cannot be punctured, making it ideal for use in places where surfaces may be rough and inhospitable. If Captain Planet rode a bicycle, you best believe that this would be it. Toto Toilet Bike Neo According to Toto, they are a company that has 'been evolving Japanese toilets', which is no mean feat in and of itself. Here they take it one step further, by building a bike with a toilet on top of it. Before you get really disgusted, rest assured that the bicycle does not run on human waste, but rather livestock waste. The whole point of the bicycle is to promote environmental sustainability, as plumbing products are responsible for much of the emissions that harm Mother Nature. While you may get a few strange looks riding the Toilet Bike Neo, this is the kind of unique and creative campaign that we don't see enough of in the toilet industry. [via PSFK]
Come From Away has already proven an enormous success on Broadway and in London's West End. It has a heap of Tony and Olivier awards to its name as well. And, it has graced the stage in Melbourne, Brisbane and Sydney over the past few years, so Australian audiences have been able to experience its charms. Haven't yet been able to see the acclaimed musical? Already attended, but keen to give it a rewatch? Whichever fits, you'll soon be able to watch it from your couch, because the popular production is bringing its remarkable true tale based on real post-September 11 events to streaming from Friday, September 10. Apple TV+ has announced that it'll be adding a filmed version of the hit musical to its online catalogue. Yes, there's a difference between a filmed version and a film. Come From Away joins Hamilton in falling into the first category, because this streaming release features a recorded version of the play as shot at New York City's Gerald Schoenfeld Theatre. So, you'll be watching footage of a live version of the musical, featuring the Broadway cast (including original and current ensemble members) and directed by Tony-winner Christopher Ashley. If you aren't familiar with the musical's plot or the actual events that inspired it, it's quite the exceptional story. In the week after the September 11 attacks in 2001, 38 planes were unexpectedly ordered to land in the small Canadian town of Gander, in the province of Newfoundland. Part of Operation Yellow Ribbon — which diverted civilian air traffic to Canada en masse following the attacks — the move saw around 7000 air travellers grounded in the tiny spot, almost doubling its population. Usually, the town is home to just under 12,000 residents. To create Come From Away, writers and composers Irene Sankoff and David Hein spent hundreds of hours interviewing thousands of locals and passengers, using their experiences to drive the narrative — and, in many cases, using their real names in the show as well. The result is a musical not just about people coming from away (the term that Newfoundlanders use to refer to folks not born on the island), but coming together, all at a time when tensions were running high worldwide. Since being workshopped in 2012, having a run in Ontario in 2013, then officially premiering in San Diego in 2015, Come From Away has become a global smash. After opening on Broadway in 2017, it was still running before the theatre district closed due to COVID-19. The musical wowed crowds in the West End, too — and, when it first opened in Melbourne in July 2019, it became the Comedy Theatre's most successful musical in the venue's 91-year history. Along the way, the show has picked up a Tony Award for best direction of a musical, six other nominations, and four Olivier Awards out of nine nominations. Apple TV+ hasn't released a trailer for its filmed version of the musical, but you can check out a clip from the Melbourne production below: https://www.youtube.com/watch?v=-zmvy1p2FOE&feature=emb_title The filmed version of Come From Away will be available to stream via Apple TV+ from Friday, September 10. Images: Jeff Busby.
Not all that long ago, the idea of getting cosy on your couch, clicking a few buttons, and having thousands of films and television shows at your fingertips seemed like something out of science fiction. Now, it's just an ordinary night — whether you're virtually gathering the gang to text along, cuddling up to your significant other or shutting the world out for some much needed me-time. Of course, given the wealth of options to choose from, there's nothing ordinary about making a date with your chosen streaming platform. The question isn't "should I watch something?" — it's "what on earth should I choose?". Hundreds of titles are added to Australia's online viewing services each and every month, all vying for a spot on your must-see list. And, so you don't spend 45 minutes scrolling and then being too tired to actually commit to anything, we're here to help. We've spent plenty of couch time watching our way through this month's latest batch — and, from the latest and greatest to old favourites, here are our picks for your streaming queue from November's haul of newbies. BRAND NEW STUFF YOU CAN WATCH IN FULL CAUSEWAY Trauma is a screenwriter's best friend. If on-screen characters didn't have past stresses to overcome or new hardships to cope with — usually both — then dramatic scripts would barely last a few pages. Neither would horror flicks, or thrillers, or plenty of comedies; however, few films are happy to sit with trauma in the way that (and as well as) Causeway does. Starring Jennifer Lawrence (Don't Look Up) as a military veteran sent home from Afghanistan after being blown up, working her way through rehab and determined to re-enlist as soon as she has medical sign-off, this subtle, thoughtful and powerful movie grapples with several stark truths. It knows that some woes do genuinely change lives, and not for the better. It's well aware that many miseries can't be overcome, and completely alter the person experiencing them. It's keenly cognisant that that simply existing can be a series of heartbreaks, and escaping that cycle can be the most powerful motivator in the world. And, when Atlanta and Bullet Train's Brian Tyree Henry enters the picture as a New Orleans mechanic with his own history, it sees the solace that can be found between people willing to face their tough realities together. When Causeway begins, Lawrence's Lynsey is freshly out of hospital, and learning how to walk, dress, shower, drive and do all other everyday tasks again. Even then, she still wants to redeploy. Directed by feature first-timer Lila Neugebauer (The Sex Lives of College Girls), and penned by fellow debutants Ottessa Moshfegh, Luke Goebel and Elizabeth Sanders, the film spies the determination in its protagonist's eyes — and the pain she's trying to bury after she goes home to stay with her mother (Linda Emond, The Patient), gets drawn into old unhealthy dynamics, but finds a friend in Henry's kind, eager but haunted James. There's no cross-country drive with a canine, if the similarly themed Dog comes to mind, but rather a willingness to steep in Lynsey and James' complicated emotions. Neugebauer has the perfect central duo for the movie's key parts, too; neither Lawrence nor Henry's resumes are short on highlights, acclaim or award nominations, but their respective textured, naturalistic and deeply felt performances in Causeway ranks among each's best work. Causeway streams via Apple TV+. CALL JANE Whenever Call Jane peers Elizabeth Banks' way, the look on her face doesn't just speak a thousand words — it screams a million of them, even while she's silent. That said, although first-timer filmmaker Phyllis Nagy (who last penned Carol's screenplay) directs the lens towards her star often, there's nothing quite like Banks' expression in an early pivotal scene. The Charlie's Angels and Brightburn star plays Joy, a happy Chicago housewife with a 15-year-old daughter (Grace Edwards, American Crime Story) and a baby on the way, until she learns that her pregnancy is causing a heart condition. If she remains in the family way, there's a 50-percent chance that she mightn't survive; however, this is 1968 in America, before the Roe v Wade decision that legalised abortion. In the scene in question, Joy is the only woman in the room, and yet the men around her talk about her life and potential death like she isn't even present. Worse: most of those male doctors are only concerned about whether the baby might make it to term. Joy seethes with pain, anger and heartbreak, then secretly takes a path that'll be familiar to viewers of 2022 documentary The Janes, contacting a clandestine service that helps women in such circumstances. As played with charm, warmth, depth and potency by Banks, Joy does more than merely pick up the phone. Soon, she's helping other women cope, alongside a team of ladies led by Sigourney Weaver (Ghostbusters: Afterlife) as Virginia. The latter is also canny casting, bringing both gravitas and understanding to the role — and the rapport between Call Jane's two central figures helps convey not only the urgency driving and importance behind the hotline's existence, but the crucial camaraderie. Still at home venturing decades into the past on-screen, Nagy and cinematographer Greta Zozula ensure that every second looks the rich, authentic period part, and a well-chosen soundtrack adds to the time-capsule feel. Of course, Call Jane isn't merely a look back. It'd be moving, sensitive and inspiring if the situation in the US hadn't changed this year via a Supreme Court ruling, once again putting women in Joy's situation, but now it acts as a cautionary tale as well, not to mention a reminder about banding together to fight back. Call Jane streams via Prime Video. WEDNESDAY It's a truth that Morticia, Gomez, Wednesday and Pugsley would treasure: nearly a century might've passed since The Addams Family first graced the pages of The New Yorker in the 1930s, but this creepy, kooky, mysterious and ooky brood will never die. America's first macabre family keeps entrancing and enchanting audiences, luring them in with their unflinching embrace of the eerie, the gothic, and the all-round dark and twisted. Forget bumps, jumps, screams and shrieks, however; this off-kilter crew might pal around with a severed limb and adore graveyards, but they also delight in a gloriously eclectic, eccentric, embrace-your-inner-outcast fashion, as the 1960s TV show, 1991's live-action film The Addams Family and its 1993 sequel Addams Family Values, and now new Netflix series Wednesday understands and adores. The Addams Family's latest go-around arrives stitched-together as so much is of late. Netflix's algorithm has accurately gleaned that viewers love cartoonist Charles Addams' horror-influenced creations. It knows that people like mysteries and teen coming-of-age tales, two of the platform's favourite genres. And, the service is well-aware that already-beloved big names are a drawcard. Throw in Tim Burton directing like it's his 80s and 90s heyday, current scream queen Jenna Ortega sporting the trademark plaits, 90s Wednesday Christina Ricci returning in a new part, and a supernatural school for unusual children complete with Miss Peregrine's Home for Peculiar Children-meets-Hogwarts vibes, and Wednesday's various pieces are as evident as the sewn-on limbs on Frankenstein's monster. And yet, while seeing why and how Netflix has crafted this series, and which levers it's pulling to electrify its experiment, is as easy as getting a killer glare from Wednesday's teenage protagonist, enjoying every second because it's astutely, knowingly and lovingly spliced together is just as straightforward — especially with Scream, Studio 666 and X star Ortega leading the show so commandingly and convincingly. Wednesday streams via Netflix. Read our full review. 1899 Before the Titanic collided with an iceberg, became one of modern history's most famous tragedies and inspired one of cinema's biggest box-office hits, a different cross-Atlantic liner sailed into chaos. So says Dark's Jantje Friese and Baran bo Odar, with the German pair's new — and wholly fictional — Netflix series 1899 taking place onboard the steamship Kerberos 13 years before the sinking that everyone knows about. This vessel is travelling from England to America with 1400 crew and passengers, filling everywhere from stately rooms to jam-packed halls. Among its number: Maura Franklin (Emily Beecham, The Pursuit of Love), a rare female doctor at the time; Kerberos' captain Eyk Larsen (Dark alum Andreas Pietschmann); and everyone from French newlyweds hardly in the throes of married bliss to a devoutly religious Danish family. Then the ship receives word of a missing craft. Owned by the same company, the Prometheus took the same route four months prior, and was thought to have disappeared without a trace until that distress signal beckons. Friese and bo Odar love a mystery, and 1899 has a hefty one right from the outset. Friese and bo Odar also love making labyrinthine puzzle-box shows that keep dropping clues, twists, and philosophical ideas about the meaning and point of existence in aid of the bigger picture — aka an approach that made 2017–20 German-language effort Dark such a massive and deserving success. Here, they ensure that sparks ignite twice by diving even deeper into their favourite themes, tactics and flourishes, and delivering a boatload of thrills, suspense and intrigue. With Friese and bo Odar pulling the strings, Dark and now 1899 instantly grab attention with their riddles, nightmarishly brooding mood and — as one series put right there in its name — their willingness to get and stay dark. Throw in the pair's penchant for existential musings, trippy setups and premise-shattering revelations, and both shows are catnip for mystery lovers. 1899 streams via Netflix. Read our full review. THE ENGLISH It tells of gold rushes, of brave and dusty new worlds, and of yellow frontiers stretching out beneath shimmering and inky blue skies; however, the true colour of the western is and always will be red. This isn't a genre for the faint-hearted, because it's a genre that spins stories about power and its brutal costs — power over the land and its Indigenous inhabitants; power-fuelled in-fighting among competing colonialists; and power exercised with zero regard for life, or typically for anyone who isn't white and male. It's a rich and resonant touch, then, to repeatedly dress Emily Blunt (Jungle Cruise) in crimson, pink and shades in-between in The English, 2022's best new TV western. She plays one instance of the show's namesakes, because the impact of the British spans far beyond just one person in this series — and the quest for revenge she's on in America's Old West is deeply tinted by bloodshed. In her first ongoing television role since 2005, in a stunning and powerful series from its performances and story through to its spirit and cinematography, Blunt dons such eye-catching hues as Lady Cornelia Locke. With a mountain of baggage and cash in tow, she has just reached Kansas when The English begins, seeking vengeance against the man responsible for her son's death. But word of her aims precedes her to this remote outpost's racist hotelier (Ciarán Hinds, Belfast) and, with stagecoach driver (Toby Jones, The Wonder), he has own mission. That the aristocratic Englishwoman arrives to find her host torturing Pawnee cavalry scout Eli Whipp (Chaske Spencer, Blindspot) is telling: the plan is to blame her end on him. Before the first of this miniseries' episodes ends, however, Cornelia and Eli have rescued each other, notched up a body count and started a journey together that sees them each endeavouring to find peace in a hostile place in their own ways — and started their way through one helluva show. The English streams via Prime Video. Read our full review. DEAD TO ME When Dead to Me's ten-episode first season came to an end back in 2019, it was with secrets being exposed, plus a growing list of both woes and deaths. In season two, which dropped another ten episodes in 2020, Jen Harding (Christina Applegate, Bad Moms 2) and Judy Hale (Linda Cardellini, Hawkeye), the chalk-and-cheese pair at the show's centre, had worked through the fallout. There's been plenty to deal with, including the hit and run that left Laguna Beach real-estate agent Jen widowed, Judy's tale about the loss of her fiancé Steve Wood (James Marsden, Sonic the Hedgehog 2) and the truth behind both — as well as the reality of having Steve's kinder, cornier twin brother Ben (also Marsden) around. This is a show about cycles and circles, so when its second outing finished, it was with another accident, this time with Jen and Judy as its victims. That's where season three's ten episodes pick up, with the two women in hospital weathering yet another aftermath to a significant event with yet another round of life-changing consequences. Finding solace in complicated bonds, the strength to confront life's challenges, and the savviness to know when to appreciate the small wins and big delights: that's Dead to Me season three's arc. It's the series' in general, and was long before it was announced that it would finish after a third and final run. Of course, now that it's coming to an end — a fitting one, that keeps recognising the gifts, shocks, joys and sorrows that greet everyone — farewells and heightened feelings frequently go hand in hand. Cue unexpected diagnoses, meddling cops (returnees Diana Maria Riva, Kajillionaire, and Brandon Scott, Goliath), sleuthing federal agents (series newcomer Garrett Dillahunt, Where the Crawdads Sing), old flames (Natalie Morales, The Little Things) and frustrating neighbours (Suzy Nakamura, Avenue 5). And, cue creepy rooms filled with twin dolls, plus outlaw names: Bitch Cassidy and Judy Five Fingers (who chooses which is obvious) as well. Yes, Dead to Me goes all in on as many more plot swings as it can fit in as it rides off into the sunset. In the process, the show's swansong evokes as many emotions as it can, too. Dead to Me streams via Netflix. Read our full review. THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL Two words: Kevin Bacon. That's the festive gift that The Guardians of the Galaxy Holiday Special gives audiences, aka the gift that always keeps on giving. Viewers of this ragtag crew's big-screen adventures so far — including 2014's Guardians of the Galaxy and 2017's Guardians of the Galaxy Vol. 2 — know that Peter Quill aka Star-Lord (Chris Pratt, Jurassic World Dominion) loves the Bacon. Rightly so, too. Accordingly, in what's an obvious but also delightful move, the gang's first small-screen special celebrates the holiday season by trying to give the iconic Footloose, Friday the 13th, Apollo 13 and Wild Things star as a present. New to Christmas and its significance to humans, and knowing that Quill is struggling after a big loss, Mantis (Pom Klementieff, Westworld) and Drax (Dave Bautista, Glass Onion: A Knives Out Mystery) think that their plan is perfectly acceptable, but chaos ensues, including when the two discover Christmas decorations. The second of the Marvel Cinematic Universe's straight-to-streaming specials in 2022, and the second that's occasion-themed as well — following the Halloween-targeted Werewolf by Night — The Guardians of the Galaxy Holiday Special is Marvel at its silliest and fluffiest. Getting gleefully goofy, and retro, has always been Quill and company's vibe, but this 44-minute affair takes that tone to another level. There's no missing how slight it all is, how much heavy lifting Bacon does just by being Bacon in an on-screen realm that worships Bacon, and the fact that it's a piece of marketing timed just when merchandise sales could double as gifts. Nonetheless, the gang's usual writer/director James Gunn (The Suicide Squad) still heartily embraces his brief. A big highlight, other than the vibe, the fun and poignancy that spring, and teenage Groot (Vin Diesel, Fast & Furious 9), is the range of alternative Christmas songs on the soundtrack — starting with The Pogues' 'Fairytale of New York' and including Julian Casablancas and The Smashing Pumpkins' merry contributions. The Guardians of the Galaxy Holiday Special streams via Disney+. NEW AND RETURNING SHOWS TO CHECK OUT WEEK BY WEEK WELCOME TO CHIPPENDALES Scandals are to the true-crime genre like loose bills are to erotic dancers: virtually essential. On-screen stories about real life can exist without getting into ripped-from-the-headlines territory, of course, and performers who disrobe onstage can do their job without crumpled notes being thrust their way. Still, some synergies just work. In 2022, TV writer and producer Robert Siegel has happily mined sordid chapters of the past for two new streaming series, and how — first with the instantly watchable and engrossing Pam & Tommy, and now with the just-as-easy-to- Welcome to Chippendales. The second sees him survey the eponymous male stripping business, of course, showers of dollar notes and all. And for viewers who don't already know the details behind the world-famous touring dance troupe and its West Los Angeles bar origins, as started by Somen 'Steve' Banerjee back in the 70s and earning ample attention in the 80s, the full rundown has far more than scantily clad guys aplenty, lusty women, and bumping and grinding to an era-appropriate soundtrack. Kumail Nanjiani (Eternals) plays Steve, who rustles up the cash to start his own backgammon club by working in a service station for years. His dream place: cool, suave and sophisticated, and somewhere that Hugh Hefner might want to hang out. When a rush of patrons doesn't eventuate, the male dancer idea springs after a night at a gay bar with club promoter Paul Snider (Dan Stevens, Guillermo del Toro's Cabinet of Curiosities) and his playboy model wife Dorothy Stratten (Nicola Peltz Beckham, Holidate). But as business partners change, choreographer and Emmy-winning producer Nick De Noia (Murray Bartlett, Physical) gives the troupe its crowd-pleasing moves, Steve kinds a kindred spirit in accountant Irene (Annaleigh Ashford, American Crime Story) and costume designer Denise (Juliette Lewis, Yellowjackets) comes on board, this twists into a tale of money, envy, squabbles over power and ultimately murder. And yes, both Nanjiani and Bartlett are riveting to watch — as are the dance routines De Noia conjures up. Welcome to Chippendales streams via Disney+. MYTHIC QUEST Starring in short-form ABC iView and YouTube series Content back in 2019, Charlotte Nicdao played a wannabe influencer who hoped that her online antics would bring her fame. Nicdao's career dates back almost two decades now, including past roles on The Slap, Please Like Me and Get Krack!n, but the Australian actor has certainly catapulted to stardom after her #Flipgirl days. In Mythic Quest, her character Poppy Li has also been seeking the spotlight. A gifted coder, as well as the technical force behind the hit video game that gives the series its name, she wants recognition and respect more than celebrity status, however. Three seasons in, she also wants her own hit title, rather than just always being stuck in creative director Ian Grimm's (Rob McElhenney, It's Always Sunny in Philadelphia) shadow. So, they've branched out on their own, away from their big success, in what's supposed to be a true 50/50 partnership — if they can get it together. On-screen, this season is about breaking out of one's comfort zones and embracing new challenges, even if Ian and Poppy are just on a different floor of the same building as Mythic Quest's regular crew — such as neurotic executive producer David Brittlesbee (David Hornsby, Good Girls), his brusk assistant Jo (Jessie Ennis, The Flight Attendant) and disgraced ex-finance head (Danny Pudi, Community). The series itself isn't quite in the same situation, though, because it's still finding new depths to explore by focusing on its characters' relationships with each other. Throwing a motley crew together, watching them bounce around, seeing how they change and grow — if the characters in It's Always Sunny in Philadelphia were capable of significant change and growth, McElhenney's two shows would have plenty in common. They still do, including an incisive ability to satirise and reshape the genre they're each in, aka the workplace sitcom. As Mythic Quest keeps going, it also keeps getting sharper and funnier. Mythic Quest streams via Apple TV+. FLEISHMAN IS IN TROUBLE The title doesn't lie: when Fleishman Is in Trouble begins, its namesake is indeed struggling. He's also perfectly cast. If you're going to get an actor to play an anxious, unravelling, recently divorced man in his forties who's trying to navigate the new status quo of sharing custody of his kids, having a high-powered ex, and being initiated into the world of dating apps and casual hookups, it's Jesse Eisenberg. If his Zombieland character lived happily ever after until he didn't, or his Vivarium character was trapped into a different type of domestic maze, this book-to-screen series would be the end result. Fleishman Is in Trouble has Eisenberg play Toby, a well-regarded hepatologist who is passionate about being able to help people through medicine, but has spent more than a decade being made to feel inferior by Upper East Siders because his job hasn't made him rich enough. His theatre talent agent wife — now former — Rachel (Claire Danes, The Essex Serpent) had the exact same attitude, too, until she dropped their kids off at his place in the middle of the night, said she was going to a yoga retreat and stopped answering his calls. Written to sound like a profile — something that journalist, author and screenwriter Taffy Brodesser-Akner knows well, and has the awards to prove it — Fleishman Is in Trouble chronicles Toby's present woes while reflecting upon his past. It's a messy and relatable story, regardless of whether you've ever suddenly become a full-time single dad working a high-stakes job you're devoted to in a cashed-up world you resent. As narrated by the ever-shrewd Lizzy Caplan (Truth Be Told) as Toby's old college pal-turned-writer and now stay-at-home-mum Libby, Fleishman Is in Trouble dives into the minutiae that makes Toby's new existence such a swirling sea of uncertainty. At the same time, while being so specific about his situation and troubles, it also ensures that all that detail paints a universal portrait of discovering that more of your time is gone, your hopes faded and your future receded, than you'd realised. Everything from class inequality and constant social hustling to the roles women are forced to play around men earns the show's attention in the process, as layered through a show that's both meticulously cast and evocatively shot. Fleishman is indeed in trouble, but this miniseries isn't. Fleishman Is in Trouble streams via Disney+. THE SEX LIVES OF COLLEGE GIRLS That Chalamet family is everywhere. In cinemas, Timothée is currently taking a bite out of another yearning-filled romance — his specialty — in Bones and All. On streaming, The Sex Lives of College Girls starring his sister Pauline (The King of Staten Island) has just returned. After ranking among 2021's new highlights, this university-set comedy gets its second season off to just as charming and energetic a start, and with just as healthy a lashing of the kind of comedy that series co-creator Mindy Kaling is known for. If you watched The Office, The Mindy Project, Never Have I Ever and the TV Four Weddings and a Funeral remake, you know the vibe — but focused on four 18-year-olds navigating their freshman year at a prestigious Vermont college. And, while each one of that key quartet fits a type to begin with, including studious, sporty, posh and funny (yes, they're one short of the full Spice Girls), unpacking those first impressions sits firmly at the heart of the series. This time around, scholarship student Kimberly Finkle (Chalamet), aspiring comedy writer Bela Malhotra (Amrit Kaur, The D Cut), star soccer player Whitney Chase (Alyah Chanelle Scott, Reboot) and the wealthy Leighton Murray (theatre star Reneé Rapp) know what to expect on campus. When season two starts, however, they're persona non grata among the fraternities after season one's events. As well as humorously observing the antics of teenage girls discovering who they are, The Sex Lives of College Girls loves unfurling and interrogating obvious but loaded contrasts, like why its four smart protagonists feel drawn to the frat party scene to begin with. Also earning the show's focus in its latest batch of episodes, as examined with the same warmth, insight and hilarity as its first go-around: income inequality, busting preconceptions, coming out, relationship double standards and starting a comedy magazine. The Sex Lives of College Girls streams via Binge. 2022 CINEMA HIGHLIGHTS WORTH CATCHING UP WITH AT HOME PETITE MAMAN Forget the "find someone who looks at you like…" meme. That's great advice in general, and absolutely mandatory if you've ever seen a Céline Sciamma film. No one peers at on-screen characters with as much affection, attention, emotion and empathy as the French director. Few filmmakers even come close, and most don't ever even try. That's been bewitchingly on display in her past features Water Lillies, Tomboy, Girlhood and Portrait of a Lady on Fire, any of which another helmer would kill to have on their resume. It's just as apparent in Petite Maman, her entrancing latest release, as well. Now 15 years into her directorial career, Sciamma's talent for truly seeing into hearts and minds is unshakeable, unparalleled and such a lovely wonder to watch — especially when it shines as sublimely and touchingly as it does here. In Sciamma's new delicate and exquisite masterpiece, the filmmaker follows eight-year-old Nelly (debutant Joséphine Sanz) on a trip to her mother's (Nina Meurisse, Camille) childhood home. The girl's maternal grandmother (Margot Abascal, The Sower) has died, the house needs packing up, and the trip is loaded with feelings on all sides. Her mum wades between sorrow and attending to the task. With melancholy, she pushes back against her daughter's attempts to help, too. Nelly's laidback father (Stéphane Varupenne, Monsieur Chocolat) assists as well, but with a sense of distance; going through the lifelong belongings of someone else's mother, even your spouse's, isn't the same as sifting through your own mum's items for the last time. While her parents work, the curious Nelly roves around the surrounding woods — picture-perfect and oh-so-enticing as they are — and discovers Marion (fellow newcomer Gabrielle Sanz), a girl who could be her twin. Petite Maman streams via Stan. Read our full review. Need a few more streaming recommendations? Check out our picks from January, February, March, April, May, June, July, August, September and October this year. You can also check out our running list of standout must-stream 2022 shows so far as well — and our best 15 new shows from the first half of this year, top 15 returning shows over the same period and best 15 straight-to-streaming movies up until June.
Prepare to say "accio remote!" and get comfier than Hermione Granger in a library. In the latest news that'll keep you glued to your couch this summer — and your latest fodder for an at-home movie marathon — everyone's favourite boy wizard is now working his magic on Binge. You won't need the Marauder's Map to find these enchanting flicks. Since Thursday, January 21, all eight movies in the Harry Potter series have hit the streaming platform, bringing their Hogwarts-set adventures to Australian audiences. If you've watched your DVD copies from the 2000s so many times that they're showing a little wear and tear — or your laptop no longer has a disc drive — this is butterbeer-worthy news. Yes, everything from Harry's (Daniel Radcliffe) first visit to Platform 9 and 3/4, the Yule Ball, the Triwizard Tournament, many a fluttering snitch and He Who Must Not Be Named are now at your fingertips. Prime viewing for wizards, witches and muggles alike — all 19 hours and 39 minutes of it. The Fantastic Beasts films haven't joined them, though with wizarding journey keeping its focus on the original franchise. If you're thinking that a time-turner might come in handy over the next few months, we completely understand. And if this sounds like somewhat familiar news, all eight movies were also available on Netflix back in 2019. That's the thing about streaming services, though — unless they're making and funding a movie or series themselves, films and shows can switch platforms as the rights deals behind them change. https://www.youtube.com/watch?v=EG37G--drDs&list=PLnpIp0ksj4UlQWQlPaRd6WrI9XSmS6B4u Find Harry Potter and the Philosopher's Stone, Harry Potter and the Chamber Of Secrets, Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet Of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince, and Harry Potter and the Deathly Hallows Part 1 and Part 2 are all now streaming on Binge.
"Texting is tacky," proclaims filmmaker/artist/writer Miranda July. "Calling is awkward. Email is old." So she's come up with a brand new way to communicate in the 21st century: an app called Somebody. Here's how it works. You send your friend a message, but rather than going directly to their phone, it goes to the Somebody user in closest proximity. This individual delivers the message, in person. Hence, the app facilitates all the instantaneity of modern digital communication, as well as a dose of good, old-fashioned face-to-face contact. As the Somebody site quips, it's 'half-app/half-human'. It's also a public art project. July first came up with the concept in March 2014 and developed it with the help of designer Thea Lorentzen and a team from StinkDigital, along with support from Miu Miu. The app and an accompanying film — the eighth commission in Miu Miu's Women's Tales series — premiered on August 28. https://youtube.com/watch?v=iz13HMsvb6o "Somebody is a far-reaching public art project that incites performance and twists our love of avatars and outsourcing — every relationship becomes a three-way," states the official site. "The antithesis of the utilitarian efficiency that tech promises, here, finally, is an app that makes us nervous, giddy and alert to the people around us." Your messages don't have to be restricted to words — your messenger can also follow actions and directions (i.e. dance, hug, cry and so on) — as long as they're game. If the timing isn't right, the recipient can decline involvement. Plus, the sender can select from a variety of potential messengers by previewing photos and performance ratings. When there's a lack of users in the vicinity, the message can be floated until someone turns up. July will speak publicly about Somebody at New York City's New Museum on October 9, and the app will be progressively launched throughout the Northern Hemisphere over Spring. Right now, hotspots are in action at the Los Angeles Country Museum of Art; Yerba Buena Center for the Arts, San Francisco; the Portland Institute of Contemporary Art; the Walker Art Center, Minneapolis; and Museo Jumex, Mexico City. It's in these places that you're likely to find a high concentration of Somebody users. If you want get the trend happening here in Australia, get the ball rolling and download the app for free from the Apple store. Image: Miranda July and Miu Miu.
In 2022, Netflix asked a question: what happens when you take the Australian teen series of the 90s and update it to the 2020s, all while riding a huge wave of nostalgia for all things stemming from three decades back? The answer seemed obvious on paper, but there were no guarantees about the new Heartbreak High revival until it actually arrived. The answer, thankfully, was a worthy successor to the beloved 1994–99 hit that every 90s Aussie kid watched. No one said "rack off" to the Sydney-set show's latest run, clearly, or to its new batch of Hartley High teens, or their fresh dose of messy teen lives. Not Aussie audiences, with the series making Netflix's top ten TV shows in the country for the five weeks after its September 2022 release. And, not the streaming service itself, given that it promptly renewed the show for season two. That was last year's news — and, if you've been hanging out for Heartbreak High's return, Netflix has just started confirming season two details. Firstly, you'll be waiting until 2024 for school to be in session again. Secondly, there'll be a couple of new students. Sam Rechner (The Fabelmans) will play country boy and classic cinema fan Rowan Callaghan, and he's destined for a love triangle. Also, Kartanya Maynard (Deadloch) joins the Hartley crew as Zoe Clarke, who has big thoughts on celibacy — she's in favour — as part of a gang of Puriteens. Attention students! Next season, we'll be joined by some new members of the class... Please make them feel welcome at recess 💔 🏫 #HeartbreakHigh pic.twitter.com/jUNGrdb57N — Netflix ANZ (@NetflixANZ) July 7, 2023 On the returning crew, character-wise: Amerie (Ayesha Madon, The Moth Effect), Harper (Asher Yasbincek, How to Please a Woman), Darren (screen first-timer James Majoos), Quinni (Chloe Hayden, Jeremy the Dud), Dusty (Josh Heuston, Thor: Love and Thunder), Ca$h (Will McDonald, Home and Away), Malakai (Thomas Weatherall, Troppo), Spider (Bryn Chapman Parish, Mr Inbetween), Ant (debutant Brodie Townsend), Sasha (Gemma Chua-Tran, Mustangs FC) and Missy (fellow newcomer Sherry-Lee Watson). Season one started with Amerie becoming a pariah at Hartley after a big revelation — an "incest map" plotting out who's hooked up with who throughout the school — and also struggling with a sudden rift in her friendship with bestie Harper. Attempting to repair her reputation, she called on help from her new pals Quinni and Darren, all while working through her crush on Dusty and developing feelings for Malakai. And that's just the start of the Heartbreak High revival's season one story. In season two, everyone will back for a second term after doing some growing up over the holidays, and Hartley is now the lowest-ranking school in the district. Netflix is teasing that threesomes, chlamydia and burning cars will be distant memory for the gang — but there'll still be teen chaos, of course, or this wouldn't be Heartbreak High. It was back in 2020 that Netflix initially announced that it was bringing the series back — and yes, it sure is a 2020s-era take on the Aussie classic, including everything from friendship fights, yelling about vaginas from the top of a building and throwing dildos at walls through to consent, crime, drugs and police brutality. The original Heartbreak High was a massive deal, and was filled with now-familiar faces, including Alex Dimitriades, a pre-Home and Away Ada Nicodemou, and Avengers: Endgame and Mystery Road's Callan Mulvey as Drazic. It painted a multicultural picture of Australia that was unlike anything else on TV at the time. And, for its six-year run across two Aussie networks, the Sydney-shot show was must-see television — not bad for a series that started as a spinoff to the Claudia Karvan and Alex Dimitriades-starring 1993 movie The Heartbreak Kid, too. Check out the trailer for the Heartbreak High revival's first season below: Heartbreak High season two will arrive sometime in 2024 — we'll update you with an exact date is announced. The show's first season is available to stream now via Netflix. Read our full review.
When Sally Rooney's first page-to-screen hit arrived in streaming queues in 2020, it made instant stars out of Daisy Edgar-Jones and Paul Mescal. The pair's recent respective roles in Fresh and The Lost Daughter sit among plenty more to come, but part of what made Normal People work so devastating well was watching its disarmingly relatable romance play out with fresh faces that could've been anyone. That same idea sits at the heart of Conversations with Friends, too, Rooney's debut novel but second book to leap to television. The quietly magnetic Alison Oliver makes her debut at the 12-part Dublin-set series' centre, and it's a perfect stroke of casting. Available to stream in full via Prime Video from Monday, May 16 — dropping ready to binge, revel in and obsess over, as Normal People did — Conversations with Friends doesn't opt for newcomers across the board, though. That's another savvy move, placing Oliver amid well-known actors Sasha Lane (Loki, American Honey), Jemima Kirke (Sex Education, Girls) and Joe Alwyn (The Souvenir: Part II, The Favourite), who immediately exude engrained confidence. Oliver's character, pensive literature student Frances, is in the same situation. She's always on-edge and on the verge of withdrawing whenever the show's four key characters spend time together, like she feels overwhelmed by everyone else's company. Conversations with Friends didn't have Oliver go method and live Frances' life, of course, but compared to her co-stars, she's a blank slate ready for viewers to see themselves in. Peeking into intimate connections and feeling as though they've been lifted from your own life, or from emotions you've navigated and weathered, is one of Rooney's key skills as a writer. It's true of both Conversations with Friends and Normal People in print, and it's a knack that the same creative team — Rooney as an executive producer, co-screenwriter Alice Birch (Lady Macbeth) and co-director Lenny Abrahamson (Room, Frank) — have brought to both TV adaptations. In text and flickering across the screen, both tales step into complicated romances that simmer with intensity. They confront class clashes and the difficulties that spring from them as well. And, they force contemplative women to confront what they want, who they are, how they'll grow as people and the others they might give their hearts to. In Conversations with Friends, 21-year-old Frances is first poised as the other half in a couple that's not a couple, at least anymore; she went to school with and used to date the outspoken and outgoing Bobbi (Lane), but now the two university students are best friends and spoken-word poetry partners. It's during one of their performances that successful writer Melissa (Kirke) spots the duo's act, compliments them afterwards and invites them over for a swim, then back to her well-appointed house for a drink. Enter Nick (Alwyn), Melissa's actor husband, who holds himself like he'd rather be anywhere but there but is too polite to upset the status quo. He's as reserved and introverted as Frances — and they catch each other's eyes, while Bobbi and Melissa gravitate towards each other. Soon, Frances is part of another couple, one that's only secretly a couple: between the sheets, in stolen moments, and with much awkwardness while trying not to be discovered by either Bobbi or Melissa. As was also such an influential part of Normal People, she's caught in a relationship that's as filled with terse, tense yet deep discussions as it is with instances where saying nothing says everything there is. Despite its name, cut out Conversations with Friends' loaded silences and you could likely reduce its running time by half, but you'd also rip away much of its heart and soul. It's a show about what can't or won't be said; about the interiority that we all live within, some more than others; and about how, when and why we open ourselves up to and allow ourselves to truly become vulnerable with others. Conversations with Friends is catnip for Normal People fans, in other words — and rewardingly so. There's no escaping the similarities, including in the midseason trip abroad, and in the dreamy-yet-naturalistic approach that Abrahamson and fellow director Leanne Welham (His Dark Materials) use to anchor viewers in the show's dramas. Watching along feels like sliding into the series' love quadrangle, observing along even more quietly than Frances often does, but experiencing every emotion — blatant and unspoken — along the way. The mood: swooning melancholy. The look: the kind of cosiness and uncertainty that drips from Ireland's overcast skies and sweater-friendly climes. The sensation: sensitive, realistically messy and deeply lived-in. Hitting bookshelves in 2017, Rooney's novel was her first success, earning buzz after a seven-way auction for the publishing rights, and garnering award nominations. It's a portrait of entangled lives, and the intricate webs that love, lust, friendship and loyalty weave, but it's also a character study of one woman learning how to face and reveal her true self. Frances' affair with Nick, and the ripples it sends through her bond with Bobbi, Bobbi's infatuation with Melissa, and Melissa and Nick's marriage, fuels just one of its narrative threads. Frances' complex relationship with her divorced parents (Derry Girls' Justine Mitchell and Tommy Tiernan), her view of her health and her unwillingness to ask for help even when she needs it most leave just as big of an imprint. It's little wonder, then, that Oliver is Conversations with Friends' most pivotal player — but she's also in fantastic company. Wanting to spend more time watching Bobbi and Melissa's growing connection isn't just a result of Rooney's layered story, but of Lane and Kirke's textured performances and bubbling chemistry. The same proves true of Melissa and Nick's stressed relationship, with Kirke and Alywn compellingly ebbing and flowing through the couple's ups and downs. "Who knows what happens between two people when they're alone?" Frances comments early, chatting to Bobbi about Melissa and Nick — and Conversations with Friends makes its audience desperate to know the answer no matter which possible combination of its four main characters it happens to be focusing on at any given moment. Check out the trailer for Conversations with Friends below: All 12 episodes of Conversations with Friends are available to stream Down Under via Prime Video on Monday, May 16. Images: Enda Bowe/Hulu.
Since 1989, the Piscine Molitor – Paris’s most glamorous interwar swimming spot and namesake of Yann Martel’s fictional hero – has been dry as a bone. Where the world’s first bikini model strutted her stuff and Tarzan once served as lifeguard, graffiti artists have been busy tagging and ravers have been busy, well, raving. In fact, a 2001 dance party run by French collective Heretik saw a 5,000-strong crowd occupy the space. But as of Monday, the indoor pool has been re-filled and re-opened in yet another incarnation. It is now part of a luxury 124-room MGallery hotel, complete with gym, spa, restaurant and bar. And the privilege of visiting for a day comes at the whopping cost of €150 (about $220). Both the 33-metre pool and the 50-metre lido have received a somewhat controversial renovation. Of the original façade, designed by Lucien Pollet, only one small section remains. But the architect behind the changes, Jean Phillipe Nuel, defends them. "We tried to conserve the dialogue between past and present," he told The Guardian. "For example, in the lobby under the original two-metre high ceiling (now mirrored) is a Rolls Royce bought by Eric Cantona, tagged by the American graffiti artist JonOne." Nuel has also managed to preserve several distinguishing Art Deco features, including the mosaics, stained glass images of bathers, blue doors and green railings crucial to Pollet’s original vision: that the Piscine Molitor should resemble an ocean liner. All the fancying up is perhaps less in keeping with Martel’s artistic decisions. The long-surviving, spiritually explorative Pi received his name because his “honorary uncle”, Mamaji, had told his father: “If you want your son to have a clean soul, you must take him one day to swim in the Piscine Molitor”. No mention of an enormous bank account. Via The Guardian.
One of Brisbane's historic sites is enjoying a new life. Since 1889, the building at 271 Grey Street in South Brisbane has been a police station, a squatter's den and a Spaghetti House, as well as a Ship Inn and, most recently, Little Big House. In its latest guise, the two-level Queenslander remains a watering hole. It's still benefiting from the significant spruce up that the building received as Little Big House, in fact. But head by now for a drink, a bite or to while away an afternoon doing both and you'll be hitting up a London-inspired gastropub. Alex Derrick has taken over the heritage-listed spot, renamed it The Rose & Crown and gleaned inspiration from more than two decades spent in Britain — including working in pubs, and winning awards for doing so. Drop in for a drink and you can get a brew of cask beer, with The Rose & Crown the only place in Queensland pouring it straight from the cask. In digs decked out by the aforementioned Bella Derrick, an interior stylist — complete with nods to the UK, of course, and a new three-metre olive tree taking pride of place in the garden — you can also sip your way through the 40-selection wine list, which includes pudding wine. Or, there's the pub's house lager, a heap of other beers on tap and by the bottle, two types of spritzes, and classic cocktails such as margaritas and gimlets. The food menu owes a debt to Britain, naturally. Expect to tuck into scotch eggs, homemade steak and ale pies, pork scratchings, grilled sardine and tomato tarts, beer-battered fish with mushy peas, and Cumberland sausages with mashed potato and onion gravy. Every Sunday, roast dinners are available all day — in beef, chicken and nut varieties, complete with Yorkshire puddings — while dessert options span sticky date pudding and treacle tart. The Rose & Crown also hosts a weekly pub quiz. Prefer belting out a tune instead (whether or not it is by a British artist)? Make a date with the karaoke room. Screens around the place show sport, while live music is on the bill. Also, soaking in a London vibe here comes far cheaper than an airfare to the other side of the world. Images: Axis Productions.
Come with us on now, on a journey through time and space, to the world of Behind The Boosh. You may not hear those words spoken aloud when you walk into the exhibition celebrating British comedy troupe The Mighty Boosh, but fans will think them. When you're peering at behind-the-scenes peeks into Julian Barratt and Noel Fielding's hilarious and surreal creation, as snapped by fellow group member Dave Brown, that's the very first thing that should come to mind. A part of all things Boosh since the troupe was first formed in the 90s, Brown played Bollo the Gorilla, Naan bread, Black Frost and Australian zookeeper Joey Moose. He's also taken care of tour posters, DVDs, set graphics and merchandise; compiled and designed The Mighty Book of Boosh; and had a hand in Boosh music and choreography. And, he's been snapping away with his camera — the results of which are gracing this photography showcase. There aren't enough elbow patches in the world for this exhibition, or shoes filled with Baileys. Whether or nor you can find either — or the black hair dye and strong hairspray needed to get Vince Noir-style locks, green Old Gregg-esque body paint or 60s-era suits that look like they've been taken straight from Howard Moon's wardrobe — heading to Sydney's M2 Gallery and Melbourne's North Gallery this August means getting a glimpse into the minds behind The Mighty Boosh's stage shows and radio series, and obviously the three-season TV gem also called The Mighty Boosh. Brown's two decades of images traverse a history that saw The Boosh become a live smash at the Edinburgh and Melbourne Comedy Festivals, then a 00s cult hit on the small screen. These days, Fielding might co-present The Great British Bake Off and do team captain duties on Never Mind the Buzzcocks, while Barratt has been playing a part in The Great, but they'll always been known for The Boosh. "These images are like children to me, badly behaved children with no manners but also beautifully funny, insanely dressed up children that are two dimensional and don't move," explained Brown of his Behind The Boosh photos. "I love these pics, incredible memories of a special time with my Boosh band of brothers and sharing them with our beautiful Aussie Boosh fans is long overdue." "The love The Mighty Boosh still has to this day is comparable to legendary acts such as Monty Python and continues to draw in people of all ages. It was such a bonus to have a great photographer who was part of the show; Dave never missed anything! I almost find it difficult to look at them because it takes me back immediately to that time, and because Dave was always taking photos, the snaps are genuine; they're not posed," said Fielding. "Dave is a lens with legs! Ever since I have known him, he's had a camera strapped to his face. I have a terrible memory which is why Dave is my saviour, if we are our memories then without Dave Brown I simply would not exist," added Barratt. Brown is also in Australia with the exhibition, which runs from Wednesday, August 2–Sunday, August 6 in Sydney and Wednesday, August 16–Sunday, August 20 in Melbourne. In both cities, on the Saturdays in each, he's doing an artist talk to chat through his work — and being part of a troupe, plus their various onstage and on-screen shows, where anything could happen. In Sydney as well, Brown will hit the decks at Redfern Surf Club's Surfapolooza festival on Saturday, August 5. BEHIND THE BOOSH AUSTRALIAN DATES: Wednesday, August 2–Sunday, August 6 — M2 Gallery, 4/450 Elizabeth Street, Surry Hills, Sydney Wednesday, August 16–Sunday, August 20 — North Gallery, Level 1/55-57 Gertrude Street, Fitzroy, Melbourne Behind the Boosh displays in Sydney and Melbourne in August 2023 — head to the exhibition website for further details. Images: Dave Brown.
The annual Improv Everywhere mp3 experiment proves we've come a long way since the Napster debacle of the early noughties. Interestingly, the New York-based prank collective started in 2001, around the same time Napster was given a court injunction to stop the distribution of copyrighted music on its network. But the eighth installment of the annual prank has made good use of mp3 downloads, casting aside any former copyright stigmas for the convergence of thousands of people in one picturesque setting. This year's prank took place along New York's Hudson River with over 3,500 participants downloading two types of mp3s, each with instructions that culminated in a mass 'silent disco' at Nelson Rockefeller Park during sundown. The participants of this year's prank began as two groups and were asked to wear two different coloured shirts, representing the theme of two tribes coming together. Once the two groups were instructed to meet at Nelson Rockefeller Park, on-the-spot jumping, indiscriminate high-fives to random passers-by, handshaking, slow dancing and linking of the arms took place. The Improv Everywhere prank collective has orchestrated over 100 pranks since 2001, and are behind the now iconic Frozen Grand Central flashmob which has been viewed by 27,513,992 people since 2008. https://youtube.com/watch?v=lrCnh9sT_mc
Wes Anderson and symmetry are virtually synonymous. Wes Anderson and pastel hues, too. And, Wes Anderson and stars such as Jason Schwartzman (I Love That for You), Tilda Swinton (Guillermo del Toro's Pinocchio), Ed Norton (Glass Onion: A Knives Out Mystery), Adrien Brody (See How They Run), Willem Dafoe (The Northman), Tony Revolori (Servant) and Jeff Goldblum (Jurassic World Dominion) are frequently (repeatedly, even) mentioned in the same breath. All of the above gets a big tick in the trailer for the filmmaker's latest film Asteroid City, but so is something else. If you've ever wondered what a Wes Anderson movie would look like with aliens descending on a desert town, you're about to find out. Two years after The French Dispatch hit cinemas, Anderson is returning to the big screen, with his 11th feature hitting cinemas in 2023. And, that movie now has a trailer that is about as Wes Anderson as Wes Anderson gets — a description that every trailer for his flicks, and every picture itself, keeps earning because it keeps proving true. Releasing on June 16 in the US, and August 10 in Australia and New Zealand, Asteroid City sports a Moonrise Kingdom-esque premise. The flick follows a Junior Stargazer/Space Cadet convention in the titular (and fictional) American town in 1955. Students and their parents descend on the contest from around the country, all in the name of scholarly competition; however, then world-changing events shake things up. Anderson isn't one for making the same thing twice, of course, with aliens invading Asteroid City's plot (which was penned by the filmmaker with his frequent writing partner Roman Coppola, who also co-wrote Moonrise Kingdom and The Darjeeling Limited, and has a story credit on Isle of Dogs and The French Dispatch). The trailer for the film firmly gives it its own vibe, too. That's present in the imagery alone, which makes ample use of desert tones to stunning — and yes, sometimes symmetrical — effect. Alongside Schwartzman, Swinton, Norton, Brody, Dafoe, Revolori and Goldblum, fellow Anderson regulars Scarlett Johansson (Black Widow), Jeffrey Wright (The Batman), Liev Schreiber (Ray Donovan), Stephen Park (Warrior) and Bryan Cranston (Better Call Saul) help bring the story to life. They're joined by Tom Hanks (A Man Called Otto), Margot Robbie (Babylon), Steve Carell (The Patient), Matt Dillon (Proxima), Hong Chau (The Whale), Hope Davis (Succession), Rupert Friend (Obi-Wan Kenobi), Maya Hawke (Stranger Things), Jake Ryan (Uncut Gems), Grace Edwards (Call Jane), Aristou Meehan (The Contractor), Sophia Lillis (IT: Chapter Two), Ethan Lee (Mr Robinson) and Rita Wilson (Kimi). Check out the trailer for Asteroid City below: Asteroid City will release in Australia and New Zealand on August 10, 2023. Images: Focus Features.
If there's one thing that puts Australia head and shoulders above the rest of the world when it comes to tourism, it's that you can enjoy every type of climate in one place. Enjoy shredding it on the ski slopes? You're sorted. Love sojourning balmy beaches in your speedos? No worries. Over 18-percent of the country is made up of desert, which also makes Australia one of the best places for the ultimate desert experience. From red sand dunes and dramatic sheer cliffs to wallabies around watering holes and ancient rock formations, the desert could not look any better than in Central Australia. So, we've teamed up with Tourism Central Australia to give you the ultimate desert itinerary in the Red Centre. Want to plan your very own adventure to the Red Centre? Take a look at our handy trip builder to start building your custom itinerary now.
For most, thinking about surrealism means imagining melted clocks, sky-high elephants, cloud-filled eyes and giant apples. Thanks to Salvador Dalí and René Magritte, they're some of the art movement's most-enduring images. While Australia is no stranger to exhibitions about the former, the Art Gallery of New South Wales is currently hosting the nation's first-ever retrospective dedicated to the latter, complete with some of the Belgian artist's best-known pieces. Magritte opened on Saturday, October 26, 2024 as part of the 2024–25 Sydney International Art Series, and runs until Sunday, February 9, 2025 as a Harbour City exclusive. If you're keen to peruse this stunning collection of the surrealist's work, you'll need to see it in the New South Wales capital. More than 100 pieces feature, with 80-plus of them paintings — and if you need proof of why he's considered one of the most-influential figures in 20th-century surrealism, it's all over AGNSW's walls. Stare at The False Mirror at Magritte, for instance, and you'll see an instantly recognisable masterwork that's as dreamy as art gets — all while the masterpiece of a painting from 1929 peers right back. One of Magritte's most-famous creations, it features a massive eye looking at the viewer, while also filled with a cloudy blue sky. It's an unforgettable work, and it's one of the stars of AGNSW's exhibition. Another striking painting that can be gazed upon currently in Sydney: Golconda, Magritte's 1953 work that brings two other pieces of popular culture to mind. Just try not to think about Mary Poppins and The Weather Girls' song 'It's Raining Men' while you feast your eyes on the sight of bowler hat-wearing men streaming down from the heavens. Then there's 1952's The Listening Room (La Chambre d'Écoute), which shows an oversized apple, its green flesh filling an entire room. Fruit might be a regular still-life subject, but there's nothing standard about Magritte's use of apples throughout his art. Like bowler hats, they're among his favourite motifs. Archival materials, photographs and films also feature, in a showcase that's filled with the expected highlights — 1928's The Lovers, 1933's The Human Condition, 1947's The Liberator, 1951's The Kiss and 1954's The Dominion of Light among them — but also probes deeper than the works that everyone immediately knows by sight. Visitors embark on a chronological journey through Magritte's career, starting with his avant-garde early efforts in the 20s, then covering four decades from there. "Many years in the making and drawing upon our unsurpassed international network of collaborative partners, Magritte considers the towering artist's innovative contributions to the broader surrealism movement, while also highlighting the uniqueness and individuality of his artistic vision," explained Art Gallery of New South Wales Director Dr Michael Brand, when Magritte opened in October. "Fundamental to this exhibition is our anticipation to share not only the well-known paintings you would expect to see in a Magritte retrospective but also to shine a light on some surprising aspects of his artistic output, particularly from the period when the artist, working from occupied Belgium during and immediately after the Second World War, created some of the most intriguing and subversive paintings of his career," Brand continued. "Magritte was ahead of his time. He saw himself as a 'painter of ideas' and his legacy extends far beyond the world of art. Today we find his work echoed in diverse creative fields, from fiction and philosophy to cinema and advertising. We can imagine his delight at the ways in which his images continue to circulate and take on new meanings in the 21st century," added Nicholas Chambers, the exhibition's curator as well as Art Gallery of New South Wales' Senior Curator of Modern and Contemporary International Art. [caption id="attachment_959955" align="alignnone" width="1920"] René Magritte 'Golconda (Golconde)' 1953, oil on canvas, 80 x 100.3 cm, The Menil Collection, Houston, V 414 © Copyright Agency, Sydney 2024, photo: Paul Hester.[/caption] [caption id="attachment_959956" align="alignnone" width="1920"] René Magritte 'The listening room (La chambre d'écoute)' 1952, oil on canvas, 45.2 x 55.2 cm, The Menil Collection, Houston, gift of Fariha Friedrich, 1991-53 DJ © Copyright Agency, Sydney 2024, photo: Adam Baker.[/caption] [caption id="attachment_959954" align="alignnone" width="1920"] René Magritte 'The false mirror (Le faux miroir)' 1929, oil on canvas, 54 x 80.9 cm, Museum of Modern Art, New York, 133.1936 © Copyright Agency, Sydney 2024, photo © The Museum of Modern Art, New York/Scala, Florence 2024.[/caption] Magritte is on display at Art Gallery of New South Wales, Art Gallery Road, Sydney, until Sunday, February 9, 2025. Head to the gallery website for tickets and further details. Installation images: installation of the Magritte exhibition at the Art Gallery of New South Wales, 26 October 2024 – 9 February 2025, artworks © Copyright Agency, Sydney 2024, photo © Art Gallery of New South Wales, Mim Stirling.
Hundreds of movies grace Sydney Film Festival's lineup each and every year. Even if you're among the most dedicated of cinephiles, you can't see them all during the event's 12-day annual run. Here's something that you can do, however: add four extra days to your fest experience in 2025, plus a heap of flicks along with it, because SFF is sticking around after its official closing night. When Splitsville wraps up the festival's standard Wednesday, June 4–Sunday, June 15 dates for this year on Sunday, June 15, the Harbour City's major annual cinema celebration won't be saying farewell until 2026 just yet. Extending the movie-watching fun into the following week is a SFF tradition. So, it's adding 16 sessions at Dendy Newtown, Palace Cinemas Norton Street and Ritz Cinemas Randwick between Tuesday, June 17–Friday, June 20. These screenings have been dubbed SFF 2025 Back By Popular Demand, which explains right there in the name why the films on the lineup have been picked. Putting on a bonus session of 2025 Palme d'Or-winner It Was Just an Accident from Iranian writer/director Jafar Panahi comes after the filmmaker was revealed as a surprise SFF 2025 guest at opening night. Also picking up new screenings after hitting Sydney straight from Cannes: The Mastermind, which sees Josh O'Connor (Challengers) and Alana Haim (Licorice Pizza) in a 70s-set heist thriller for director Kelly Reichardt (Showing Up) — and Ari Aster's Eddington, starring his Beau Is Afraid lead Joaquin Phoenix (Joker: Folie à Deux) opposite Emma Stone (Kinds of Kindness ), Pedro Pascal (The Last of Us) and Austin Butler (The Bikeriders). Then there's The Secret Agent, as led by Wagner Moura (Dope Thief) for filmmaker Kleber Mendonça Filho (a Sydney Film Festival Prize-winner for Aquarius); Vie Privée with Jodie Foster (True Detective: Night Country); and Raoul Peck's (I Am Not Your Negro)'s Orwell: 2+2=5. The SFF 2025 Back By Popular Demand program also includes Berlin's Golden Bear-winner Dreams (Sex Love), the near-future Tokyo-set Happyend and Venice award-winning documentary Mistress Dispeller, alongside stepping inside the World Porridge Making Championship in The Golden Spurtle, exploring a music genre's origins via Move Ya Body: The Birth of House and Mr Nobody Against Putin's look at propaganda. Aussie effort Death of an Undertaker, the directorial debut of actor Christian Byers (Bump) — which uses an IRL Leichhardt funeral parlour as its setting — is among the titles scoring encore sessions, too. [caption id="attachment_1008444" align="alignnone" width="1920"] Sundance Institute | photo by Vince Lawrence.[/caption] Sydney Film Festival's 2025 Back By Popular Demand bonus screenings hit Dendy Newtown, Palace Cinemas Norton Street and Ritz Cinemas Randwick between Tuesday, June 17–Friday, June 20. For more information and tickets, head to the festival's website. Sydney Film Festival 2025 takes place from Wednesday, June 4–Sunday, June 15 at various cinemas and venues around Sydney. For more information and tickets, head to the festival's website.
When decorations surround you everywhere you look, carols (and Mariah Carey and Wham!) are the standard soundtrack no matter where you happen to be and tinsel keeps glittering in your line of sight, festive season can feel like an all-encompassing maze of merriment. Head to South Bank from mid-December 2024 and you'll experience that sensation at its most literal. In an all-ages-friendly addition to Brisbane CBD's usual end-of-year shenanigans, the riverside precinct is hosting a Christmas maze, where you'll get wandering and get into the spirit of the season all at once. It's beginning to look a lot like Christmas around town already, but that'll ramp up from Friday, November 22 through till the end of January 2025. Brisbane City's festive fun for this year also features a free light and sound experience at Queen's Wharf, markets, an openair cinema by the water, carols, parades, tiny doors and more, mixing new ways to get jolly with old favourites. With the maze, a variety of experiences will be on offer right up until Friday, January 31, 2025 in South Bank Piazza, changing depending on whether you have kids in tow or are excited about kidulting. While that's a fresh addition to the lineup of Christmas events, South Bank will also welcome back its popular openair Christmas cinema from Saturday, December 14–Sunday, December 22, and its Christmas markets on Little Stanley Street from Friday, December 13–Sunday, December 22. Across Saturday, December 14–Sunday, December 22, the nightly parade will mosey down Little Stanley Street, too, and carols will be sung on South Bank's Riverside Green. Festive-themed performers are set to do the rounds of the precinct as well, photos will be available with Santa and Mrs Claus — by the beach — and there'll also be Christmas workshops for both kids and adults (think: making cookies, wreaths and decorations, for starters). This year's Christmas in Brisbane celebrations will kick off at Roma Street Parkland, however, with the return of The Enchanted Garden with its lights, lasers and soundscape. Before November is out, King George Square's Christmas tree will also be lit. Then, once December kicks in, it's time for the Lord Mayor's Christmas Carols at Riverstage — with a satellite event at Victoria Park / Barrambin — and lights decking out City Hall. The BrisStyle twilight Christmas market is also back. Queen Street Mall's portion of the lineup includes pop-up performances, Uptown's windows will get a makeover for the occasion and, as for the tiny doors, they're all handmade and will be scattered throughout the city from Sunday, December 1–Tuesday, December 24, ready for you to find and marvel at their cuteness. For its first year in existence, Queen's Wharf's contribution to the joy comes courtesy of Sono Lumo — Festive Nights of Sound & Light. Expect an audiovisual show to dazzle the city at dusk across ten nights between Wednesday, December 4–Sunday, December 15 (except for Monday, December 9–Tuesday, December 10), accompanied by DJs and live performances. Brisbane City Council's 2024 Christmas program will take over the Brisbane CBD from Friday, November 22, 2024–Friday, January 31, 2025. Head to the Visit Brisbane website for further details.
A drive to the airport in a rideshare is one of life's mundane experiences, whether or not you're en route to a wedding, and also regardless of if you're meant to be collecting your partner and their dry-cleaned suit along the way. In Fake, this routine journey on an average Melbourne day is a masterclass in tension, a portrait of an unravelling and an unwanted realisation unfurling with no escape. With journalist Birdie Bell (Asher Keddie, The Lost Flowers of Alice Hart) sitting in the backseat as much that she's trusted melts down, it's a stunning episode of television, arriving five instalments into this eight-part Australian thriller that brings its page-to-screen and reality-to-fiction tale to Paramount+ in full from Thursday, July 4. Viewers spend the preceding four episodes of Fake waiting for a moment like this. For those who haven't read Stephanie Wood's memoir of the same name, charting her time dating a former architect-turned-grazier who pairs his grand romantic gestures with erratic behaviour, there's still no doubt that it's coming. It has to, and not just because series creator Anya Beyersdorf (The Twelve) and her co-scribes Jessica Tuckwell (Year Of) and Hyun Lee (Born to Spy) have Birdie's beau Joe Burt (David Wenham, Elvis) note in voiceover that she was onto him from the get-go. While Fake is a love- and lies-fuelled saga, it's also about how someone gets taken in not by the kind of tales that Joe spins but by the emotions that they prey upon, even when their intuition tingles at the outset — and how deceptions like this, from someone manipulating others and someone fooling themselves alike, always shatter. The words "Joe, 51, grazier" on a dating app introduce the ex-property big shot to Birdie; however, everything that he utters on their first date almost halts their romance there. When the pair meet at a sleek bar, he has a business acquaintance (Yuchen Wang, White Fever) in tow and talks only of himself, grandstanding with the recognisable arrogance of someone who refuses to believe (or simply hasn't stopped once to consider) that they aren't the most-interesting person in the room. She cuts and leaves quickly, despite his insistence to the waitstaff that they'll share more wine. Then she ignores his persistent follow-ups afterwards, until she doesn't. Stylistically, Beyersdorf, her co-writers, and also directors Jennifer Leacey (Prosper), Emma Freeman (The Newsreader) and Taylor Ferguson (Fires) adopt two approaches to bringing both Joe's flurry of messages and Birdie's inner questioning to audiences. The contents of texts and emails are written across the screen, overlaid upon the scene's ordinary background — train windows feature heavily — and also spoken aloud, as worries about being almost 50, single and heartbroken from a failed IVF experience are similarly given voice through repeated snippets of conversation. Sometimes, Birdie's own words haunt her. Sometimes, Joe's do. Sometimes, the judgement of her sniping mother Margeaux (Heather Mitchell, Ricky Stanicky) echoes. Combined, the impact is inescapable: when his indefatigable pursuit joins her lifetime of doubts, especially that she's being too fussy and will always be alone, relenting to his overtures and investing in his narrative is the inevitable outcome. Fake relays its story within this psychological space — a place where it's clear to everyone, including to Birdie, that little is right — to explore how a person who investigates for a living succumbs to fantasy over fact. Joe gleefully spins dreams, beginning with his quiet farm life, then escalating into bigger and bolder promises. He also ticks the basics, such as showing interest, sticking around, declaring his love and making Birdie feel like romance hasn't passed her by. But Joe equally has a tale for everything that always seems tall. He misses as many dates as he makes, his excuses mushrooming as well. His ex-wife receives ample blame, frequently with the smack of convenience. He's cagey about specifics, too, and vague and defensive when questioned. When Leacey, Freeman and Ferguson, plus cinematographer Sky Davies (House of Gods), devote Fake's frames to staring Birdie's way, they push Keddie's excellent performance to the fore — and it is exceptional. She's the lead in a yell-at-the-TV type of show, where viewers can't help but say aloud that Birdie is making the wrong choice again and again, and grounding those ill-fated decisions in relatable emotions isn't a simple task. The more that Fake peers, the more that it also turns the sight of its protagonist hoping yet fraying into a mirror. One of Birdie's potential articles at work is about homelessness, a situation that's never as far away as most would like to think — and one of Fake's throughlines is that being Birdie with Joe isn't beyond anyone's realm of possibility. Wenham, no stranger to on-screen shadiness and slipperiness but with memories of SeaChange's Diver Dan still imprinted in Australia's pop-cultural memory, is equally first-rate. His remit isn't straightforward, either, selling the charm that still wins Birdie over in tandem with the sketchiness that's lurking beneath Joe's striving facade — and the character is almost ceaselessly striving — which is a gig on par with both Joshua Jackson (Fatal Attraction) and Edgar Ramirez's (Wolf Like Me) efforts in season one and two of medical-meets-romance scam series Dr Death. Indeed, Wenham does such an unshakeable job as Joe that by the time that Fake spends the aforementioned fifth episode in a car with Birdie, his presence doesn't stop cutting deep, nor showing the scars that it's carving, even just over the phone. It's hardly astonishing, then, that Fake is impossible to stop binge-watching once its first instalment puts its pieces in place: that warning-sign initial date, Birdie's loneliness trumping her niggling uncertainty, society's conditioning that to be a woman of a certain age without a partner and kids is to be a failure, the disappointment that we can all direct at ourselves if we haven't met our own expectations and, of course, the clash of Joe's dubiousness and his magnetism, for starters. It's also far from surprising that when the route to the airport beckons, and one of 2024's best episodes of TV with it, Fake's audience is right there in the Uber with Birdie, riding and feeling the same bumps. Check out the trailer for Fake below: Fake streams via Paramount+ from Thursday, July 4, 2024.
Inimitable frozen dessert guru Nick Palumbo is responsible for making gelato the hottest thing in Sydney served below 0°C. His revered Gelato Messina sets the benchmark for gelato in Australia, taking a traditional Sicilian craft (everything is made from scratch using raw, natural ingredients) and carefully folding in an avant-garde approach towards flavours (there are six to seven specials released each week, with even the most deceptively unassuming beige ones accumulating Facebook likes in the hundreds). Now he's been tasked with the duty of finding one Australian craftsman blending tradition with inspiration. Ketel One has snagged Nick to sit on the judging panel of their Modern Craft Project, which you might remember us talking about here and which you should probably enter if you have a traditional craft, an entrepreneurial spirit and a partiality towards $100,000 cash prizes. Before the competition kicks off we stole a few minutes out of Nick's busy schedule to get the scoop on his idiosyncratic approach to artisan gelati. Concrete Playground (CP): Why gelato? Nick Palumbo (NP): In Messina, Sicily (where we are from) there is a huge culture of gelato and I wanted to create a brand that used traditional craftsmanship but was flexible in the sense that there is no limit to how creative you want to be. CP: What flavours did you launch Gelato Messina with back in 2002? NP: We only had 20 basic flavours back then but there was always a focus on quality. The innovation started to come in about two years later once we gained the trust of our customers. Coconut lychee, which sounds boring now, was our first "experimental flavour" back then. CP: Why did you decide to do the Gelato Messina Lab? NP: Because in the gelateria, we thought we had taken the quality side of things to quite a high level and all we had now was innovation of flavours. We wanted to push the boundaries a bit and marry in the world of high end patisserie with gelato, and saw it as a huge challenge and something that, to our knowledge, no one had done before. CP: The cakes are incredibly intricate — which one is the most satisfying to assemble? NP: The Black Forest, there are lots of components and the end result looks amazing. CP: They also incorporate many ingredients that aren't normally found in frozen desserts. Which ingredient poses the most problems? NP: All the jellies, they are hard to make soft at -18°C! CP: How do you come up with new flavours? NP: Basically we look for inspiration everywhere, especially from the world of patisserie, but it's also about continually finding flavours that work together. CP: What flavour has been the biggest surprise for you in terms of popularity? NP: Salted Caramel and White Choc Chip. It's now our best seller yet but when it first came out I actually heard a few people saying they didn't like it. Now those same people love it. CP: Obviously coming up with flavours must involve a lot of trial and error. What have been some of the errors? NP: Tomato sorbet. CP: I read a story about the frontman of Amy Meredith turning to his Facebook fans to demand the return of this favourite flavour (Elvis the Fat Years, which was then reborn as Christian Skinny Jeans). Is there anyone else you would like to reincarnate as gelato? NP: My three-month-old boy! The Milky Bar Kid. CP: Why did you want to become involved with the Ketel One Modern Craft Project? NP: Because Ketel One is an amazing brand full of history, which is my dream for Messina, and because there is not much in the way of support in this country for young people with a passion to do good things so anything that will help support artisans is something I'd like to be a part of. CP: What is next for Gelato Messina? NP: We open in Bondi in the middle of next year and we open in China (Hangzhou) in April next year. CP: And finally, cup or cone? NP: Silly question, CONE!
They're doing more than just jamming: actors Kingsley Ben-Adir, Lashana Lynch and James Norton, plus writer/director Reinaldo Marcus Green, that is. Teaming up for Bob Marley: One Love, the first major biopic about its namesake — and a film driven by Marley's family, with wife Rita producing with children Ziggy and Cedella, plus their sibling Stephen the music supervisor — this quartet knows that their task is formidable and important. Anyone wondering whether the feature's focal point, a Jamaican icon and the initial person that anyone instantly thinks of when reggae is mentioned, could be loved is pondering a pointless question. Ben-Adir, who stars as Bob fresh from playing one of Barbie's Kens — and steps into another real-life figure's shoes again after giving One Night in Miami its Malcolm X and TV's The Comey Rule its Barack Obama — is among Marley's fans. He has company on the movie; of course, everyone should be. "He was an artist first, and one of the great, great songwriters. I don't know if there's anyone who can write songs [like him]. Like, he's top five, but my number one," he tells Concrete Playground. So for him, his job "was always about trying to understand him as an artist, and as a father, as a man," Ben-Adir explains. "Here's a musician who dedicated his life to writing songs that we now all get to enjoy. Understanding what that meant, to play the guitar and to write that many songs, that many albums, in that ten-year period, it was just incredible." Bob Marley: One Love arrives after documentaries have already had the sun shining on Marley's impact and legacy. A birth-to-death filmic biography isn't its aim or approach, then. The man, the music, the message: that's the movie's trinity as it hones in Bob in the late 70s, specifically around the making and touring of his 1977 album Exodus. The record was named the best album of the 20th century by TIME magazine; however, it's not just its contents but the political context in Jamaica that brought it to fruition that speaks volumes about the man behind it. "That was a period of time of musical genius, musical creation. Bob created Exodus, which was one of the greatest albums of the 20th century — and after the assassination attempt on his life in 1976, [and the] political turmoil in Jamaica, it was just such a rich period of time," says Green. The filmmaker both directs and co-writes, in his first feature since fellow biopic King Richard. "And also, he had made several albums that we can pull from. The backbone of the story is the music. So it felt such like a rich period of time in Bob's life, before he obviously gets sick — it just felt like a really prime time in his life that that captured the essence of who the man was," Green continues. [caption id="attachment_940714" align="alignnone" width="1920"] Antony Jones/Getty Images for Paramount Pictures[/caption] This isn't just a story of one person, either. Turning in the picture's other powerful main performance, Captain Marvel, No Time to Die and The Woman King's Lynch is Rita to Ben-Adir's Bob. It's as much her tale as well. "Frankly, if her voice wasn't as present as it is in the movie, if she wasn't as dynamic a character as she is in the movie, I wouldn't have taken the role," Lynch advises Concrete Playground. "Because I knew from afar before I had the role who she is, what she represents, how respected she is in Jamaica, in Ghana, in different countries over the world — that if it wasn't going to be that, then I don't have any business lending my voice to that." As for Happy Valley, Nowhere Special and Little Women star Norton, another veteran of playing real-life figures after Mr Jones and Rogue Agent, he brings influential record producer and Island Records founder Chris Blackwell to the screen. "It is daunting," he advises. "Especially if they're alive, because you know they're going to watch it — well, they might watch it one day — and there's only one person who's going to give you the full appraisal of your work: it's the person who you just played." With Bob Marley: One Love releasing in cinemas Down Under on Wednesday, February 14, 2024, we also chatted with Ben-Adir, Green, Lynch and Norton about the importance of finding the right person to play Bob, plus making a Bob Marley movie with his family so heavily involved — as well as why a Bob Marley biopic hasn't reached screens before and learning about the singer while working on the film. On Finding the Right Actor to Play Bob Marley — and Being That Actor Reinaldo: "We looked at thousands of tapes from everywhere, everywhere we could find. It's just hard. It's Bob Marley. You're looking for a needle in the haystack — and we're talking really good actors — that it just was really hard to find it. So when I saw Kingsley's tape, it was the first time that I thought it was possible. He had a look. He had an enigma. He had a vulnerability. He had a charisma. And his tape, it was pulling me closer to him. I was leaning in in a way that I hadn't leaned into any of the other tapes, and so I knew that there was a baseline. Obviously I wanted to meet him immediately. I didn't know Kingsley or Kingsley's work — or I didn't remember 'oh, that was the guy that played that'. And so it was interesting to find it and say 'oh, okay, he was a chameleon in those movies, he was able to disappear'. And there was something quite special about that. There was obviously a level of intelligence that I was looking for, somebody that was going to put in the work and be able to make an interpretation of Bob, rather than mimic Bob. So the tape gave me so much excitement that it was possible to even attempt to make a movie about Bob, and from that moment we went on the journey of discovering who the man was." Kingsley: "When the audition came through, I was told that as soon as you get the tape to us, the family will see it within 24 hours. So that's a good motivation to get your shit together and prepare something meaningful or worth sharing. That's what I always do when there's a big audition or interesting audition or something that feels substantial, you just take three to four days — you just need a bit of time to wrap your head around, in this case, Bob. I spent some time really watching him and watching him in concert and listening to some of his interviews. And yeah, I guess when I got the call saying that Ziggy had approved and wanted me to fly over and meet him, it was a pretty special feeling. I didn't have the job, but I was going over to meet Bob's child, which is really surreal." On Making a Movie About Bob Marley with the Help of Bob Marley's Family Kingsley: "Ziggy remembers a lot about him. He was in Zimbabwe with his dad. He was in Jamaica. What was so amazing was that the process of building the character was with Bob's friends and family. So I read all the books, but after a while you just go 'don't need those, I can just call people who knew Bob — I can just call people who were there in London with Bob, I can call people who are on stage with him'. It's really incredible, looking back. It was work, there was a lot to find out and there was a lot of work to do, but I loved working with Ziggy. All throughout the prep, we would message and talk, and then he was there with us every day on set, which was just game-changing. Neville Garrick [Bob Marley's art director] and Ziggy were with us every day from the beginning. And I mean, there wasn't a morning where Ziggy wasn't on set first. He was always there. Any questions? Anytime. And so my process was really our process — it was really a communal thing." Lashana: "You read everything. You read her book — thank god she wrote one. You watch everything. And then you hope that it makes sense. And it did, to a certain extent, until I called for some time with her. Then after I met her, I thought I could just throw away all the information, to be honest. It's really helpful to have facts, but it's more the types of beings that Mrs Marley and that Bob are and were at the time for everybody, is so intricate and so beautiful, that it requires a tapping in of their level of spirituality in order for me to even portray any of her. There needs to be a spiritual connection there. So I ensured that the energy was right, and whenever I didn't feel like I was approaching her well, I had to just take a beat with myself and remember who she is and what she deserves. And thankfully, this production knew that we had the children's support and guidance throughout the shoot. That helped us really get to those sweet spots in the movie." Reinaldo: "It was quite special obviously to meet Ziggy for the first time, and to understand why they were making this movie — and why me, and just try to try to get an understanding of that. Ziggy had seen a short film of mine called Stone Cars. It wasn't even the King Richard Oscar [attention] — he was talking about my short film, which I shot in South Africa, and I thought that was really interesting because I shot that film with no money, with no lights, all natural light. And it was raw, and I think that's what he was after. He was after something raw. He was after something pure. And once I knew that, I knew that he wanted to make something quite special. So that was just a connection. It was an immediate connection, somebody's valuing your short film work as a filmmaker. Since then I had learned a lot, so I was like 'okay, I can take what I learned from my short films and bring that to that'. I can bring that kind of energy. I can bring a City of God energy to this film in a way that maybe we hadn't seen on the screen, or I was hoping that that what we were trying to achieve was something different — not necessarily a musical biopic; a movie like City of God or Black Orpheus, something that felt organic and pure and raw. We were aligned right away when it came to that, to the visuals in the film, and what I wanted to look and feel like. I'm very grateful to him for that, and that was the start to a three-year-long journey." On the Process of Stepping Into Such Influential Figures' Shoes Kingsley: "What was really exciting about it originally, he's an icon and a hero and everyone knows Bob, and there's a huge pressure around that and the family are involved, but really when I started working, it was about understanding the musician — and understanding the meaning of his songs, and understanding what it was that Bob was trying to do. And my mind was just blown. I'd spend a few days on an album, then I'd move on to another one, then I'd get stuck on a song, then I'd be on that song for four weeks. And Cedella, Bob's daughter, sent me some files that only the family have. There were a number of interviews that are not available on YouTube or anywhere. I was listening to them and transcribing them all the way through, even when we were shooting. It was just amazing to get to listen to Bob talk over a 12-year-period so extensively about his religious beliefs, about writing, about life, about everything." Lashana: "I wanted to make sure that she was authentically portrayed, and that she was given the light and the flowers that she deserves — and that her spirit and her energy was in the film. So it was important for me to be able to rest firm in that at the beginning, and then be able to impart, I guess, the wisdom and the information that I gained from meeting her into the script and onto set. I think that the most-daunting thing at the very beginning was the fact that I have a responsibility to Jamaica. I represent Jamaica to the fullest. I'm of Jamaican heritage. My parents were born there. And also this is one of the queens of our country. So I knew that the responsibility was going to be big and that this had to be right. Once I saw how weighty that responsibility was, I just threw it away and decided to just focus on Mrs Marley, because she's who has the voice here and she's who people are going to remember — whether they're learning more about her because they know her already, or they don't know her and they're learning her for the first time. I wanted her portrayal to be balanced." James: "Chris Blackwell was a legend in his own right. In terms of music producers through the ages, there's no one really like him. As people have said, he's more one to introduce reggae to the world than anyone. And if you look at his roster of talent that he's represented and careers that he's launched, his taste is immaculate and he's clearly brilliant at his job. Also, the way that he kind of cross-pollinated, the way that he brought Junior Marvin into The Wailers because he knew the sound it would bring, which is nodded to in the movie — the guy's a genius. I think most music producers would say that there's only been one Chris Blackwell and there only will be one. So it was a responsibility to get him right. It was a pleasure and a privilege to learn about him. It was a privilege to meet him in Jamaica when we premiered the film, and I got to shake his hand — and I think he was approving of my portrayal. He didn't seem too upset, which is which is a relief." On Why a Bob Marley Biopic Hasn't Reached Screens Before Reinaldo: "I think time. Time wasn't right. I know they tried to make it for 30 years. Neville Garrick, who was our consulting producer on the film, told me I think he had tried to make it for 25 years. I had heard names like Oliver Stone and Scorsese, and many, many directors at some point, because everybody loves Bob. I just think time wasn't on their side. Time was on my side. It was the family's time. I think it was hopefully finding the right filmmaker. I think there's a time for everything and for whatever reason, this was our time. And we had to run with it. And also part of it was discovering who was going to play Bob. I think for so long it was trying to find who could carry the weight, who could carry that burden in in a lot of ways. Fortunately for us, it was Kingsley." On Learning More About Bob Marley by Making the Film James: "I was a fan, but like a lot of people, my life as a fan was limited to legend. I think probably when I was a teenager I was given or I brought that compilation, and I gorged on it. It became really, genuinely an important part of my teenage years and my 20s. He provided an apt soundtrack to those periods: the upbeat, celebratory moments; the crashes; the lower, more-pensive moments with 'Redemption Song' or whatever it might be. So I listened to his music and I didn't really know much about the context. And this is why I think this film for me and for hopefully the audience is going to be so important, because you realise that his message is so much bigger than his music. As there's a line in the film, the message and the music can't be separated. But it's been a real journey, a real revelation to me, to understand more about the man and where that message came from — and the fact that it came from struggle. Reinaldo: "I was definitely a fan. Grew up with the music in my household. My dad named me Reinaldo Marcus Green after Marcus Garvey [the Jamaican political activist], who Bob had studied, and so there were all these kismet signs that I was somehow supposed to be the person that helped bring this story to life. And I resisted it like I resist everything. 'Why me? It's too much. It's too hard. This is crazy. This is Bob Marley!'. But it was something about Bob in particular. He's a superhero. He's really unlike any other musician. He's like Peter Parker — he's a common man who then puts on a cape at night and rescues us with his music. It's a fantasy, and it's amazing when you see somebody that has that ability to transform our lives with his music. I mean, it's very rare to get that. You see the face, you see the image on the T-shirts and it's like 'who is that? Who is that man?'. I think we always we always feel that. He's a revolutionary, his spirit, what he was singing for. So going on that discovery was amazing. I only knew the tunes, right? Very rarely do you dissect lyrics. And that was the quest for me in this film, was really trying to understand where the music was coming from. I wasn't so well-versed in Jamaican politics, what was happening at that time, what was really going on — and Jamaica's rich history, and colonialism, and what was happening in politics. And so it was a great way for me to rediscover that period of time and do it through his music. I was hoping that we can weave the film in a way that the music comes out in a very organic way in the film that feels part of the fabric of how we made the movie; it's the DNA, it's the backbone, but it's not a musical." Bob Marley: One Love releases in cinemas Down Under on Wednesday, February 14, 2024. Read our review.
Daniel Craig might be done saying "Bond, James Bond" after bowing out of the 007-focused franchise with No Time to Die, but he hasn't finished playing Blanc, Benoit Blanc yet. After first stepping into the Southern investigator's shoes in 2019's Knives Out, then sliding back in in 2022's Glass Onion: A Knives Out Mystery, he'll slip into the part again in 2025's Wake Up Dead Man: A Knives Out Mystery. Yes, every three years we get a Knives Out movie, or so the trend is playing out. The sleuthing saga's writer and director Rian Johnson announced both the new flick's name and that it'd release in 2025 via social media. "I love everything about whodunnits, but one of the things I love most is how malleable the genre is. There's a whole tonal spectrum from Carr to Christie, and getting to explore that range is one of the most exciting things about making Benoit Blanc movies," the filmmaker who also brought audiences Brick, The Brothers Bloom, Looper, Star Wars: Episode VIII — The Last Jedi and TV's Poker Face (which has been renewed for a second season) noted. The next Benoit Blanc mystery, the follow-up to Knives Out and Glass Onion, is called Wake Up Dead Man. pic.twitter.com/pdDXRDmwcI — Rian Johnson (@rianjohnson) May 24, 2024 That's all there is details-wise for now, however, with no news about the setting or who Blanc will be pointing the finger at — aka which famous names will play Wake Up Dead Man's suspects — unveiled as yet. And, exactly when in 2025 the flick will hit, and also whether it will reach cinemas before arriving on Netflix, also hasn't been revealed. But, the streamer is teasing that this will be Blanc's "most dangerous case yet". So far, Johnson has plunged his detective into a familiar scenario twice, but always ensured that the end result was anything but routine. His trusty setup: bring a group of people together in a family home, mode of transport or lavish vacation setting, then watch on when one thing that always occurs in a whodunnit happens. That'd be a murder, in a formula that Agatha Christie also loved, as book-to-film adaptations Murder on the Orient Express, Death on the Nile and A Haunting in Venice have shown. The author's play The Mousetrap and recent flick See How They Run, which riffs on it, make the same point. And, so does this clearly Christie-inspired franchise. The cast across Knives Out and Glass Onion has been impressive. Chris Evans (Pain Hustlers), Ana de Armas (Ghosted), Jamie Lee Curtis (Haunted Mansion), Michael Shannon (The Flash), Toni Collette (Mafia Mamma), Don Johnson (The Collective), Lakeith Stanfield (The Changeling), Christopher Plummer (Departure), Katherine Langford (Savage River) and Jaeden Martell (Mr Harrigan's Phone) all featured the first time around. In the second flick, Edward Norton (Asteroid City), Janelle Monáe (Antebellum), Kathryn Hahn (Tiny Beautiful Things), Leslie Odom Jr (The Exorcist: Believer), Jessica Henwick (The Royal Hotel), Madelyn Cline (Outer Banks), Kate Hudson (Mona Lisa and the Blood Moon) and Dave Bautista (Dune: Part Two) all co-starred. If you saw either — or any murder-mystery involving a motley crew of characters brought together in one location when someone turns up dead — then you'll know how this movie series works from there. There's a standout setting, that big group of chalk-and-cheese folks, threats aplenty and just as much suspicion. There's obviously no trailer yet for Wake Up Dead Man: A Knives Out Mystery, but there is a video announcing the title, which you can check out below — alongside the trailers for Knives Out and Glass Onion: A Knives Out Mystery: Wake Up Dead Man: A Knives Out Mystery will release sometime in 2025 — we'll update you with an exact date when one is announced. Read our reviews of Knives Out and Glass Onion: A Knives Out Mystery. Images: John Wilson/Netflix © 2022.
Prepare to spend more time scrolling through streaming queues from this November onwards — that's when Apple's new film and television platform will arrive. Called Apple TV+, announced earlier this year and just revealing that it'll launch on November 1, the new subscription service will feature a heap of new original television shows, movies and documentaries. They'll all be available ad-free and on demand, with access via the company's existing Apple TV app and the Apple TV+ website. The platform will debut just a few weeks before Disney's new streaming service, Disney+. And, like the Mouse House's foray into the world of online viewing, Apple TV+ will come relatively cheap. Australian viewers will be able to subscribe for $7.99 per month, while New Zealanders can sign up for $8.99 per month. While Apple doesn't have its own decades-old library of content to draw upon, like its sizeable competitor, it is investing a heap of cash into new shows. The company has revealed a sizeable lineup of new original series it hopes will attract your TV-loving eyeballs — and plenty of stars to go with them. https://www.youtube.com/watch?v=BVsM4gvkQXo Fancy watching Reese Witherspoon, Jennifer Aniston and Steve Carell navigate the world of morning television in the appropriately titled drama series Morning Wars? Jason Momoa in a new sci-fi show called See, which is set in a world where humans are born blind? A reboot of 90s kids favourite Ghostwriter? A new docu-series from Oprah — and the return of her book club? They're all on the way, and will be available from the outset. Most series will premiere with three episodes, then roll out one new instalment per week afterwards — although some will drop full seasons at once. At launch, the above shows will also be joined by Dickinson, with Hailee Steinfeld playing poet Emily Dickinson, plus Snoopy in Space, a new Peanuts production about the beagle's desire to become an astronaut. Or, you can look forward to documentary The Elephant Queen, exploring the animal species and their proximity to extinction, and For All Mankind, which'll ponder what could've happened if America was still literally reaching for the stars. https://www.youtube.com/watch?v=7Rg0y7NT1gU Down the line, Apple TV+ will also be home to Servant, a new psychological thriller from M. Night Shyamalan; Truth Be Told, which is based on a novel about true crime podcasts and features Octavia Spencer and Aaron Paul; and Samuel L. Jackson and Anthony Mackie-starring flick The Banker, about two African American entrepreneurs trying to make it in the 50s. The list goes on, spanning a revival of Steven Spielberg's Amazing Stories anthology series; crime thriller Defending Jacob, starring Chris Evans; and a TV remake of Terry Gilliam's film Time Bandits, with a pilot directed by Taika Waititi. There's also a comedy set in a video game development studio from the folks behind It's Always Sunny in Philadelphia, a yet-to-be-named CIA undercover agent series starring Brie Larson, and new series from La La Land director Damien Chazelle. As well as being available on iPhones, iPads, Apple TV and the iPod touch, the Apple TV app is accessible via select Samsung smart TVs, and will hit Amazon Fire TV, LG, Roku, Sony and VIZIO platforms sometime in the future, too. Apple TV+ is set to launch on November 1. For more details, or to sign up for future updates, visit the streaming platform's website.
Every corner of the city seems to house a craft beer bar, and a growing number make their own tasty tipples on the premises. West End watering hole The Catchment Brewing Co. fits both categories, serving ice-cold pints not only poured fresh from the keg, but also brewed on site. Indeed, it should be smiles all round at the Boundary Street venue, which boasts two levels and two laneway hangout areas within its renovated art deco confines. The relaxed atmosphere is enough to make patrons want to stay all day — and that's before you get to the menus. The food offering features favourite gastropub fare, such as pizzas, small snacks to share and mains such as wagyu rump, tempura chicken, duck breast and swordfish — aka the ideal meals to line the stomach with. On the drinks side, wine gets plenty of attention, with 25 drops to choose from. Of course, then there's the beer. Local and international brews sit alongside Catchment's in-house Bright Ale, Pale Select Ale and The 500 IPA, as well as its special releases. Pick one of the ales if you like your beer with a fruity flavour, and go for the IPA if you're just mad about hops.
Last chance, Swifties: just days away from Taylor Swift's first Eras gigs in Melbourne, more tickets to the entire Australia leg of the singer's tour are going on sale. If you missed out when her Aussie visit was first announced, then when extra shows were added and also when the first batch of new tickets were released, you'll be wishing on your friendship bracelets that your luck comes through now. The additional ticket drop comes as setting up Swifts shows is underway, meaning that exactly which seats are spare has been worked out. Some have restricted views, and will cost only $65.90. There's tickets available for all shows, going on sale on today, Tuesday, February 13. Folks eager to attend this weekend's shows at the MCG in Melbourne — which take place between Friday, February 16–Sunday, February 18 — will want to try to grab tickets at 2pm AEDT on Tuesday, February 13. In Sydney, for dates across Friday, February 23–Monday, February 26 at Accor Stadium, you'll be getting clicking at 4pm AEDT on Tuesday, February 13. [caption id="attachment_940473" align="alignnone" width="1920"] Paolo Villanueva via Wikimedia Commons.[/caption] Perhaps it won't be a cruel summer after all for Swift fans who've haven't nabbed tickets so far. When Sydney and Melbourne stops for Swift's career-spanning showcase were announced in June 2023, it sparked a rush for seats. Indeed, before general sales even started, the 'We Are Never Getting Back Together', 'Shake It Off' and 'Bad Blood' musician had announced an extra gig in both cities. And, the Victorian Government even declared her Melbourne stint a major event so that anti-scalping legislation would apply to tickets. It's Swift's world and we're just living in it at the moment. She was a major feature of this year's Super Bowl. Melbourne is getting a pop-up offsite merch store ahead of her MCG concerts. Both Aussie stadiums hosting her tour are doing presales on merchandise in advance. And the Victorian capital is also extending its free tram zone to the MCG to help the 86,000 people expected each night to get to the shows. If you manage to snap up a ticket in the new drop and fill that blank space in your calendar, you'll see Swift working through her entire career so far, playing tracks from each of her studio albums in a three-hour, 44-song, ten-act spectacular. This is Swift's first tour Down Under since 2018, when she brought her Reputation shows to not only Sydney and Melbourne, but Brisbane and Perth, too. And if you're wondering what's in store, then you clearly haven't seen Taylor Swift: The Eras Tour as a movie, aka a concert film of her latest shows that hit cinemas Down Under last October, digital in December and is on its way to Disney+ in March. [caption id="attachment_906254" align="alignnone" width="1920"] Ronald Woan via Wikimedia Commons[/caption] Taylor Swift: The Eras Tour Australian Dates 2024: Friday, February 16–Sunday, February 18 — Melbourne Cricket Ground, Melbourne Friday, February 23–Monday, February 26 — Accor Stadium, Sydney Taylor Swift is bringing The Eras Tour to Australia from Friday, February 16–Monday, February 26. Additional seats will go on sale on Tuesday, February 13 — at 2pm AEDT for Melbourne shows and 4pm AEDT for Sydney shows. Head to the tour website for further details. Top image: Ronald Woan via Wikimedia Commons.
Since dropping a trailer back in September 2022, the instantly stunning-looking Suzume has sat high on animation fans' must-see lists. Given that the Japanese movie is the new release from Your Name and Weathering with You director Makoto Shinkai, it was always going to. The filmmaker's resume speaks for itself, also spanning The Place Promised in Our Early Days, 5 Centimetres per Second, Children Who Chase Lost Voices and The Garden of Words — and his features deserve to be as eagerly anticipated as Studio Ghibli's. Whether you've been excited about Suzume for months or this is the first you're hearing about it, you'd best mark your diary — because Shinkai's latest now has a release date Down Under. The film opened in Japan back in November, and will make its way to cinemas in Australia and New Zealand from Thursday, April 13. As seen in lively trailer, Suzume puts Shinkai into familiar territory visually, with the animation and art direction alone spectacularly and breathtakingly gorgeous. Every detail-filled frame of his films could easily sit on a wall — and, from the sneak peek, Suzume easily continues the trend. Story-wise, the movie follows its titular high school girl as she teams up with a mysterious young man to travel through otherworldly gates. The pair cross paths in a quiet Kyushu town, with the stranger telling the with 17-year-old Suzume that he's looking for a door. From there, they get hopping as disasters start to strike around Japan. As more doors open, more destruction follows — and it's up to Suzume to close the portals to stop the cycle. The coming-of-age tale doesn't just include doors that keep opening up in Japan's "lonely areas people have forgotten" — doors in places that'll make you want to travel far and wide through Japan, as Weathering with You did with Tokyo — but also talking cats, swirling red clouds and scampering chairs. "At its core, Suzume is based on the massive disaster that occurred in Japan twelve years ago. I'm eager to see how this film translates to international audiences: what makes sense, what doesn't, and what common ground we have across cultures," said Shinkai. "The film's imminent international release will hopefully give me the answer to those questions. And, I cannot thank our team members enough for their unprecedented talent and perseverance throughout the film's production. On behalf of the entire team, I would also like to give thanks to all the fans who have cheered us on, making Suzume possible." As they did with Your Name and Weathering with You, Radwimps provide Suzume's soundtrack. The film heads Down Under after playing the Berlin International Film Festival in February, in the prestigious event's official competition — becoming the first Japanese animated film to do so since Studio Ghibli's Spirited Away, which won the coveted Golden Bear in 2002. Check out the trailer for Suzume below: Suzume opens in Australia and New Zealand on Thursday, April 13.
Sustainability, maze-like furniture stores and music streaming services are just a few of the things Sweden does better than everybody else. And now, stamps can safely be added to that list. To celebrate the fact that Sweden are pretty darn good at churning out pop musicians, Swedish postal service PostNord have dedicated their next stamp series to some of the best Swedish purveyors of pop. The famous faces include the iconic artist Robyn, folk duo Klara and Johana Söderberg from First Aid Kit, soul singer Seinabo Sey, DJ and producer Avicii and Max Martin, the brain behind at least one of your late-night karaoke faves. And no ABBA, phew. Swedish artist Jenny Mörtsell is responsible for the beautiful illustrations pictured below, which were created from original photos by Alex Wessley, Andreas Larsson, Kirstoffer Berg, Johannes Helje and Mikael Dahl. So how does our good ole national postal service compare? Australia's Stamp Advisory Committee (yes, it's an actual thing) have been celebrating living legends on stamps since 1997 and last year, the Australian Legend series celebrated home-grown musos like Paul Kelly, INXS, The Seekers, Kylie Minogue and others. Not too bad. Maybe with a bit more creativity and by branching out to artists who are, er, born in more recent decades perhaps, we could reach Swedish stamp levels, one day. Just sayin', Australia Post. The pop musician stamps will be available to lick and stick on postal goods in Sweden on January 15. Just enough time to find a Swedish pen pal. Via Pitchfork.
Vietnam's light and bright flavours are the ideal match for Noosa's subtropical warmth, making Misschu's Queensland debut an attention-grabbing affair. Founded in Sydney in 2009 by Nahji Chu, a Vietnamese-Laotian refugee, the crowd-pleasing brand soon expanded to Melbourne and beyond. Now guided by Gabi and Heike Machado, the original Asian street food tuckshop is ready to serve up its "healthy hawker" cuisine in Bay Village. Focused on signature dishes like warm vermicelli salad with lemongrass beef, organic berry rice and quinoa with seared XO salmon, and Shanghai pork dumplings, almost every dish on the menu is under $20. Inspired by the best of Vietnamese cuisine, Misschu has found success by reimagining traditional recipes into fast, nourishing and delicious dishes. Elevated by the kitchen's use of pure coconut oil and palm sugar for sweetness, the menu also offers plenty of gluten- and dairy-free options that resonate with wholesome goodness. Meanwhile, the prime location takes things to the next level. Just around the corner from Noosa Heads Main Beach, the airy upstairs venue seamlessly connects three outdoor terraces flanked by leafy trees. Pull up a bar stool on the balcony when the sun is shining, perfect for a healthy meal or even an indulgent cocktail. Inside, there's a dynamic mix of seating, from small tables ideal for casual one-on-one catch-ups to comfy booths for larger gatherings. Plus, locals or holidaymakers heading along with the little ones will find a convenient kids' menu with tempting options that satisfy even the fussiest eaters. Finding a stellar home amid the culinary strip of Hastings Street, Misschu Noosa is set to become a bustling spot for lunchtime feasts and after-dark drinks. After all, it's not hard to imagine hitting up one of Australia's most popular beaches, then heading for a health-conscious feast that doesn't sacrifice flavour.
FBi Social, the Sydney radio station's first ever pop-up live music venue, opened its doors last week. Housed on the second level of the refurbished Kings Cross Hotel, in stumbling distance of the Coca Cola sign, FBi is hoping to use the space to further their ever evolving mission of helping emerging local bands break through to larger audiences. With a 200-person capacity and a 24/7 license, and the aim of taking Kings Cross back to it's live music/dive bar roots, it's sure to be a very exciting couple of months. Rarely can you make me go to Kings Cross. The place evokes memories of dangerously high heels, bogan's blaring bad music from their souped up cars and being hit on by drug dealers. But FBi Social will be enough to get me, and many like me, to venture to the end of William Street. And perhaps the biggest perk is that no longer will you have to catch two buses and a train to a shoddy warehouse at the back of Marrickville to see emerging live music. It all kicks off this weekend, with Friday night's Socially Acceptable bringing you FBi's favourite emerging DJ's to assist you in all manner of hand-clapping, toe-tapping and hip-thrusting. The lineup of bands kick off on Saturday night with Dance To The Radio, featuring The Preachers, Underlights and Sister Jane. Gigs over the next two months include Ernest Ellis, Pikelet and Guineafowl, and will sit side by side with nights devoted to genres such as folk, hip hip and experimental music.
Encouraging humanity to live reduce our impact on the planet, stylish and inventive architectural designs, the ability to make almost any place your backyard: yes, the tiny house movement has it all. And if you've been dreaming about leaving regular old bricks-and-mortar living behind for the freedom of a small, cute, mobile cottage, the latest model to hit the market isn't going to change that. Meet the Escape One and its upsized version, the Escape One XL — aka a two-storey wood cabin on wheels. You'll forget any caravan comparisons when you're walking through timber-clad interiors, gazing out multiple levels of large windows, making between 25 and 36 square metres of space your own. Throw in a multi-purpose first floor that can be used as a dining area, office, bedroom and living room, plus a second floor that's similarly flexible in function, and you'll be in pint-sized abode heaven. Like all the best miniature houses, living a compact life doesn't mean skimping on the essentials. Both models boast a tub and shower, designer sink and bathroom storage, plus optional flatscreen TVs and blu-ray players, while the XL comes with a maple cabinet-filled kitchen with appliances and an under-counter fridge/freezer. Alas, for those culling their belongings and packing their bags, these currently these tiny mobile homes are only available in the US, and they don't come cheap — starting at US$49,800. Via Dezeen. Image: Escape.
Walking around Tokyo at night should rank high on everyone's travel bucket list. The glittering lights, the towering buildings, the hustle and bustle in busy streets and tiny alleyways, the sprawling city that seems to go on forever: they're all at their best when the sun goes down. And, that's when the Japanese capital's futuristic aesthetic shines brightest too — as Australian photographer Tom Blachford has captured in his new series, Nihon Noir. Across his array of images, Tokyo gleams with a sci-fi-like sheen, cloaked in shades of blue and red. It's part of a project with Asahi, with the Melbourne-based photographer aiming "to communicate the feeling that struck me the first time I visited Tokyo, that somehow you have been transported to this advanced and amazing parallel universe," as he explained to Wallpaper. Blachford cites Blade Runner as inspiration, which is gorgeously apparent in every image, as well as the distinctive visuals of Drive, Only God Forgives and The Neon Demon filmmaker Nicolas Winding Refn. The photos are the result of six nights straight spent scouring the city and showcase the striking architecture on offer, as seen both from afar and up close. And, they'll make you want to book a Japan trip asap, of course. Via Wallpaper. Images: Tom Blachford.
When one of the biggest movie franchises to ever grace the silver screen is forced to flee cinemas for more than a year — due to the pandemic, obviously — what happens next? In the Marvel Cinematic Universe's case, it plans a big comeback by releasing not one, not two, but three new movies in less than six months. First up is Black Widow, which is heading to both cinemas and streaming in July. When it does so, it'll mark only the second film in the Marvel Cinematic Universe that solely focuses on a female protagonist. Yes, really. Next, come September, the franchise's next flick will also make history — because Shang-Chi and The Legend of The Ten Rings is the MCU's first movie with an Asian lead. Achieving that milestone is obviously long overdue; Shang-Chi and The Legend of The Ten Rings will be the 25th MCU flick, after all. Simu Liu is doing the honours, playing the titular martial artist and trained assassin, who has spent ten years living a normal life but is suddenly drawn back into the shady Ten Rings organisation. As the first trailer and the just-dropped new trailer for the superhero feature both show, Kim's Convenience star Liu will have plenty of chances to show off his character's skills. He'll have impressive company, too. Shang-Chi and The Legend of The Ten Rings's cast includes Awkwafina, following on from her voice work in fellow Disney release Raya and the Last Dragon; the great Michelle Yeoh, who was last seen on the big screen in Last Christmas and Boss Level; and the just-as-iconic Tony Leung Chiu-Wai, a mainstay of Wong Kar-Wai's films such as In the Mood for Love, 2046 and The Grandmaster. Fala Chen (The Undoing), Florian Munteanu (Creed II), Ronny Chieng (Godzilla vs Kong) and debutant Meng'er Zhang also feature, while Short Term 12 and Just Mercy's Destin Daniel Cretton is on directing duties. And, you can be forgiven for looking out for familiar sights amid the heavy martial arts action when the movie hits theatres — because it was shot in Sydney. On the big screen, Shang-Chi and The Legend of The Ten Rings will be followed by the Angelina Jolie-starring, Chloe Zhao-directed Eternals, which is due to release in November. Although the MCU has been absent from cinemas since 2019, the franchise has been busy on the small screen in 2021's first half thanks to WandaVision, The Falcon and the Winter Soldier and Loki. Check out the latest Shang-Chi and The Legend of The Ten Rings trailer below: Shang-Chi and The Legend of The Ten Rings releases in cinemas Down Under on September 2, 2021. Top images: ©Marvel Studios 2021. All Rights Reserved
Over the past six months, Fleabag picked up six Emmy Awards and two Golden Globes, becoming the most-acclaimed TV comedy of the past year. Sadly, that isn't enough to inspire Phoebe Waller-Bridge to make more episodes of the hit show — but for everyone lamenting the Fleabag-sized hole in their lives, the multi-talented Brit has a new project landing soon. She has a couple, actually. Waller-Bridge helped write the script for delayed Bond flick No Time to Die, which is no small feat. If you're keen to see her on-screen, however, then you'll want to add Run to your must-watch pile. Waller-Bridge executive produces and pops up among the cast, with Vicky Jones — the director of her Fleabag stage show, and a script editor on Fleabag's first TV season — writing and producing the series. Hitting HBO in the US in mid-April and Foxtel in Australia around the same time, Run spends time with ex-lovers Ruby Richardson (Unbelievable's Merritt Wever) and Billy Johnson (Star Wars: Episode IX — The Rise of Skywalker's Domhnall Gleeson). They dated in college and, 17 years ago, they made a pact. First, one of them has to text the word 'run' whenever they feel like it. Next, the other has to respond the same way. After that, they both have to drop everything, step away from their everyday lives and meet at Grand Central Station, then travel across the America together. For Ruby, that means escaping her monotonous existence and leaving her husband (Mad Men's Rich Sommer) at home. As for what happens next, while last month's first teaser gave a bit of a glimpse, the just-released full trailer provides more of a sneak peek. Expect plenty of chatty train trips, as well as both tension and laughs — with HBO badging the series as a romantic-comedy thriller. And if you're wondering about Waller-Bridge, she plays Laurel, a woman who Ruby and Billy meet on their journey. Check out the full trailer below: https://www.youtube.com/watch?v=L9TjitrfeMo Run starts streaming on Foxtel Now and screening on Foxtel Showcase in Australia, Thursdays at 8.30pm from May 7. Image: Ken Woroner/HBO. UPDATE: MAY 7, 2020 — Run was initially meant to hit Foxtel back in April, but it was postponed till May 7. The above copy has been updated to reflect this.
Six months after opening its first Queensland store in Clayfield — and more than 40 years since the family-run brand first opened in Sydney — Harris Farm Markets has launched its second Brisbane site in West End. Whether you live in the inner-city suburb or you're just passing through, you can now stop by the chain's flagship Sunshine State site, which has taken up residence in West End's West Village precinct. If you're a newcomer to Harris Farm Markets, it boasts a particular focus on fresh local produce — which is one of the reasons why the chain has both stood the test of time and amassed a considerable following. When it launched its first Brissie location in December at the former Clayfield Markets site, it was a homecoming of sorts. While Harris Farm Markets is definitely based in New South Wales, it actually used to own the Sandgate Road spot years back. Now, it's also making its home in a 1800-square-metre space on the ground floor of the former Peters Ice Cream building, with the market's doors opening back on Friday, June 4. Harris Farm Markets' West End shop features more than 500 types of fresh produce; three types of milk on tap, including oat milk; a plant-based range of over 150 products; and a hefty cheese section showcasing 500-plus types. In a first for the brand, it's also doing honey on tap — so you can pour your own — and self-serve almond, peanut and cashew butters. Customers will find eight types of loose coffee beans and 20 varieties of loose tea leaves to choose from, too, plus grow-your-own mushroom kits and edible flowers. The idea, like at Harris Farm Markets' other stores, is to highlight Queensland and Australian products — and, based on its array of in-store options, to level up the supermarket experience at the same time. Danny's Bread, from Teneriffe, is running a French bakery onsite, while Sol breads, Roza's Sauces, CJ's Pasta, My Berries and Madders Brothers Patisserie all have items stocked in-store. There's an onsite salumi deli, seafood market and butcher shop, too, as well as a fresh doughnut deli. A big focus on sustainability is also part of the Harris Farm Markets experience, including via its imperfect picks section. That's where shoppers can pick up seasonal fruit and vegetables that mightn't look picture perfect, but still taste as great as ever, all as part of the chain's efforts to help stop farm wastage. Next on the agenda: a store on the Gold Coast, at the Isle of Capri, which'll be the chain's third outside of NSW. Harris Farm Markets currently operates 22 locations down south. Find Harris Farm Markets' West End store at West Village at 97 Boundary Street — open from 7am–10pm daily.
